BEACH BOYS - SURFIN’ U.S.A.

Publicació: 4 de març de 1963

Llistes: EUA: #3 Regne Unit: #34

"Surfin' U.S.A." és una cançó clàssica dels Beach Boys, llançada el 1963 i co-atribuïda a Chuck Berry i Brian Wilson. La lletra serveix com una guia de localitzacions populars per fer surf, capturant l'essència de la cultura del surf a Califòrnia. Va esdevenir un gran èxit, assolint el número tres a les llistes de Billboard i Cash Box, i Billboard la va classificar com la cançó número u de 1963. La cançó va ajudar a definir el so de Califòrnia, simbolitzant l'estil de vida despreocupat i banyat pel sol associat amb l'estat.

"Surfin' U.S.A." és essencialment una versió reescrita de "Sweet Little Sixteen" de Chuck Berry, amb lletra nova de Brian Wilson i una contribució no acreditada de Mike Love. Els Beach Boys pretenien que la cançó fos un homenatge a Berry, però no van demanar el seu permís, possiblement perquè Berry estava a la presó en aquell moment per transportar una menor a través de les fronteres estatals. Quan Berry va amenaçar amb emprendre accions legals, els Beach Boys van acceptar donar-li la majoria dels drets d'autor i acreditar-lo com a compositor de la cançó.

Mike Love va afirmar que va contribuir a escriure "Surfin' U.S.A." però no va ser acreditat. Love ha suggerit anteriorment que fins i tot una petita contribució, com afegir 2 o 3 paraules, mereix un crèdit com a compositor. Va afirmar haver escrit la lletra, però no va poder assegurar-se el crèdit durant la seva demanda de 1994 contra Brian Wilson i Almo/Irving Music, a causa del fet que els drets d'autor estaven en mans d'Arc Music. En una entrevista de ràdio de 1974, Brian Wilson va reconèixer que Love, un fan de Chuck Berry, va ajudar a transformar la lletra original en una cançó centrada en el surf.

David Marks, guitarrista del grup des de 1961 fins a 1963, va explicar que ell i Carl Wilson tocaven la guitarra regularment després de l'escola, i un dia Carl va portar a casa “Chuck Berry Is On Top”. Van quedar captivats pel so de Berry i el van introduir a Brian Wilson, que en va apreciar les seccions rítmiques. Brian va crear llavors "Surfin' U.S.A." inspirat en aquell so, modificant la lletra i afegint un ritme enganxós.

Carl Wilson va crear la introducció de guitarra inspirant-se en "Movin' and Groovin'" de Duane Eddy. Recorda que Brian Wilson volia un riff d'obertura, així que va tocar el riff inspirat en Duane Eddy. Tot i que Carl inicialment estava preocupat perquè potser ja s'hagués fet servir en una altra cançó, va decidir tirar endavant amb ell. Aquest moment va ser la primera vegada que el grup va adonar-se que podien produir un disc potent, sentint-se segurs que el seu so era prou fort per competir amb qualsevol cosa que sonava a la ràdio.

Moltes de les primeres cançons dels Beach Boys estaven centrades en el surf, tot i que Dennis Wilson era l'únic membre que realment practicava aquest esport. El surf era molt popular entre els adolescents, el públic principal de la banda, cosa que el convertia en un tema perfecte per a la seva música. Això els permetia explorar temes d'aventura, diversió i energia juvenil mentre mostraven les seves harmonies vocals i tècniques de producció innovadores. Tot i que la majoria dels americans no practicaven surf, aquestes cançons capturaven l'atractiu de Califòrnia, que simbolitzava un estil de vida modern i emocionant. El surf, i per extensió Califòrnia, es va convertir en una metàfora d'un estat mental idealitzat i despreocupat.

BEACH BOYS - SURFIN’ U.S.A.

