“The Last Time” is a track by the British progressive rock band Asia, featured on their eighth studio album, Aura, released on January 31, 2001. The song was co-written by Geoff Downes and John Payne, who were the core members of the band during this period. Notably, original Asia guitarist Steve Howe contributed to this track,
alongside Ian Crichton on guitars, Vinnie Colaiuta on drums, and Luis Jardim on percussion. Aura marked a departure from Asia’s earlier sound, incorporating a diverse array of guest musicians and a blend of progressive rock and pop elements.
While “The Last Time” was not released as a single and did not chart, it is appreciated by fans for its melodic composition and reflective lyrics. The album itself received generally positive reviews but did not achieve significant commercial success.
The dust in the wind
It's the last time
One world, one dream
The stars in your hand
“Love Kills” is a power ballad by Vinnie Vincent Invasion, released in 1987 on the band’s second and final studio album, All Systems Go. Written by guitarist Vinnie Vincent (formerly of KISS) and vocalist Jeff Scott Soto, the track was sung by Mark Slaughter, who would later form the band Slaughter. “Love Kills” is best known for its inclusion on the
A Nightmare on Elm Street 4: The Dream Master1 soundtrack, where it served as a promotional single tied to the film’s themes of deadly romance and psychological terror. Lyrically, the song explores love as a destructive force—intense and alluring, yet ultimately fatal, aligning with the horror genre’s motifs.
Musically, it combines glam metal and melodic rock, featuring soaring vocals and Vincent’s signature flashy guitar work. While it didn’t chart high on Billboard, the song gained cult status due to its association with the Elm Street franchise and remains one of the band’s most recognized tracks. Only one official version exists, though it appears on various compilations and horror-themed playlists.
Now I hear the wind is calling my lonely, lonely soul.
For sorrow's trembling hands please let me go.
Love's dying sin is just dust in the wind,
and I face the other side of no tomorrow.
Love kills, the fire's gone, dying embers still remain.
Love kills and now you're gone, girl,
I'll never be the same again.
“Something’s Wrong” is a song by James Taylor, featured on his self-titled debut album James Taylor, released in 1968 on Apple Records, produced by Peter Asher2, —the first non-Beatles artist signed to the label. The song was written solely by James Taylor and showcases his early blend of introspective folk and gentle rock influences.
Lyrically, “Something’s Wrong” conveys a deep sense of alienation and emotional disquiet, with Taylor’s haunting vocals and minimalist acoustic arrangement underscoring the theme of inner turmoil. The track reflects Taylor’s struggles with mental health during that period, aligning with other confessional pieces on the album. While not released as a single and never charting independently, it is considered a key piece in understanding Taylor’s early songwriting voice
and the melancholic undercurrents that would shape his later work. The only widely known version is the original studio recording, with no prominent covers. Though the James Taylor album was not commercially successful at the time, it has since gained historical significance as the launching point for Taylor’s influential career.
Like dust in the wind you're gone forever.
You're wind-blown leaves,
You're a change in the weather.
Just a town like any other,
A second brand new start.
A third or fourth hand, wife or lover, no,
You won't break her heart.
Take some bacon, go on and leave your watch chain,
She won't count on nothing more.
Wrap your hands around that small change and tiptoe barefoot out the door.
“The Na-Na Song” is a track by Sheryl Crow from her 1993 debut album Tuesday Night Music Club. Written by Sheryl Crow, David Baerwald, Bill Bottrell, and Kevin Gilbert—key members of the informal collective behind the album—the song stands out as one of the edgiest and most confrontational tracks on the record. With its aggressive rock energy, distorted vocals,
and biting lyrics, the song takes a satirical look at media sensationalism, tabloid culture, and the objectification of women, using ironic, sometimes absurdist imagery to highlight societal hypocrisy. The repeated “na-na-na” refrain acts as both a taunt and a dismissal of the empty noise of pop culture. While it was not released as a single and didn’t chart,
the song helped showcase Crow’s range and willingness to push lyrical and sonic boundaries early in her career. The original studio version remains the most well-known, with occasional live renditions performed during her early tours. Though not a commercial hit, “The Na-Na Song” has been praised by critics for its boldness and attitude.
Panaflex Soloflex Genuflect Pope
What the world needs now is babies, gun and hope
Guardian angel dust in the wind cries Mary
Wanna be Madonna but the price is too high, very
Perfect rhythm Nazis in the pagan rhythm nation
Everybody's equal in the glow of radiation
Gotta four-wheel drive and I park it in the driveway
When I get drunk I drive it on the parkway
Gotta get a TV set for my car
Tonight's the Battle of the Network Stars
“Let It Slide” is a song by the British band Keane, serving as the B-side to their 2006 single “Is It Any Wonder?” from the album Under the Iron Sea. Composed by band members Tim Rice-Oxley, Tom Chaplin, and Richard Hughes, the track was initially intended for inclusion on the album but was later relegated to a B-side.
