60 Songs That Explain the '90s

The Darkness — “I Believe in a Thing Called Love”

March 4, 2026

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  • The host's anecdote about being reprimanded by HR for emailing an Aerosmith video illustrates a personal history of being socially inappropriate in professional settings, which contrasts with the over-the-top nature of the music being discussed. 
  • The early 2000s rock scene was confusing, characterized by an inability to easily distinguish between cool, uncool, old, and new bands, leading to a desire for straightforward, fun rock like The Darkness. 
  • The Darkness's appeal, particularly with "I Believe in a Thing Called Love," lies in their sincere embrace of 'cheesiness,' operatic glam rock, and high-energy performance, which provided a joyful antidote to the prevailing sullenness of early 2000s alternative rock. 
  • The Darkness's appeal in the early 2000s stemmed from their anomalous, flamboyant showmanship, which provided a necessary contrast to the prevailing bleakness of post-grunge rock, pop-punk, and nu-metal. 
  • A sense of humor and tongue-in-cheek attitude are crucial elements that elevate a rock band, connecting The Darkness's silliness to bands like Queens of the Stone Age. 
  • The quintessentially British nature of The Darkness, including niche lyrical references and even their 'British ass teeth,' is an endearing quality that contributes significantly to their likability. 

Segments

Host’s HR Incident Anecdote
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(00:00:37)
  • Key Takeaway: The host was reprimanded by HR for emailing coworkers the video for Aerosmith’s 1987 power ballad “Angel” from the album Permanent Vacation.
  • Summary: The host detailed an incident where sharing the music video for Aerosmith’s “Angel” resulted in an HR warning at a former streaming service job. The video, featuring Steven Tyler singing while stranded on the moon via 1987 special effects, was deemed unprofessional due to a brief, tasteful silhouette of a nearly naked woman. This event contributed to the host’s decision to stop working in an office environment.
80s Hair Metal Power Ballads
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(00:08:16)
  • Key Takeaway: The host contrasts the wholesome grandeur of 80s Christian hair metal power ballads, exemplified by Striper’s “I Believe in You,” with the need for extreme vocal range in the genre.
  • Summary: The host praised the voluminous hair and musical style of 80s hair metal, specifically highlighting Striper’s “I Believe in You” from their 1988 album In God We Trust. This song is characterized as a majestic, piano-driven power ballad featuring Michael Sweet hitting extremely high notes. The segment also noted that metal bands featuring brothers, like Striper (Michael and Robert Sweet), are inherently cooler.
Europe Deep Cuts and MTV Era
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(00:12:26)
  • Key Takeaway: The rock band Europe, known for “The Final Countdown,” also released the power ballad “Open Your Heart” in 1984, which features a notable transition from acoustic to electric guitar.
  • Summary: The host challenged listeners to name a second song by the Swedish band Europe, offering “Open Your Heart” from their 1984 album Wings of Tomorrow as an example. This song is identified as a power ballad driven by the keyboardist initially, before the guitarist switches to electric. The host reminisced that MTV in the mid-80s felt like it exclusively played hair metal, power ballads, and mullets.
Hair Metal Survival Post-Grunge
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(00:14:58)
  • Key Takeaway: Hair metal and hard rock survived the initial impact of grunge, evidenced by bands like King’s X and Ugly Kid Joe receiving significant MTV airplay in 1992.
  • Summary: The host refuted the cliché that grunge instantly killed hair metal in 1991, pointing to King’s X’s 1992 song “Black Flag” as evidence of non-alternative rock still charting. Ugly Kid Joe’s 1992 hits, including their cover of “Cats in the Cradle,” also maintained a hard rock presence, with their sound blending grunge crunch and David Lee Roth-esque vocals.
Early 90s Non-Alternative Rock
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(00:20:58)
  • Key Takeaway: Saigon Kick’s 1992 acoustic-driven hit “Love is On the Way” and Aerosmith’s Get a Grip era demonstrated that non-alternative rock thrived on 90s MTV.
  • Summary: Saigon Kick’s 1992 song “Love is On the Way” exemplified the era’s acoustic-driven, yet still flamboyant, hard rock power ballads. Aerosmith also thrived in the 90s with their Get a Grip album, featuring the Alicia Silverstone video trilogy, proving mainstream rock remained highly visible despite the rise of alternative music. Danny Cooksey, known for Salute Your Shorts, fronted the hair metal band Bad for Good.
Spin Magazine’s Non-Alternative List
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(00:25:08)
  • Key Takeaway: The Spin magazine list “40 Hard Rock Songs That Nirvana Couldn’t Kill” ranked Guns N’ Roses’ “November Rain” as number one, while the host’s memory of the list was triggered by the song “The Lumberjack” by Jackal.
  • Summary: The host referenced a 2013 Spin list compiled by critics like Chuck Eddy, which cataloged hard rock songs from the early 90s that persisted despite grunge. The list included bands like Warrant, Slaughter, and Queensrÿche (spelled with a Y and an umlaut). The host recalled the song “The Lumberjack” by Jackal, which featured a chainsaw solo.
Wayne’s World and 70s Rock Revival
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(00:29:10)
  • Key Takeaway: The 1992 film Wayne’s World made Queen’s “Bohemian Rhapsody” present tense for 90s teenagers, causing it to re-enter the charts at number two, demonstrating the power of operatic 70s glam rock to connect across generations.
  • Summary: The opening scene of Wayne’s World, featuring the headbanging to Queen’s “Bohemian Rhapsody,” remains the host’s greatest movie theater memory from 1992. The film’s setting in Aurora, Illinois, emphasized a 70s aesthetic persisting into the 90s. Following the movie’s release, “Bohemian Rhapsody” re-peaked on the Billboard Hot 100 at number two.
