OLIVIA NEWTON-JOHN & ELECTRIC LIGHT ORCHESTRA - XANADU

Llançament: 13 de juny de 1980

Llistes: Regne Unit: #1 (2 setmanes)

“Xanadu” va ser la cançó principal de la pel·lícula musical del mateix nom de 1980, escrita per Jeff Lynne d’Electric Light Orchestra (ELO) i interpretada per Olivia Newton-John, amb ELO encarregant-se de la instrumentació. Tot i que la pel·lícula va ser un fracàs de taquilla, la banda sonora va tenir un èxit massiu, generant diversos èxits, com “Magic”, que va arribar al número 1 del Billboard Hot 100 als Estats Units. “Xanadu” es va convertir en l’únic senzill d’ELO que va assolir el número 1 al Regne Unit, mantenint-se al capdamunt durant dues setmanes al juliol de 1980. Als EUA, va arribar al número 8 del Billboard Hot 100 i va triomfar a Europa, encapçalant les llistes en diversos països.

Malgrat el seu èxit, Jeff Lynne va confessar que no era fan de la cançó, qualificant-la anys després com la menys preferida de les que havia escrit. Tot i això, dècades més tard va decidir revisitar-la i en va enregistrar una nova versió amb ELO per al box set “Flashback” de l’any 2000. Aquesta nova versió comptava amb Lynne com a veu principal, en lloc de Newton-John, i es va interpretar amb un estil més sobri.

El tràiler de “Xanadu” destacava Olivia Newton-John com “la noia que vas estimar a Grease”, posant èmfasi en la música i el ball més que en l’argument de la pel·lícula. Gene Kelly, llegenda del ball a Hollywood, inicialment no tenia cap intenció de ballar a “Xanadu”. En una entrevista de 1985, va revelar que ja s’havia retirat del ball feia més d’un any quan li van proposar participar en el film, però en saber que Olivia Newton-John estava decebuda per no poder ballar amb ell, va acceptar a contracor fer un número musical a la pel·lícula. Després de “Xanadu”, Kelly va afirmar que es retirava definitivament del ball.

L’any 2007, “Xanadu” es va adaptar per a un musical de Broadway.

OLIVIA NEWTON-JOHN & ELECTRIC LIGHT ORCHESTRA - XANADU

Released: June 13, 1980

UK: #1 (2 weeks)

“Xanadu” was the title track for the 1980 musical film of the same name, written by Jeff Lynne of Electric Light Orchestra and performed by Olivia Newton-John, with ELO providing the instrumentation. While the film itself was a box office failure, the soundtrack was hugely successful, producing multiple hits—including “Magic”, which topped the US Billboard Hot 100. “Xanadu” became ELO’s only UK No. 1 single, holding the top spot for two weeks in July 1980. In the US, it peaked at No. 8 on the Billboard Hot 100. The song performed well across Europe, reaching No. 1 in several countries.

Despite its success, Lynne reportedly wasn’t a fan of the song, later calling it his least favorite song he had written. However, he revisited it decades later and recorded a new version with ELO for the 2000 “Flashback”box set. This version featured Lynne on lead vocals, replacing Newton-John’s original vocal, and was performed in a more subdued style.

The trailer for “Xanadu” prominently featured Olivia Newton-John, billed as “the girl you loved in Grease,” while emphasizing the film’s music and dancing rather than its plot. Gene Kelly, a Hollywood dance legend, originally had no intention of dancing in “Xanadu”. In a 1985 interview, he revealed that he had already retired from dancing over a year before the film. However, after hearing that Olivia Newton-John was disappointed at not getting to dance with him, he reluctantly agreed to perform a number in the film. After “Xanadu”, Kelly stated that he was officially through with dancing. In 2007, “Xanadu” was adapted into a Broadway musical.

PETER GABRIEL - BIG TIME

Released: November 1986

Charts:  US: #8    UK: #13 

“Big Time” is a song by Peter Gabriel from his 1986 album “So”. It became his second top-ten hit on the Billboard Hot 100, reaching No. 8. Gabriel described the song as a satire on the human desire for success. The lyrics follow a small-town man who becomes larger than life, with the ending featuring heavily processed vocals that deepen to emphasize his growing stature before abruptly cutting off.

