SORRY SEEMS TO BE THE HARDEST WORD - BLUE . HAVASI

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Sorry Seems To Be The Hardest Word

BLUE / HAVASI

"Sorry Seems to Be the Hardest Word," Blue’s 2002 cover of Elton John’s 1976 ballad from the album Blue Moves, transforms the original’s melancholic introspection into a polished boy band rendition with added emotional layers. Originally written by John and Bernie Taupin, the song’s poignant lyrics about the difficulty of apology—“What have I got to do to make you care?”—are delivered through Blue’s harmonious vocals, featuring Antony Costa, Duncan James, Lee Ryan, and Simon Webbe, with John’s guest appearance adding gravitas.

Produced as a duet for Blue’s compilation album Best of Blue, the track blends R&B-infused pop with the classic’s piano-driven melody, creating a heartfelt anthem that resonated with early 2000s audiences. While some critics noted it lacked the raw vulnerability of John’s version, Blue’s smooth arrangement and vocal interplay made it a fresh, radio-friendly take, appealing to fans of sentimental pop ballads.

On the Billboard charts, Blue’s version of "Sorry Seems to Be the Hardest Word" had minimal impact in the U.S., failing to enter the Hot 100, as the British boy band’s success was primarily European-focused. In contrast, Elton John’s original peaked at Number 6 on the Hot 100 in December 1976 and reached Number 1 on the Adult Contemporary chart, marking a significant hit from his double album Blue Moves. Blue’s collaboration, however, dominated internationally, debuting at Number 1 on the UK Singles Chart in December 2002 for one week and earning double-platinum certification for over 1.2 million units sold. This success outperformed many of Blue’s prior singles like "All Rise" ( Number 4 UK) and solidified the track as their third UK Number 1, contributing to the album’s multi-platinum status across Europe amid the era’s boy band boom.

Blue’s recent performances of "Sorry Seems to Be the Hardest Word" during their 2025 Greatest Hits Tour extension have been emotional highlights, showcasing the band’s matured vocal dynamics and stage presence. At their November 2024 Rome concert at Palazzo dello Sport, captured in fan-shared YouTube clips, the group delivered a stripped-down rendition with Duncan James leading the verses, backed by piano and subtle harmonies that evoked nostalgia among the crowd. Similarly, during their 2025 Istanbul show at the Congress Center, the performance featured heartfelt ad-libs and audience sing-alongs, as seen in viral videos praising their chemistry. In Shillong for their 25th Anniversary Tour, the ballad stood out amid upbeat hits, with fans noting its soaring delivery that honored Elton John’s original while infusing Blue’s pop flair.

Overall, Blue’s take on "Sorry Seems to Be the Hardest Word" revitalized a classic for a new generation, its UK chart dominance affirming the band’s early 2000s peak despite limited U.S. traction.

The song’s enduring themes of regret and reconciliation shine in their 2025 performances, like those in Rome, Istanbul, and Shillong, where Blue’s reunion energy breathes fresh life into the ballad. As the group gears up for 2026 tours, this cover remains a testament to their vocal prowess and ability to connect with audiences through timeless emotion.

EVERYTIME - A1

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Everytime - A1

"Everytime," from A1’s debut album Here We Come (1999), is a tender ballad that highlights the British-Norwegian boy band's emotive harmonies and heartfelt songwriting. Written by band members Ben Adams, Christian Ingebrigtsen, Mark Read, and Paul Marazzi, the song's lyrics reflect on love and longing with a simple, acoustic-driven arrangement featuring piano and strings that build to a soaring chorus.

As one of A1’s early singles, it showcases their blend of pop accessibility and emotional depth, appealing to late-1990s teen audiences while distinguishing itself from their more upbeat tracks like "Take On Me." The music video, depicting the band in reflective, intimate settings, enhances its romantic appeal, making "Everytime" a nostalgic staple that captures the essence of boy band vulnerability and remains a fan favorite for its sincerity and melodic warmth.