The Darkness’s Anachronistic Style
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(00:35:17)
  • Key Takeaway: The Darkness, with their 2003 debut Permission to Land, represented an anachronistic, rowdy, sleazy rock band singing about cocaine, standing out in an era dominated by garage rock and post-hardcore.
  • Summary: The Darkness’s sound is described as 70s glam rock multiplied by 80s hair metal, exemplified by Justin Hawkins channeling Freddie Mercury and David Lee Roth. Their debut album included songs about local English lore like “Black Shuck” and sexually transmitted diseases like “Growing on Me.” Despite industry skepticism, their commitment to sincerity and spectacle proved their music was real, not just a joke.
Early 2000s Rock Confusion
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(00:42:05)
  • Key Takeaway: Early 2000s rock was confusing, with bands like Jet sounding like 70s revivalists and Andrew WK focusing purely on the principle of partying hard, raising questions about sincerity.
  • Summary: Jet’s 2003 hit “Are You Gonna Be My Girl?” utilized 70s signifiers like black and white video and a ‘Lust for Life’ bounce, leading to critical dismissal on their second album. Andrew WK’s 2001 track “Party Hard” focused solely on the principle of partying, sounding like a giant sentient iPod. Bands like The Donnas, despite sounding like 70s rock, were serious about being a 21st-century rock machine.
The Darkness Live Experience
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(01:11:39)
  • Key Takeaway: Seeing The Darkness live in 2003 delivered an unparalleled sense of joyful elation and spectacle, contrasting sharply with the sullenness of contemporary bands like Interpol.
  • Summary: Guest Jill Hopkins described The Darkness’s 2003 show at Chicago’s Double Door as embodying pure, infectious joy, unlike the more somber vibe of bands like Interpol. Justin Hawkins executed a costume change mid-show by emerging through the floor staircase on his manager’s shoulders, creating a spectacle reminiscent of what people imagine Kiss shows were like. This high-energy, fun attitude was seen as a necessary counterpoint to the prevailing rock mood.
Early 2000s Rock Context
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(01:18:45)
  • Key Takeaway: The early 2000s rock scene, following grunge and alternative rock’s fizzle, was perceived as bleak, making The Darkness’s anomalous style a breath of fresh air.
  • Summary: The period after the late ’90s saw rock music defined by pop-punk or new metal, which some listeners found dire. The arrival of bands like The White Stripes, The Strokes, and The Darkness around 2002-2003 signaled a welcome influx of new ethos and sound. Queens of the Stone Age’s album Rated R also emerged during this time, providing a compelling alternative.
Humor in Rock Music
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(01:23:00)
  • Key Takeaway: A sense of humor and flamboyance, exemplified by Queens of the Stone Age’s ‘Feel Good Hit of the Summer,’ is a vital element that can elevate a rock band.
  • Summary: Bands that take themselves too seriously often fail to connect deeply, whereas a tongue-in-cheek attitude can be highly rewarding for listeners. The speaker compares this need for humor in bands to the necessity of a good sense of humor in a romantic partner. Bands like R.E.M. are suggested to have masked their inherent silliness behind a facade of seriousness.
Englishness and Lyrical Niche
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(01:25:18)
  • Key Takeaway: The Darkness’s regional pride and very English lyrical references, such as specific highways, contribute to their endearing quality without relying on stereotypical British accents.
  • Summary: The Englishness of The Darkness is considered an important, endearing quality, contrasting with generic rock acts. Lyrical references can be so niche that they might be mistaken for AI-generated content by non-locals, such as the mention of ‘Alco Straits.’ This strong regional identity mirrors the civic pride found in great American rock bands like R.E.M. or Bruce Springsteen.
Showmanship and Justin Hawkins
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(01:29:42)
  • Key Takeaway: Justin Hawkins embodies the necessary showmanship of a true rock star, possessing the vocal range and physical presence required for flamboyant performance, including wearing cat suits.
  • Summary: Justin Hawkins is praised for looking, acting, and dressing like a rock star, drawing comparisons to Prince and David Lee Roth. His waifish body type is noted as genetically suited for wearing costumes like women’s extra small cat suits and being lifted by his manager. Hawkins’s vocal range and stage presence, incorporating elements of Elvis and Freddie Mercury, confirm his calling as a flamboyant frontman.
Pro-Solo Stance and Karaoke
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(01:34:16)
  • Key Takeaway: Guitar solos and instrumental breaks are essential moments that reward professional musicians for their hard work and should be appreciated as expressions of joy.
  • Summary: The speaker is strongly pro-solo for all instruments, viewing them as deserved moments in the sun for highly skilled musicians. Witnessing extended solos from masters like Alex Van Halen or Prince reinforces the value of acknowledging peak musical talent. Live band karaoke, where the host often rescues singers, highlights the difficulty of hitting complex songs like ‘I Believe in a Thing Called Love,’ where many discover their falsetto.
Queen’s Son in The Darkness
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(01:40:25)
  • Key Takeaway: The Darkness’s current drummer is Rufus Tiger Taylor, son of Queen’s Roger Taylor, who was given the middle name ‘Tiger’ by Freddie Mercury.
  • Summary: This familial connection solidifies The Darkness’s lineage within rock royalty, making the band’s flamboyant style feel even more appropriate. The fact that Freddie Mercury bestowed the middle name ‘Tiger’ adds a layer of rock history trivia. The speaker humorously notes that Justin Hawkins’s English accent seems to be improving over time.