Released: March 4, 1963

Charts:  US: #3     UK: #34 

"Surfin' U.S.A." is a classic song by the Beach Boys, released in 1963 and co-credited to Chuck Berry and Brian Wilson. The lyrics serve as a guide to popular surf locations, capturing the essence of California's surf culture. It became a major hit, peaking at number three on the Billboard and Cash Box charts and was ranked the number one song of 1963 by Billboard. The track helped define the California Sound, symbolizing the carefree, sun-soaked lifestyle associated with the state.

"Surfin' U.S.A." is essentially a rewritten version of Chuck Berry's "Sweet Little Sixteen," with new lyrics by Brian Wilson and an uncredited Mike Love. The Beach Boys intended the song as a tribute to Berry but failed to seek his permission, possibly because Berry was in jail at the time for transporting a minor across state lines. When Berry threatened legal action, The Beach Boys agreed to give him most of the royalties and credit him as the song's composer. 

Mike Love asserted that he contributed to writing "Surfin' U.S.A." but was not credited. Love has previously suggested that even a small contribution, such as adding 2-3 words, warrants a songwriting credit. He claimed to have written the song's lyrics but could not secure credit during his 1994 lawsuit against Brian Wilson and Almo/Irving Music due to the copyright being held by Arc Music. In a 1974 radio interview, Brian Wilson acknowledged that Love, a fan of Chuck Berry, helped transform the original lyrics into a surfing-themed song.

David Marks, a guitarist for The Beach Boys from 1961 to 1963, explained that he and Carl Wilson would regularly play guitar after school, and one day Carl brought home “Chuck Berry Is On Top”. They were captivated by Berry's sound and introduced it to Brian Wilson, who appreciated the rhythm sections. Brian then created "Surfin' U.S.A." inspired by that sound, modifying the lyrics and adding a catchy hook.

Carl Wilson created the guitar intro drawing inspiration from Duane Eddy's "Movin' and Groovin'." He recalled that Brian Wilson wanted an opening lick, so he played the Duane Eddy-inspired riff. Although Carl was initially concerned it might have been used in another song, he decided to go with it. This moment marked the first time the group realized they could produce a powerful record, feeling confident that their sound was strong enough to compete with anything on the radio.

Many early Beach Boys songs centered around surfing, even though Dennis Wilson was the only member who actually surfed. Surfing was hugely popular among teenagers, the band's primary audience, making it a perfect subject for their music. It allowed the band to explore themes of adventure, fun, and youthful energy while showcasing their vocal harmonies and innovative production techniques. Though most Americans didn't surf, these songs captured the allure of California, which symbolized a modern, exciting lifestyle. Surfing, and by extension California, became a metaphor for a carefree, idealized state of mind.

KRAFTWERK - THE MODEL / COMPUTER LOVE

THE MODEL

Estrena: 22 de setembre de 1978

Llistes: Regne Unit: #1 (1 setmana)

Das Model" ("The Model") és una cançó del grup electrònic alemany Kraftwerk, publicada el 1978. Escrita pels membres de la banda Ralf Hütter i Karl Bartos, amb lletra d'Emil Schult, la cançó forma part de l'àlbum “Die Mensch-Maschine” (conegut internacionalment com “The Man-Machine”).

"Das Model" es va inspirar en les models del club nocturn The Bagel, a Colònia. La cançó narra la vida d'una model ambiciosa que constantment intenta impressionar els altres. El narrador admira la seva bellesa i determinació, desitjant portar-la a casa, però reconeix que ella es fa la difícil. Els versos descriuen la seva vida nocturna, des d'anar a clubs fins a fer de model per anuncis, posant en relleu la seva determinació per tenir èxit. La cançó acaba amb l'esperança del narrador de tornar a trobar-se amb la model, reflectint la seva admiració per ella malgrat els seus èxits.

"Das Model" es va publicar inicialment com a cara B de “Neon Lights” el 1978, però va guanyar popularitat entre els DJs alemanys, fet que la va fer destacar al país. No va tenir impacte fora d'Alemanya fins que es va reeditar al Regne Unit tres anys després com a cara B de “Computer Love”. Aquesta vegada, els DJs van preferir "Das Model", fet que va portar a la seva reedició com a doble cara A amb “Computer Love”. Aquesta estratègia va fer que la cançó arribés al número u de les llistes del Regne Unit, convertint-se en l'únic número u de Kraftwerk al país i el primer disc alemany en aconseguir aquest èxit.