On the Billboard charts, "Everytime" did not register in the U.S., as A1’s success was largely confined to Europe and Asia, with limited American exposure. Released as a double A-side single with "Ready or Not" in November 1999, it peaked at Number 3 on the UK Singles Chart, marking the band’s second Top-5 entry after "Be the First to Believe."

The track also reached Number 3 in Norway, reflecting Ingebrigtsen’s Norwegian roots, and contributed to Here We Come’s gold certification in the UK. Compared to A1’s later UK Number 1 hits like "Same Old Brand New You" and their "Take On Me" cover, "Everytime" demonstrated early commercial promise, though its ballad style limited broader crossover appeal in the U.S. market dominated by acts like NSYNC and Backstreet Boys.

A1’s recent performances of "Everytime" during their 2025 Valentines Tour in the Philippines have been emotional encores that resonate deeply with fans, blending nostalgia with the band’s matured stage presence. At their February 13, 2025, concert at Atrium Limketkai in Cagayan de Oro City, the song served as the first encore, delivered with harmonious vocals and minimal instrumentation that highlighted Ben Adams and Mark Read’s leads amid a setlist including "Caught in the Middle" and "Like a Rose." Similar renditions appeared in their Manila shows on February 15-16, 2025, at New Frontier Theater, where fan-shared clips show enthusiastic sing-alongs, amplifying the ballad’s intimate feel in sold-out venues. These performances, part of their 25th-anniversary celebrations, underscore A1’s ability to evoke 1990s sentiment while adapting to contemporary younger audiences.

Overall, "Everytime" endures as a poignant highlight of A1’s early catalog, its UK Number 3 peak affirming the band’s boy band era stardom despite absent U.S. Billboard traction. The song’s themes of love and reflection continue to captivate in their 2025 Philippine tour stops, like Cagayan de Oro and Manila, where A1’s reunion energy infuses it with fresh emotional weight. As the group eyes 2026 dates in Oslo and Dubai, "Everytime" remains a testament to their vocal harmony and lasting appeal in pop music.

SHE'S ALWAYS A WOMAN - BILLY JOEL

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She's Always A Woman - BILLY JOEL

"She's Always a Woman," from Billy Joel’s 1977 breakthrough album The Stranger, is a poignant, piano-driven ballad that celebrates the complexities and contradictions of a strong-willed woman with poetic lyricism and melodic grace. Written by Joel as a tribute to his then-wife and manager Elizabeth Weber, the song’s verses paint vivid portraits of her multifaceted nature—“She can kill with a smile, she can wound with her eyes”—while the chorus affirms unwavering love.

Produced by Phil Ramone, its intimate arrangement, featuring Joel’s tender vocals and subtle orchestration, blends soft rock with a touch of jazz, distinguishing it from the album’s more upbeat tracks like "Movin’ Out (Anthony’s Song)." As a timeless ode to feminine enigma, the song has endured for its emotional honesty and Joel’s signature storytelling, influencing covers by artists like Fyfe Dangerfield and remaining a staple in romantic playlists.

On the Billboard charts, "She's Always a Woman" achieved solid success, peaking at Number 17 on the Hot 100 on October 14, 1978, and spending 14 weeks on the chart. It also reached Number 2 on the Adult Contemporary chart, reflecting its appeal to a mature audience drawn to Joel’s balladry.

