“Out the Blue” is a heartfelt ballad by John Lennon, written solely by him and released on his 1973 album Mind Games. The song is widely interpreted as a tribute to Yoko Ono, celebrating the unexpected and redemptive power of love after a period of emotional turmoil. Musically, it starts softly with acoustic guitar
and builds through orchestration, incorporating gospel, country, and rock elements to mirror the emotional arc of the lyrics. Lennon’s vocal performance is particularly poignant, emphasizing vulnerability and gratitude. Though not released as a single, it is often cited by critics and fans
as one of the standout tracks of Mind Games, with Rolling Stone and other retrospectives praising its sincerity and composition. Alternate versions, including a stripped-down demo, appear on the 1998 box set John Lennon Anthology. While it didn’t chart on its own, “Out the Blue” holds a strong legacy among Lennon’s post-Beatles work for its emotional depth and nuanced arrangement.
Like a U.F.O. you came to me
And blew away life's misery
Out the blue life's energy
Out the blue you came to me
“I Saw Elvis in a U.F.O.” is a novelty song written by Ray Stevens and C.W. Kalb Jr., released in 1989 on Stevens’ album Beside Myself . The track humorously narrates a fictional encounter where the protagonist, Mr. R.V. Frisbee, claims to have seen Elvis Presley aboard a UFO, accompanied by other notable figures like Howard Hughes,
Jimmy Hoffa, and Liberace. The song satirizes the cultural obsession with Elvis sightings and conspiracy theories, blending elements of country music with comedic storytelling. It begins as a mock news report, transitioning into a musical number featuring whimsical lyrics and backing vocals mimicking the Jordanaires,
Elvis’s real-life backup singers . While the song did not achieve significant chart success, it became a fan favorite and exemplifies Stevens’ signature style of combining humor with musical parody. The track was also included in the 1993 compilation Ray Stevens: Collection.
I saw Elvis in a U.F.O. sittin' there with Howard Hughes
I saw Elvis in a U.F.O. Jimmy Hoffa was in there too
I saw Elvis in a U.F.O. singing them rhythm and blues
And Liberace was there and he had on a pair of Imelda Marcos' shoes
What is that, a shootin' star, streakin' cross the heavens above?
No it's a whole lot more than a shootin' star, it's a hunka hunka burning love, Oooh
“Touch and Go” is a progressive rock single by Emerson, Lake & Powell, released in 1986 as the lead track from their self-titled debut—and only—studio album. Written by Keith Emerson, Greg Lake, and Cozy Powell, the song is best known for its dramatic synth riff, which draws inspiration from the English folk tune “Lovely Joan.”
The track showcases Emerson’s signature synthesizer prowess, Lake’s commanding vocals, and Powell’s thunderous drumming. Lyrically, it deals with themes of power, struggle, and human conflict, fitting the bombastic and militaristic tone of the music. “Touch and Go” received moderate radio airplay and peaked at #60 on the Billboard Hot 100, becoming the group’s most recognizable track.
The song has remained a cult favorite among progressive rock fans and has been featured on several compilations and live recordings, including Emerson, Lake & Palmer’s later performances after the trio’s brief reunion under that banner. While Emerson, Lake & Powell only recorded one album together, “Touch and Go” endures as a standout example of their combined musical strengths.
All systems go friend or foe
It's all dependin' on the dice you throw
Come without a warning like a U.F.O
You′re runnin′ with the devil it's touch and go
“Life in the D” is a reflective and melodic song by Brendan Benson, written solely by him and released in 2002 on his critically acclaimed album Lapalco. The title refers to “life in the D”—Detroit, Benson’s hometown—and the song blends personal longing with themes of distance and connection,
as the narrator writes letters home while away. It features Benson’s signature power pop style: jangly guitars, catchy hooks, and a bittersweet tone. While not a charting single, “Life in the D” became a fan favorite and exemplifies Benson’s knack for crafting literate, emotionally resonant pop-rock songs. The track helped cement his reputation as a gifted songwriter
and contributed to the cult status of Lapalco, which was praised by critics for its blend of vintage pop influences and modern indie rock sensibilities. The song has not been widely covered but remains a standout in Benson’s solo repertoire, predating his later fame as a member of The Raconteurs.
It's just like the Egyptian tombs
Tunnels leading to empty rooms
Skeptics think it's a doctored photo
Of a U.F.O
“We’re Going U.F.O.-Ing” is a whimsical novelty song by Jimmy Durante, co-written with Jack Barnett, featured on his 1966 album One of Those Songs. The track humorously narrates an adventurous journey aboard an “Unidentified Flying Object,” with lyrics depicting spontaneous travels from Mexico
to Idaho and even a zoom to Venus. The song’s playful tone and imaginative storytelling align with Durante’s signature comedic style. While it didn’t achieve significant chart success, it remains a charming example of mid-20th-century novelty music.
if you want to get a thrill
if you want to see he sites
jump right in
i got an Unidentified flying object, yeah
lets go for a spin
were goin u.f.o-ing
were tryin saucer flyin'
we've flied across the skies
no body will believe there eyes
“Arriving UFO” is a track by progressive rock band Yes, written by Jon Anderson, Steve Howe, and Rick Wakeman, and released in 1978 on their album Tormato. The song reflects Anderson’s fascination with extraterrestrial life and spiritual exploration, combining sci-fi imagery with philosophical wonder.
Musically, it’s a fusion of complex rhythms, synthesizer textures, and rapid guitar and keyboard interplay, capturing the sense of alien arrival and cosmic journeying. Though not a single and rarely performed live, “Arriving UFO” stands out on Tormato for its overtly space-themed narrative and quirky, experimental production,
which includes a blend of analog synth effects and layered vocals. Critics and fans remain divided on the song, with some appreciating its whimsical ambition while others see it as emblematic of the album’s unevenness. Despite mixed reception, it remains a cult favorite among die-hard Yes fans, especially those drawn to Anderson’s lyrical interest in metaphysical and interstellar themes.
I could not take it oh so seriously really
When you called and said you'd seen a UFO
But then it dawned on me the message in writing
Spelt out a meeting never dreamed of before
I looked out, in the night
Strange and startling
Was this voice of time just saying
There's got to be a linking of everyone
Got to be a centre
It all comes flooding back
Further Reading
Sources
- 45 Cat https://www.45cat.com/
- Wikipedia “Out the Blue (John Lennon song)” https://en.wikipedia.org/wiki/Out_the_Blue_(John_Lennon_song)
- Wikipedia “Beside Myself (Ray Stevens album)” https://en.wikipedia.org/wiki/Beside_Myself_(Ray_Stevens_album)
- Wikipedia “Emerson, Lake & Powell (album)” https://en.wikipedia.org/wiki/Emerson,_Lake_%26_Powell_(album)
- Wikipedia “Lapalco” https://en.wikipedia.org/wiki/Lapalco
- Wikipedia “One of Those Songs” https://en.wikipedia.org/wiki/One_of_Those_Songs
- Wikipedia “Tormato” https://en.wikipedia.org/wiki/Tormato
- AZ Lyrics https://www.azlyrics.com/
- Musixmatch https://www.musixmatch.com/search