COMPUTER LOVE

Estrena: juliol de 1981

Llistes: Regne Unit: #1 (1 setmana)

"Computer Love" (en alemany: "Computerliebe") es va publicar el 1981 com a part de l'àlbum “Computer World”. Inicialment, es va llançar com a single al Regne Unit, on va arribar al lloc número 36 de la llista d’èxits, amb “The Model” com a cara B. El desembre de 1981, la cançó es va reeditar com a single i maxi-single de doble cara A al costat de “The Model”, cosa que va portar ambdues cançons a aconseguir un èxit significatiu i, finalment, a encapçalar les llistes del Regne Unit.

La temàtica de “Computer Love” gira al voltant de la recerca de l'amor a través dels ordinadors, un concepte que avui sembla profètic. Publicada fa més de 40 anys, Kraftwerk va imaginar un món transformat per la tecnologia molt abans de l'arribada d'internet i de les xarxes socials. A principis dels anys vuitanta, els ordinadors eren grans i impersonals, i el seu potencial per fomentar connexions humanes era pràcticament desconegut. “Computer World”, l'àlbum on apareix la cançó, és un àlbum conceptual que explora la integració creixent dels ordinadors en la vida quotidiana i la societat, i prediu el seu futur paper en la comunicació i les relacions.

KRAFTWERK - THE MODEL / COMPUTER LOVE

THE MODEL

Released: September 22, 1978

Charted:  UK: #1 (1 week)

"Das Model" ("The Model" in English) is a song by the German electronic band Kraftwerk, released in 1978. Written by band members Ralf Hütter and Karl Bartos, with lyrics by Emil Schult, the track appears on their album “Die Mensch-Maschine”, also known as “The Man-Machine” in international versions.

"Das Model" was inspired by the models at The Bagel nightclub in Cologne. The song narrates the life of an aspiring model who is constantly striving to impress those around her. The singer admires her beauty and ambition, wishing to take her home, but he recognizes that she is playing hard to get. The verses depict her nightlife, from attending clubs to posing for advertisements, highlighting her determination to succeed. The song concludes with the singer's hope to encounter the model again, reflecting his admiration for her despite her achievements. 

"Das Model" was initially released as the B-side of "Neon Lights" in 1978, but it gained popularity among German DJs, leading to its prominence in Germany. The song did not make an impact outside of Germany until it was reissued in the UK three years later as the B-side of "Computer Love." This time, DJs favored "Das Model", prompting its reissue as a double A-side with "Computer Love". This strategy ultimately led to the song reaching number one on the UK chart, marking Kraftwerk's only UK #1 hit and the first German record to achieve this milestone.

COMPUTER LOVE

Released: July 1981

Charted:  UK: #1 (1 week)

"Computer Love" (German: "Computerliebe") was released in 1981 as part of Kraftwerk's album “Computer World”. Initially, it was released as a 7-inch single in the UK, where it peaked at #36 on the singles chart, backed by "The Model." In December 1981, the song was re-released as a double A-side 12-inch single alongside "The Model," which led to both tracks achieving significant success and ultimately topping the UK charts.

The subject matter of "Computer Love" revolves around the theme of seeking romance through computers, a concept that seems prophetic today. Released over 40 years ago, Kraftwerk envisioned a world transformed by technology, long before the advent of the internet and social networks. In the early 1980s, computers were large and impersonal, and their potential for fostering human connections was largely unrecognized. "Computer World," the album on which the song appears, serves as a concept album that explores the increasing integration of computers into daily life and society, predicting their future role in communication and relationships.