As the third single from The Stranger, which hit Number 2 on the Billboard 200 and earned multi-platinum status, the song contributed to Joel’s rising stardom, though it didn’t match the Number 1 peaks of later hits like "It’s Still Rock and Roll to Me." Recently certified 2x platinum in the U.S. for over two million units sold as of July 2025, its chart performance underscores its lasting resonance, outshining some contemporaries in the adult contemporary realm and cementing Joel’s reputation as a master of heartfelt pop. Billy Joel’s performance of "She's Always a Woman" during his historic Live at Shea Stadium concerts on July 16 and 18, 2008, captured on the 2011 CD/DVD release, was a tender highlight amid the high-energy setlist. Positioned mid-show after "Goodnight Saigon," Joel delivered the ballad with his characteristic piano elegance and emotive vocals, the intimate lyrics resonating in the massive Queens venue before a sold-out crowd of over 55,000 per night. Backed by his seasoned band, the rendition maintained the original’s delicate charm, with the high-definition production capturing the audience’s warm response and Joel’s playful interaction, making it a standout in a concert featuring guests like Paul McCartney and Tony Bennett.

The Live at Shea Stadium performance of "She's Always a Woman" exemplifies Joel’s ability to blend nostalgia with live spontaneity, its emotional depth enhanced by the venue’s historic demolition shortly after. Fan reviews praise the concert’s pristine audio and Joel’s vocal clarity, though some note signs of age in his delivery. Despite its Number 17 Hot 100 peak, "She's Always a Woman" endures as a cornerstone of Joel’s catalog, its Shea rendition is a poignant reminder of his storytelling prowess and connection with audiences across generations.

APT - ROSE WITH PSY

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APT - ROSE / PSY

"APT", a infectious collaboration between BLACKPINK's ROSÉ and Bruno Mars released in October 2024, is a vibrant pop-funk anthem that fuses K-pop flair with retro grooves, centered on playful lyrics about late-night apartment parties and the catchy Korean refrain "Apateu." Co-written by the duo with producers like Omer Fedi, the track's upbeat tempo, Mars's silky falsetto, and ROSÉ's versatile vocals—ranging from sultry verses to powerful belts—create a feel-good earworm that celebrates carefree fun amid urban chaos.

Its music video, directed by Mars, amplifies the song's whimsical energy with neon-lit sets and synchronized choreography, drawing comparisons to Mars's earlier hits like "Uptown Funk" while showcasing ROSÉ's solo evolution beyond BLACKPINK. As a bridge between Western pop and K-pop, "APT." has become a cultural phenomenon, inspiring viral TikTok challenges and solidifying ROSÉ's global appeal with its addictive hook and cross-cultural charm.

On the Billboard charts, "APT." has achieved unprecedented success, debuting at No. 8 on the Hot 100 in October 2024, marking the highest entry for a female K-pop artist. "APT" spent 12 weeks at No. 1 on the Global 200 and a record-breaking 15 weeks atop the Global Excl. U.S. chart as of February 2025. The song also became the first K-pop track to hit No. 1 on the Pop Airplay chart in January 2025, reaching No. 4 overall on that tally. Compared to ROSÉ's prior solo efforts like "-R-" or BLACKPINK hits such as "Pink Venom" (#22 Hot 100), "APT." stands out as her biggest U.S. breakthrough, with extended top-20 runs on the Hot 100 and multi-platinum certifications, underscoring its dominance in a competitive 2024-2025 pop landscape.

ROSÉ's recent live performance of "APT." during her Deadline Tour stop at the Philippine Arena in Bulacan on November 22, 2025, was a solo showcase that highlighted her commanding stage presence and vocal agility. Backed by a live band and dancers, she delivered an energetic rendition with ad-libbed runs and crowd interaction, transforming the track's funky vibe into a high-octane spectacle complete with pyrotechnics and fan sing-alongs. Fan-captured videos on YouTube capture the Filipino audience's enthusiastic duet during the chorus, amplifying the song's party anthem feel in a massive arena setting.

SODA POP - SAJA BOYS (KPOP DEMON HUNTERS)

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Soda Pop - SAJA BOYS

From KPop Demon Hunters (Netflix)

"Soda Pop," a bubbly standout from Netflix's animated film KPop Demon Hunters, is an effervescent K-pop track performed by the fictional boy band SAJA BOYS, voiced by Andrew Choi, Neckwav, Danny Chung, and others. Featured as the ninth song in the movie, it captures the high-energy world of demon-hunting idols with its catchy hooks, fizzy synths, and playful lyrics about effervescent romance and empowerment. The song's upbeat tempo and harmonious vocals blend traditional K-pop elements with a modern pop flair, making it an instant earworm that complements the film's action-packed narrative.