“Big Time” features a distinctive bass sound created by Tony Levin and drummer Jerry Marotta, where Levin handled the fingerings while Marotta struck the strings with drumsticks. Inspired by this technique, Levin later developed funk fingers—small drumstick ends attached to his fingertips for live performances. Co-producer Daniel Lanois emphasized the importance of using digital instruments with intention and enthusiasm. He cited “Big Time” as an example of this approach done right, highlighting how the song’s Fairlight bass riff created a unique, robotic drive that wouldn’t have been achievable with a traditional played bass.

The drum parts were challenging to record, with Stewart Copeland’s lighter, poppier take ultimately chosen. His timing issues required meticulous sampling and editing by engineer Kevin Killen. The song also features The Memphis Horns, though on tour, their parts were played via an Akai sampler by keyboardist David Sancious, sometimes requiring Gabriel to extend his stage banter while floppy disks were swapped.

The “Big Time” music video featured a visual style similar to “Sledgehammer,” utilizing stop-motion claymation by David Daniels and strata-cut animation. Directed by Stephen R. Johnson and produced by Prudence Fenton, the video was shot at Peter Wallach Studios, with artist Wayne White also contributing to its creation.

SIMPLE MINDS - THEME FOR GREAT CITIES

Released: September 4, 1981

Album: Sister Feelings Call

Originally a 1981 demo by Mick MacNeil, “Theme For Great Cities” became an iconic instrumental track for Simple Minds, later embraced by the Balearic club scene through numerous dance remixes. It was one of three demos given to Jim Kerr, alongside tracks that evolved into “Sons and Fascination” and “Seeing Out the Angel”. Initially called “The Third Track” and later recorded as Dexy’s. Though originally considered for lyrics, Kerr decided it worked best as an instrumental, later calling it one of his best decisions.

The final mix was completed at Regent’s Park Studios, and despite initial uncertainty about leaving it wordless, Jim saw its power in instrumental form, influenced by Eno, Kraftwerk, Bowie, and Magazine. He named it “Theme For Great Cities” to evoke a futuristic, cinematic feel, possibly inspired by Philip K. Dick’s sci-fi stories.

“Theme For Great Cities” captures the band’s fascination with urban landscapes, movement, and futurism. Inspired by Glasgow’s decline and the great capitals of the world, Jim Kerr saw cities as places of self-discovery but also as symbols of technology overpowering humanity. The track, from “Sister Feelings Call” embodies an imagined future, with its electronic rhythms and synth-driven atmosphere evoking a Blade Runner-style cityscape. 

“Sister Feelings Call” was conceived as a companion album to “Sons And Fascination”, featuring weaker, half-finished, or more ethereal tracks that the band didn’t want to discard. Originally, it was planned as a limited-edition bonus album, shrink-wrapped with “Sons And Fascination” for one month, before being sold separately in limited quantities and then deleted, but in reality, it became a budget release, initially bundled with “Sons And Fascination” and later sold separately remaining in circulation longer than intended. All “Sister Feelings Call” tracks were included on the “Sons And Fascination” cassette, and while a separate tape version appeared in 1986, no standalone CD was ever released. The first “Sons And Fascination” CD tried to include all “Sister Feelings Call” tracks but could only fit all but two.

PHILIP BAILEY & PHIL COLLINS - EASY LOVER

Llançament: 6 de novembre de 1984

Llistes: Regne Unit: #1 (4 setmanes) Estats Units: #2

“Easy Lover” és un duet de 1984 entre Philip Bailey (Earth, Wind & Fire) i Phil Collins (Genesis), escrit per Bailey, Collins i el baixista Nathan East. La cançó es va incloure en l’àlbum en solitari de Bailey, “Chinese Wall”, i es va convertir en un gran èxit internacional, assolint el número 1 al Regne Unit, Canadà, Països Baixos i Irlanda. Als Estats Units, va arribar al número 2 del Billboard Hot 100 durant dues setmanes al febrer de 1985, sent superada per “I Want to Know What Love Is” de Foreigner. “Easy Lover” va ser l’únic èxit en solitari de Bailey al Top 40 dels EUA, on va romandre 23 setmanes a la llista, incloent 7 setmanes al Top 10. El 1985, el videoclip de la cançó va guanyar l’MTV Video Music Award a la Millor Actuació en un Vídeo.