AEROSMITH - DUDE (LOOKS LIKE A LADY)

Released: September 22, 1987

Charts: US: #14   UK: #20  

"Dude (Looks Like a Lady)" is a song released as the lead single from the ninth studio album, “Permanent Vacation”, in 1987. Written by Steven Tyler, Joe Perry, and Desmond Child, the song centers on a man who is mistaken for a woman. The concept originated when Tyler mistakenly identified Mötley Crüe's singer Vince Neil as a woman due to his long blonde hair, which led to jokes among the band about how "the dude looked like a lady." The narrative of the song follows a man who, after being drawn to a stripper, discovers she is actually a man but chooses to embrace the situation, highlighting themes of acceptance and challenging societal norms. 

This song was the result of an unexpected collaboration with songwriter Desmond Child, who was brought in by A&R executive John Kalodner. Initially, the band was hesitant to work with an outside writer, feeling confident in their ability to write songs independently, but during a session, Steven Tyler shared an unfinished song titled "Cruisin' for the Ladies," which Child criticized as a boring title. Tyler then revealed the melody he had sung, which included the phrase "Dude Looks Like a Lady," inspired by the humorous incident where they mistook Mötley Crüe's Vince Neil for a woman. Then Child encouraged the band to use this phrase as the title. 

"Dude (Looks Like a Lady)" reflects a progressive attitude toward sexuality for its time, as the band navigated the complexities of writing about a man who appears to be a woman and the ensuing attraction. Despite their heterosexual identity, the band members were mindful of how the song might be perceived, especially regarding the LGBT community. Desmond Child emphasized that they wanted to ensure it didn’t come off as offensive. He reassured them that he, as a gay man, found the concept acceptable. Child noted that the song promotes the idea of not judging others based on appearances, marking it as a daring and inclusive message for its time.

The music video is primarily a performance piece interspersed with random shots of girls and quirky visuals. It effectively showcased the band, particularly lead singer Steven Tyler, whose eccentric stage presence captivated viewers, especially since many had never seen them perform before. 

The inclusion of female figures not only appealed to the target audience but also reinforced the song's theme of blurring gender lines. Tyler is seen in a striking outfit that combines masculine and feminine elements. A humorous moment occurs when a bride turns out to be John Kalodner, the A&R executive who facilitated the song's collaboration.

AEROSMITH - BACK IN THE SADDLE 

Released: March 22, 1977

Charts: US: #38      

"Back in the Saddle" is a song written by Steven Tyler and Joe Perry. It serves as the opening track on their 1976 album “Rocks” and was released as the album's third single in 1977, peaking at #38 on the Billboard Hot 100. Initially, it had moderate commercial success, but over time, it has gained recognition as one of the band's most iconic songs and a staple in their live performances. The song is noted for its aggressive sound, openly sexual themes, and forceful emotional tone.

"Back in the Saddle" narrates the story of a cowboy who visits a bar, encounters a girl, and spends the night with her, featuring rich sexual innuendo and Old West imagery, such as lines like "I'm like a loaded gun" and "This snake is gonna rattle." The character Sukie Jones, mentioned in the song, is a fictional creation by Steven Tyler. Inspired by discussions with producer Jack Douglas, Tyler used the cowboy theme to express the band's return with a new album and a desire to rock hard. He interpreted the phrase "back in the saddle" as a metaphor for sexual experiences and crafted the lyrics in the stairwell of the Record Plant recording studio after the music was completed.

The main riff of "Back in the Saddle" was created by guitarist Joe Perry on a 6-string bass guitar he had recently acquired. Perry has noted that he came up with the riff while lying on the floor, "stoned on heroin." The song was not recorded until nearly a year later when Aerosmith used their rehearsal space, known as "The Wherehouse" in Waltham, Massachusetts, as a makeshift studio. They brought in a mobile recording unit to capture the tracks for their album “Rocks”.

After the band constructed the song around Joe Perry's guitar riff, they recognized it would serve as a powerful opener for the album. Producer Jack Douglas aimed to create a larger-than-life vibe that would immerse listeners in the music. For the bridge, lead singer Steven Tyler attached tambourines to his cowboy boots and stomped on plywood in the studio. To create the sound of a whip crack, they initially bought a bullwhip but ultimately used a cord to simulate the whip sound, complemented by the noise of a cap gun for the crack effect.