Released as part of the soundtrack in June 2025, "Soda Pop" embodies the movie's theme of blending music with supernatural battles, appealing to fans of animated musicals and K-pop enthusiasts alike with its vibrant production and infectious charm. On the Billboard charts, "Soda Pop" has enjoyed impressive success, peaking at No. 3 on the Hot 100 as of late September 2025, marking it as the third top 10 hit from the KPop Demon Hunters soundtrack. It entered the chart at Number 10 in August, rising steadily with strong streaming and sales, and has been certified platinum by the RIAA for over one million units sold in the U.S. The track also topped the Top Gabb Music Songs chart in August and climbed to No. 3 on the Billboard Global 200, reflecting its global appeal in over 18 countries. While not dethroning HUNTR/X's "Golden" from the top spot, its chart performance underscores the soundtrack's dominance, rivaling other film hits like those from Encanto. The Saja Boys' performance of "Soda Pop" in KPop Demon Hunters is a dazzling highlight, showcased in a high-stakes concert scene where the group unleashes their demonic powers through electrifying choreography and vocal prowess. As antagonists to the protagonist girl group HUNTR/X, the Saja Boys—depicted as charismatic, hypnotic idols—deliver the song with synchronized dance moves and powerful harmonies that heighten the film's tension between music and mayhem. Clips from the movie, including the official music video on Netflix, capture their animated flair, with vibrant visuals and special effects that make the performance a visual feast. Fans have praised the sequence for its seamless integration of song and story, emphasizing the Boys' role in advancing the plot through their seductive, otherworldly stage presence.

Overall, "Soda Pop" exemplifies the innovative fusion of K-pop and animation in KPop Demon Hunters, its platinum status and top-charting run affirming the soundtrack's cultural impact. The Saja Boys' in-movie performance adds a layer of villainous charm, making the song a memorable antagonist anthem that stands out amid the film's star-studded tracks. With its playful energy and commercial triumph, "Soda Pop" not only elevates the movie's narrative but also cements Saja Boys as fictional icons whose real-world resonance continues to bubble up in fan discussions and playlists.

GOLDEN - HUNTR/X (KPOP DEMON HUNTERS)

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Golden - EJAE / AUDREY NUNA / REI AMI

From KPop Demon Hunters (Netflix)

"Golden," the breakout anthem from Netflix's animated film KPop Demon Hunters, is a vibrant K-pop powerhouse that blends infectious hooks, dynamic harmonies, and empowering lyrics about self-discovery and resilience. Performed by EJAE, Audrey Nuna, and Rei Ami as the voices behind the fictional supergroup Huntr/x, the song captures the movie's high-stakes world of demon-slaying pop stars with its upbeat tempo, shimmering synths, and soaring choruses.

Co-written by EJAE en route to a dentist appointment, its themes of shining through adversity resonate deeply, drawing from Korean cultural elements that add authenticity and emotional depth. Released as part of the film's soundtrack in June 2025, "Golden" exemplifies the fusion of animation and music, appealing to global audiences with its catchy production and the trio's seamless vocal interplay, marking a fresh entry in the K-pop-inspired cinematic soundscape.

