he was tolerant about others' alcohol use and could spend time with his friends even if they drank, keeping alcohol in his house in case his friends came over. He also began discussing the topic of drinking in his lyrics. Getting rid of his alcohol problem did not solve Vainio's domestic problems; he and Taina ended up divorcing. Changes After his divorce, Vainio's life slowly began to change. Creatively he was more prolific than ever in the late 1970s and 1980s. He began composing in addition to writing lyrics. He worked a lot with Veikko Samuli and Jaakko Salo, and Salo started arranging songs Vainio had written. In 1976 Vainio's Jawohl, jawohl from Kansi kiinni ja kuulemiin ("Shut the Lid and Goodbye") was criticized for its commentary about German tourists who visit Lapland. The album also featured a sensitive song, Mä uskon huomispäivään ("I Believe in Tomorrow"). Other well-known songs from the album are Playboy 60 v ("Playboy 60 yrs"), Suomi–Ruotsi ("Finland–Sweden") and Taas lapsuuden maisemiin ("Back Again to Where I Grew Up"). Vainio began composing actively in the late 1970s, although he had already published his own compositions at the beginning of the decade. His earliest compositions include Matkarakastaja and Viisari värähtää. Among his most popular songs from the late 1970s is Käyn ahon laitaa ("I Walk by the Side of a Glade") from the 1979 album of the same name. Even though Vainio had already quit drinking, he still occasionally sang about alcohol. Vainio started writing more sensitive songs, a trend which became evident in his next albums. 1981's Albatrossi ja sorsa ("The Albatross and the Duck") contains one of Vainio's most well-known songs, Albatrossi. The topic of the song was lost youth. Another sensitive song on the album is Apteekin ovikello ("The Pharmacy Doorbell"), the idea for which Vainio got from Tapio Rautavaara. Other well-known songs were Panaman konsuli ("The Consul of Panama") and Kun mä rupesin ryyppäämään ("When I Started Drinking"). In 1976, Vainio was hired to write a number of bawdy songs which were later released on cassette tape. Vainio wrote a part of the songs and sang on the record with all musicians using pseudonyms, Vainio's being Junnu Kaihomieli. Many of the songs were based on a familiar melody whose copyright had already expired; for example, the song Kumi-Roope ("Rubber Roope") was an obscene version of the folk song Rosvo-Roope ("Roope the Robber"). In