La col·laboració va sorgir espontàniament durant la gravació de “Chinese Wall” el 1984, àlbum que Phil Collins va produir i en el qual també va tocar la bateria. Tot i comptar amb un conjunt sòlid de cançons, Collins i Nathan East sentien que faltava un single clar, així que es van proposar escriure’n un. Inicialment, la cançó havia de ser una simple sessió d’improvisació, però la química entre Bailey i Collins la va transformar en un tema completament desenvolupat. El resultat va ser un himne pop-rock ple d’energia, marcat per una guitarra potent i la combinació entre el falsetto suau de Bailey i la veu característica i enèrgica de Collins.

Segons Philip Bailey, la cançó va sorgir d’un riff que Collins i East tocaven al piano. Bailey va començar a cantar-hi Choosy Lover, i després d’un dia sencer improvisant, van gravar una versió provisional. L’endemà, en escoltar-la, es van adonar que ja havien capturat la màgia de la cançó, així que van decidir conservar aquella primera gravació en lloc de tornar-la a enregistrar.

En una entrevista posterior, Collins va parlar sobre la col·laboració i el respecte que sempre havia sentit per Earth, Wind & Fire. Inicialment, el projecte va trobar alguna resistència, ja que Bailey rebia pressions dins de la comunitat musical afroamericana perquè no fes un àlbum “massa blanc”, però tots dos músics van superar aquests obstacles. Collins es va mostrar especialment orgullós del fet que “Easy Lover” trencava les barreres de gènere, afirmant:

“Això no és música negra ni música blanca. És una mena de color beix interessant.”

Amb el temps, la cançó va aconseguir credibilitat dins de l’escena hip-hop, amb molts artistes destacant el seu so únic. Collins l’ha interpretat sovint en directe, incloent-la en els seus discos en viu, com “Serious Hits… Live!” (1990) i el recopilatori “…Hits” (1998).

PHILIP BAILEY & PHIL COLLINS - EASY LOVER

Released: November 6, 1984 

UK: #1 (4 weeks) US: #2

“Easy Lover” is a 1984 duet by Philip Bailey (Earth, Wind & Fire) and Phil Collins (Genesis), written by Bailey, Collins, and bassist Nathan East. The song was featured on Bailey’s solo album “Chinese Wall” and became a massive international hit, reaching #1 in the UK, Canada, the Netherlands, and Ireland. In the US, it peaked at #2 on the Billboard Hot 100 for two weeks in February 1985, held off the top spot by Foreigner’s “I Want to Know What Love Is”. “Easy Lover” became Bailey’s only solo US Top 40 hit, spending 23 weeks on the Billboard Hot 100, including 7 weeks in the Top 10. It also won the MTV Video Music Award for Best Overall Performance in a Video in 1985.

The collaboration emerged spontaneously during the recording of Philip Bailey’s “Chinese Wall” album in 1984, which Phil Collins produced and played drums on. Despite a strong collection of songs, Collins and bassist Nathan East felt the album lacked an obvious single, so they set out to write one. Originally, the track was meant to be a simple jam session, but the chemistry between Bailey and Collins transformed it into a fully realized song. The result was a high-energy, guitar-driven pop-rock anthem, blending Bailey’s smooth falsetto with Collins’ distinctive, powerful vocals.

According to Philip Bailey, the song started with a riff Collins and East were playing on piano. Bailey began singing “Choosy Lover” over the chords, and after jamming all day, they recorded a rough version. The next day, they listened back and realized they had already nailed it, so they kept the original take instead of re-recording.

Collins later reflected on the song in an interview, mentioning how he had long admired Earth, Wind & Fire. The collaboration initially faced some resistance—Bailey was under pressure from some in the Black music community not to “make a white album”—but the musicians worked through it. Collins was especially proud of how the song defied genre labels, noting: “That ain’t Black music, and that ain’t White music. That’s kind of an interesting color of beige.”

The track gained Collins credibility in hip-hop circles, with many artists praising its unique sound. Collins has frequently performed Easy Lover in his live shows, featuring it on: 1990’s “Serious Hits… Live!” and 1998’s “…Hits” compilation.