On the Billboard charts, "Golden" has been a dominant force, holding the No. 1 spot on the Hot 100 for eight consecutive weeks as of October 2025, surpassing the record set by "We Don't Talk About Bruno" from Encanto as the longest-leading movie soundtrack single of the decade. It has spent over 15 weeks on the chart, contributing to the soundtrack's multiple weeks at No. 1 on the Billboard 200, with impressive equivalent album units exceeding 100,000 in recent tracking periods. The song's success is part of a historic run, with four tracks from the soundtrack simultaneously charting in the Hot 100's Top 10—a first for any film soundtrack—highlighting the movie's cultural impact and the trio's commercial breakthrough. Certified platinum by the RIAA for over one million units sold, "Golden" outshines many contemporaries, solidifying KPop Demon Hunters as Netflix's most-watched film with over 362 million streams worldwide. The trio's performance of "Golden" on The Tonight Show Starring Jimmy Fallon on October 7, 2025, marked their first full live rendition, delivering an electrifying showcase of their chemistry and vocal talent. EJAE, Audrey Nuna, and Rei Ami commanded the stage with synchronized choreography, powerful ad-libs, and a high-energy arrangement that amplified the song's anthemic quality, earning wild applause from the audience. Preceding the performance, their interview with Fallon highlighted emotional fan stories, including Rei Ami's tearful recount of hearing a young boy belt out the song in a store, and Audrey Nuna's reflections on the film's Korean representation. The segment culminated in a surprise platinum certification announcement for the soundtrack, leaving the artists visibly moved and gifting merch to the crowd, adding a heartfelt layer to the late-night debut. Overall, "Golden" stands as a triumphant highlight of KPop Demon Hunters, its chart-dominating run and platinum status underscoring the film's innovative blend of K-pop and animation.

The Tonight Show performance not only celebrated this milestone but also humanized the artists, revealing the song's real-world emotional resonance. With its infectious energy and cultural depth, "Golden" cements EJAE, Audrey Nuna, and Rei Ami as rising forces in global pop, proving that soundtrack singles can achieve standalone superstardom while elevating their source material to unprecedented heights.

FEELS LIKE HEAVEN - PETER CETERA / CHAKA KHAN

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Feels Like Heaven - PETER CETERA / CHAKA KHAN

"Feels Like Heaven" from Peter Cetera’s 1992 album World Falling Down, is a radiant duet with Chaka Khan that blends his crystalline tenor with her soulful contralto, creating a lush, romantic pop ballad. Written by Mark Goldenberg and Kit Hain, the song’s lyrics celebrate the euphoria of finding love after years of searching, wrapped in a polished adult contemporary production.

The interplay between Cetera’s smooth delivery and Khan’s powerful, emotive vocals elevates the track, making it a standout in Cetera’s solo career. Its melodic warmth and heartfelt sincerity, though not as iconic as his hits like "Glory of Love," showcase his knack for crafting duets that resonate emotionally, appealing to fans of both artists’ distinctive styles.

On the Billboard charts, "Feels Like Heaven" achieved modest success, peaking at Number 71 on the Hot 100 in 1992 but performing strongly at Number 5 on the Adult Contemporary chart, as noted in sources like Edge Induced Cohesion. This mirrored Cetera’s consistent dominance in the AC format, though it fell short of his earlier duet successes like "The Next Time I Fall" (Number 1 with Amy Grant) or "After All" ( Number 6 with Cher).

The song’s lower Hot 100 placement reflected the early 1990s’ shift toward grunge and hip-hop, yet its Adult Contemporary performance ensured steady radio play, cementing its status as a fan-favored track from World Falling Down, an album that reached Number 163 on the Billboard 200.

There is no definitive record of Peter Cetera and Chaka Khan performing "Feels Like Heaven" together in a concert setting, as their collaboration was primarily a studio effort for the 1992 album. Cetera typically performed the song live with backing vocalist Kim Keyes, most notably during his 2003 concert at Abravanel Hall in Salt Lake City, filmed for a live CD and DVD release.

In these performances, Keyes filled Khan’s role admirably, her soulful voice complementing Cetera’s, as seen in fan-shared YouTube clips. The Salt Lake City show, backed by members of the Utah Symphony, featured a polished rendition of "Feels Like Heaven," with Cetera and Keyes capturing the song’s romantic essence.