Notably, it was included as the closing track on the Japanese edition of Under the Iron Sea. The song features Keane’s signature piano-driven sound, with introspective lyrics that delve into themes of acceptance and moving on from past regrets.
While “Let It Slide” did not chart independently, it has been appreciated by fans for its emotive depth and is considered a hidden gem in Keane’s discography. The original studio recording remains the definitive version, with no prominent covers or alternate versions released.
The same, always the same
Bitter words are all that remain
Of the dream that had taken you in
But all her words were dust in the wind
“Dust in the Wind” is a classic rock ballad by the American progressive rock band Kansas, written by guitarist Kerry Livgren. Initially composed as a fingerpicking exercise, the song took shape after Livgren’s wife suggested he add lyrics—resulting in a reflective meditation on mortality and the fleeting nature of life.
It was released in January 1978 as the second single from their 1977 album Point of Know Return. Departing from the band’s typical prog-rock style, “Dust in the Wind” is a minimalist acoustic track featuring violin and vocal harmonies that underscore its somber tone. The song became Kansas’ most successful single, peaking at No. 6 on the Billboard Hot 100,
and remains a staple of classic rock radio. Its universal theme—emphasizing that material things and achievements ultimately fade away—has made it a timeless anthem and a frequent inclusion in films, television, and cover performances. Numerous artists have recorded versions of the song, including Sarah Brightman, Scorpions (live), and Croatian cellist HAUSER.
I close my eyes, only for a moment, and the moment's gone
All my dreams pass before my eyes, a curiosity
Dust in the wind
All they are is dust in the wind
Same old song, just a drop of water in an endless sea
All we do crumbles to the ground though we refuse to see
Dust in the wind
All we are is dust in the wind
Oh, ho, ho
Footnotes
- A Nightmare on Elm Street 4: The Dream Master is a 1988 American slasher film directed by Renny Harlin, and the fourth installment in the Nightmare on Elm Street franchise. The film continues the story of Freddy Krueger (played by Robert Englund), a dream-stalking killer who haunts the nightmares of teenagers. In this installment, Freddy is resurrected and begins targeting the remaining Dream Warriors from the previous film, eventually focusing on Alice Johnson (Lisa Wilcox), a shy high schooler who gains the supernatural abilities of her fallen friends. With a more stylized visual approach and an emphasis on elaborate dream sequences, the film became the highest-grossing entry in the series at the time, earning over $49 million at the U.S. box office. It is known for expanding Freddy’s persona with dark humor and flashy effects, contributing to his pop culture icon status in the late ’80s. The movie also featured a prominent rock soundtrack, including Vinnie Vincent Invasion’s “Love Kills.” ↩︎
- Peter Asher is a British musician, record producer, and talent manager, best known as one half of the 1960s pop duo Peter and Gordon and later as a highly influential producer in the American music scene. Born on June 22, 1944, in London, Asher first gained fame with Peter and Gordon’s 1964 hit “A World Without Love,” written by Paul McCartney. After the duo split, Asher became head of A&R at Apple Records, where he signed and produced James Taylor’s debut album. He later moved to the U.S., becoming Taylor’s manager and producer, and went on to produce iconic albums for artists like Linda Ronstadt, Bonnie Raitt, and 10,000 Maniacs, earning multiple Grammy Awards. Known for his keen musical sensibility and role in bridging British Invasion pop with the West Coast singer-songwriter movement, Asher has remained an influential figure in the industry for decades. ↩︎
Further Reading
Sources
- Wikipedia “Aura (Asia album)” https://en.wikipedia.org/wiki/Aura_(Asia_album)
- Wikipedia “All Systems Go (Vinnie Vincent Invasion album)” https://en.wikipedia.org/wiki/All_Systems_Go_(Vinnie_Vincent_Invasion_album)
- 45 cat https://www.45cat.com/
- Wikipedia “James Taylor (album)” https://en.wikipedia.org/wiki/James_Taylor_(album)
- Wikipedia “Tuesday Night Music Club” https://en.wikipedia.org/wiki/Tuesday_Night_Music_Club
- Wikipedia “Is It Any Wonder?” https://en.wikipedia.org/wiki/Is_It_Any_Wonder%3F
- Wikipedia “Dust in the Wind” https://en.wikipedia.org/wiki/Dust_in_the_Wind