 

DON McLEAN - AMERICAN PIE

Llançament: octubre de 1971

Estats Units: #1 (4 setmanes)

“American Pie” és una cançó de Don McLean, llançada el 1971 dins l’àlbum del mateix nom. Va esdevenir un èxit massiu, assolint el número u als Estats Units durant quatre setmanes a principis de 1972 i encapçalant les llistes a Austràlia, Canadà i Nova Zelanda. Al Regne Unit, va arribar al número dos en la seva publicació original i al número 12 quan es va reeditar el 1991. La cançó és coneguda per la seva lletra poètica i enigmàtica, sovint interpretada com una reflexió sobre els canvis culturals i musicals dels Estats Units. El 2017, la gravació original de Don McLean va ser inclosa al National Recording Registry de la Biblioteca del Congrés, reconeixent-la com a obra de gran significació cultural, històrica i estètica.

McLean va escriure la cançó com un record oníric d’esdeveniments passats, barrejant vivències personals amb moments històrics. La inspiració principal va ser la mort de Buddy Holly, notícia que McLean va conèixer com a repartidor de diaris amb només 13 anys el 1959. La cançó lamenta l’accident d’avió que va matar Holly, Ritchie Valens i The Big Bopper—un fet conegut com “The Day The Music Died”—però també funciona com una reflexió més àmplia sobre la pèrdua de la innocència i els grans canvis culturals dels anys 60. Inspirada en “Sgt. Pepper’s Lonely Hearts Club Band” de The Beatles, “American Pie” captura la visió de McLean sobre l’evolució de la música i la política d’aquella època.

Moltes frases de la cançó fan referència a figures i esdeveniments clau del món musical i polític. “The Jester” (El bufó) s’interpreta àmpliament com Bob Dylan, mentre que “The King” (El rei) probablement fa al·lusió a Elvis Presley. També hi ha referències a “Sgt. Pepper’s Lonely Hearts Club Band” de The Beatles, als Rolling Stones i a Janis Joplin, simbolitzant l’evolució del rock. A més, la lletra fa al·lusió a moments turbulents com les protestes de la Convenció Nacional Demòcrata de 1968 i els assassinats de la família Manson. McLean va preferir deixar el significat de la cançó obert a interpretacions, revelant-ne alguns detalls només quan va vendre el manuscrit original el 2015 i en un documental de 2022 per commemorar el 50è aniversari de la cançó.

DON McLEAN - AMERICAN PIE

Released: October 1971

US: #1 (4 weeks)

American Pie is a song by Don McLean, released in 1971 on the album of the same name. It became a massive hit, reaching number one in the US for four weeks in early 1972 and topping the charts in Australia, Canada, and New Zealand. In the UK, it peaked at number two upon its initial release and reached number 12 when reissued in 1991. The song is known for its poetic and cryptic lyrics, often interpreted as a reflection on the changing cultural and musical landscape of America. In 2017, Don McLean’s original recording of the song was inducted into the National Recording Registry by the Library of Congress, recognizing it as “culturally, historically, or aesthetically significant.” 

McLean wrote the song as a dreamlike recollection of events, blending personal memories with historical moments. It was inspired by the death of Buddy Holly, which McLean learned about as a 13-year-old paperboy in 1959. The song mourns the tragic plane crash that killed Holly, Ritchie Valens, and The Big Bopper—referred to as “The Day The Music Died”—but also serves as a broader reflection on the loss of innocence and the turbulent cultural shifts of the 1960s. Influenced by Sgt. Pepper’s Lonely Hearts Club Band, American Pie captures McLean’s perspective on the changing music and political landscape. 

Many lyrics allude to major figures and events in music and politics. “The Jester” is widely interpreted as Bob Dylan, while the “king” is likely Elvis Presley. References to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, the Rolling Stones, and Janis Joplin highlight the evolution of rock music. Political turmoil, such as the 1968 Democratic National Convention protests and the Manson murders, is also woven into the lyrics. McLean deliberately left much of the song's meaning open to interpretation, only revealing details when he sold his original manuscript in 2015 and in a 2022 documentary celebrating the song's 50th anniversary.