COULD WE START AGAIN PLEASE - YVONNE ELLIMAN

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Could We Start Again Please - YVONNE ELLIMAN

"Could We Start Again Please" is a song from the 1970 album and 1971 rock opera Jesus Christ Superstar written by Andrew Lloyd Webber (music) and Tim Rice (lyrics), an emotional ballad sung by Yvonne Elliman as Mary Magdalene together with Philip Toubus as Peter along with the entire vocal ensemble.

Jesus Christ Superstar is a 1973 American musical drama film directed by Norman Jewison and jointly written for the screen by Jewison and Melvyn Bragg; they based their screenplay on the 1970 rock opera of the same name, the libretto of which was written by Tim Rice and whose music was composed by Andrew Lloyd Webber.

The film, featuring a cast of Ted Neeley, Carl Anderson, Yvonne Elliman, Barry Dennen, Bob Bingham, Larry Marshall, Josh Mostel, Kurt Yaghjian and Philip Toubus, centers on the conflict between Judas and Jesus during the week of the crucifixion of Jesus.

Jesus Christ Superstar premiered at the Uptown Theater in Washington D.C. on June 26, 1973, and was released theatrically in the United States on August 15, 1973. Neeley, Anderson, and Elliman were nominated for Golden Globe Awards in 1974, for their portrayals of Jesus, Judas, and Mary Magdalene, respectively.

The soundtrack for the film was released on vinyl by MCA Records in 1973. It was re-released on CD in 1993 and reissued in 1998 for its 25th anniversary. It must be pointed out that the soundtrack for the film is a new recording, different from the 1970 album, despite the fact that some performers are the same.

I DON'T KNOW HOW TO LOVE HIM - YVONNE ELLIMAN

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I Don't Know How To Love Him - YVONNE ELLIMAN

"I Don't Know How to Love Him" is a song from the 1970 album and 1971 rock opera Jesus Christ Superstar written by Andrew Lloyd Webber (music) and Tim Rice (lyrics), a torch ballad sung by the character of Mary Magdalene.

Jesus Christ Superstar is a 1973 American musical drama film directed by Norman Jewison and jointly written for the screen by Jewison and Melvyn Bragg; they based their screenplay on the 1970 rock opera of the same name, the libretto of which was written by Tim Rice and whose music was composed by Andrew Lloyd Webber.

The film, featuring a cast of Ted Neeley, Carl Anderson, Yvonne Elliman, Barry Dennen, Bob Bingham, Larry Marshall, Josh Mostel, Kurt Yaghjian and Philip Toubus, centers on the conflict between Judas and Jesus during the week of the crucifixion of Jesus.

Jesus Christ Superstar premiered at the Uptown Theater in Washington D.C. on June 26, 1973, and was released theatrically in the United States on August 15, 1973. Neeley, Anderson, and Elliman were nominated for Golden Globe Awards in 1974, for their portrayals of Jesus, Judas, and Mary Magdalene, respectively.

The soundtrack for the film was released on vinyl by MCA Records in 1973. It was re-released on CD in 1993 and reissued in 1998 for its 25th anniversary. It must be pointed out that the soundtrack for the film is a new recording, different from the 1970 album, despite the fact that some performers are the same.

WHEN YOU LOVE A WOMAN (LIVE IN MANILA) - JOURNEY

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When You Love A Woman - JOURNEY

"When You Love a Woman" is a song by American rock band Journey. It is the third track from their 10th studio album, Trial by Fire (1996), and was released as the lead single from that album in September 1996.

The song reached Number One on the US Billboard Adult Contemporary chart, where it stayed for four weeks, and number 12 on the Billboard Hot 100, finishing 1997 as the 57th-best-selling single in the US and their last major hit there.

In Canada, the song peaked at number three on the RPM Top Singles chart and number one on the RPM Adult Contemporary chart. "When You Love a Woman" was nominated for a Grammy Award in the category Best Pop Performance by a Duo or Group.

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THROWING IT ALL AWAY (LIVE IN DUSSELDORF) - GENESIS

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Throwing It All Away - GENESIS

Genesis is an English rock band formed at Charterhouse School, Godalming, Surrey, in 1967. The band's most commercially successful line-up consists of keyboardist Tony Banks, bassist/guitarist Mike Rutherford and drummer / singer Phil Collins. The 1970s line-up featuring singer Peter Gabriel and guitarist Steve Hackett was among the pioneers of progressive rock.

Phil Collins left Genesis in 1996, and Tony Banks and Mike Rutherford replaced him with Ray Wilson, who appeared on their final album Calling All Stations (1997). The commercial failure of the album led to a group hiatus. Banks, Rutherford and Collins reunited for the Turn It On Again Tour in 2007, and then again in the coming 2021 for The Last Domino? Tour.

"Throwing It All Away" is the seventh track on the 1986 album Invisible Touch by Genesis. It was the second single from the album in 1986, reaching No. 4 on the Billboard Hot 100 and No. 22 in Britain, where it was released as the last single of the album in 1987. In the U.S., it also went to No. 1 on Billboard's Adult Contemporary chart in October 1986 and the Album Rock Tracks chart in August 1986.

The song is a soft rock ballad structured around a guitar riff by Mike Rutherford, who also wrote the lyrics. The U.S. single included an edited version of the instrumental "Do the Neurotic" as the B-side; the UK edition featured the track "I'd Rather Be You".

A music video for the song was composed of soundcheck footage and shots of the band travelling while on their Invisible Touch Tour of North America, much of which was filmed by Collins on his 1985 Sony Handycam, mostly filmed in Toronto (Exhibition Stadium) and Detroit (Joe Louis Arena). It is featured on their DVD The Video Show.

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MAKING LOVE OUT OF NOTHING AT ALL (LIVE IN HONG KONG) - AIR SUPPLY

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Making Love Out Of Nothing At All - AIR SUPPLY

"Making Love Out of Nothing at All" is a power ballad written and composed by Jim Steinman and first released by the British/Australian soft rock duo Air Supply for their 1983 compilation album Greatest Hits. It reached Number 2 on the U.S. Billboard Hot 100 for three weeks (behind "Total Eclipse of the Heart" by Bonnie Tyler, giving Steinman a consecutive peak of two songs). The song has been covered by other artists.

Steinman offered the song, along with "Total Eclipse of the Heart", to Meat Loaf for his Midnight at the Lost and Found album; however, Meat Loaf's record company refused to pay Steinman for the material so Meat Loaf ended up writing compositions for the album himself.

Steinman's songs were then offered to Bonnie Tyler and Air Supply. However, in an interview with journalist Mick Wall, Steinman stated: "I didn't write [Total Eclipse of the Heart] for anyone but Bonnie." Steinman believed that CBS were expecting him to write something similar to "It's a Heartache", but he had different ideas.

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KARMA CHAMELEON - BOY GEORGE / THE CULTURE CLUB

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Karma Chameleon - BOY GEORGE / CULTURE CLUB

"Karma Chameleon" is a song by English band Culture Club, featured on the group's 1983 album Colour by Numbers. The single was released in the United Kingdom in September 1983 and became the second Culture Club single to reach the top of the UK Singles Chart, after "Do You Really Want to Hurt Me".

The record stayed at Number 1 for six weeks and became the UK's biggest-selling single of the year 1983, selling 1.39 million copies (according to Official chart by Gallup 1983 and according to BPI UK platinum certificate October 1983). To date, it is the 38th-biggest-selling single of all time in the UK, selling over 1.52 million copies.

It also spent three weeks at number one on the US Billboard Hot 100 in early 1984, becoming the group's biggest hit and only US number-one single among their many top-10 hits. The single sold over 7 million copies globally. In 2015, the song was voted by the British public as the nation's ninth favorite 1980s number one in a poll for ITV.