RICK JAMES - SUPER FREAK

Llançament: Agost de 1981

Llistes d’èxits: EUA: #16 

Llançada l'agost de 1981, "Super Freak" de Rick James, coescrita amb Alonzo Miller, es va convertir en la seva cançó més emblemàtica i el seu èxit més gran a les llistes pop, arribant al número 16 del Billboard Hot 100. Inclosa a l'àlbum “Street Songs”, "Super Freak" exemplifica l'estil innovador de funk de James i compta amb les veus de suport de The Temptations, a qui ell mateix menciona a la cançó amb la frase "Temptations sing". Tot i que no va aconseguir un èxit massiu a les llistes pop, James va ser una llegenda a les llistes de R&B, amb quatre número 1 i una gran reputació com a prolífic productor del gènere.

"Super Freak" descriu una dona amb un estil de vida sexual molt aventurer, especialment amb músics. El terme "freak" aquí es fa servir per escenificar una persona oberta a explorar diverses experiències sexuals, mentre que "Super Freak" n'amplifica el significat. Aquesta expressió va guanyar popularitat en l'escena del hip-hop i el R&B, convertint-se tant en un substantiu (The Freaks Come Out at Night) com en un verb (Freak Me), i va arribar al seu punt màxim de popularitat a mitjans dels anys 90 amb frases com "Get your freak on".

Rick James va crear "Super Freak" gairebé com una ocurrència espontània, buscant una cançó més lleugera i divertida per equilibrar l’intensitat de les altres cançons de l'àlbum “Street Songs”. La va escriure ràpidament, començant amb una línia de baix enganxosa, per després afegir-hi guitarra, teclats i un so distintiu de sintetitzador. Inspirant-se en la seva passió per l'òpera i la música clàssica, va incorporar un toc vocal operístic en algunes parts de la cançó, donant-li un aire humorístic i teatral. Tot i que inicialment James no considerava "Super Freak" una cançó destacada, va pensar que podria ser divertida per al públic. El resultat va ser una pista funky i desenfadada que es va convertir en un dels seus èxits més grans i un clàssic de la pista de ball.

Llançada l'estiu de 1981, "Super Freak" es va estrenar amb un videoclip dirigit per Nick Saxton, dissenyat per aconseguir emissió a la recentment estrenada MTV. No obstant, MTV, que en aquella època majoritàriament emetia vídeos de rock i EuroPop, va rebutjar els vídeos d'artistes negres, seguint una tendència influenciada per la programació racialitzada de les ràdios. Tot i l'esperança de James que "Super Freak" pogués trencar aquesta barrera, la directora de programació de la cadena, Carolyn Baker, el va rebutjar, al·legant preocupacions sobre la representació de dones semidespullades al vídeo i el seu desig d'evitar que aquest fos el primer vídeo d'un artista negre a MTV. Tot i això, James va acabar reconciliant-se amb MTV, fins i tot incloent-hi el cofundador Les Garland en el vídeo de "Party All the Time" d’Eddie Murphy, produït per James.

La famosa línia de baix de "Super Freak" va ser samplejada per MC Hammer en el seu gran èxit "U Can't Touch This". Inicialment no acreditada, James va interposar una demanda que va concloure amb un acord extrajudicial i amb el reconeixement de James com a compositor del tema de Hammer. Aquest reconeixement va portar James a guanyar el seu únic premi Grammy quan "U Can't Touch This" es va emportar el Grammy a la Millor Cançó de R&B el 1991.

RICK JAMES - SUPER FREAK

Released : August 1981

Charted:  US: #16 

Rick James' 1981 single "Super Freak," co-written with Alonzo Miller, became his signature song and his biggest pop hit, peaking at #16 on the Billboard Hot 100. Released on his album “Street Songs”, "Super Freak" highlights James' innovative funk style and includes backing vocals by The Temptations, a contribution he calls out in the song with the line, "Temptations sing." Though James saw only modest success on the Hot 100, he was a legend on the R&B charts, securing four #1 hits and a reputation as a prolific producer in the genre.

"Super Freak" describes a woman with a highly adventurous sexual lifestyle, particularly with musicians. The term "freak" is used here to signify someone open to exploring various sexual experiences, with "Super Freak" amplifying that meaning. This slang gained traction in hip-hop and R&B, becoming both a noun ("The Freaks Come Out At Night") and a verb ("Freak Me"), and reached peak popularity in the mid-'90s with phrases like "Get your freak on." 

Rick James created "Super Freak" almost as an afterthought, aiming for a lighthearted, silly track to balance the intensity of the other songs on his “Street Songs” album. He quickly composed the song, starting with a catchy bass line, then layering it with guitar, keyboards, and a distinctive “ghostly” synthesizer sound from his Oberheim OB-Xa. Drawing on his love for opera and classical music, he added an operatic vocal flair to parts of the track, giving it a humorous, theatrical edge. Though James didn’t initially see "Super Freak"as a standout, he reportedly thought it could be a fun song for broader audiences. The result was a funky, playful track that became one of his biggest hits and a dance-floor classic.

Released in summer 1981, "Super Freak" was strategically paired with a music video directed by Nick Saxton, aimed at gaining airplay on the newly launched MTV. However, MTV, known for primarily playing rock and EuroPop videos at the time, declined to air videos by Black artists, a pattern influenced by radio's racialized programming practices. While James hoped "Super Freak" could break this barrier, the network's acquisitions director, Carolyn Baker, personally rejected it, citing concerns over the portrayal of half-naked women in the video and her desire to avoid it being the first Black music video on MTV. Rick James eventually reconciled with MTV, even including co-founder Les Garland in Eddie Murphy’s "Party All the Time" video, which James produced. 

The famous bass line from Rick James' "Super Freak" was sampled by MC Hammer in his massive hit, "U Can't Touch This." Although initially uncredited, James filed a lawsuit, which resulted in an out-of-court settlement and a songwriting credit on Hammer's track. This recognition ultimately led to James winning his only Grammy Award when "U Can't Touch This" took home the 1991 Grammy for Best R&B Song.

EAGLES - I CAN’T TELL YOU WHY

Llançada: 8 de febrer de 1980  

Llistes d’èxits: EUA: #8  

"I Can't Tell You Why" és una balada soul dels Eagles, coescrita pels membres de la banda Timothy B. Schmit, Glenn Frey, i Don Henley. Enregistrada al març de 1978, va ser la primera cançó completada per a l’àlbum “The Long Run” i va ser la primera vegada que Schmit assumia el paper de vocalista principal en una cançó dels Eagles. Llançada com a single el febrer de 1980, es va convertir en el darrer èxit de la banda en el top 10 de les llistes de Billboard l'abril de 1980. Versions en directe es van incloure a l’àlbum “Eagles Live” de 1980 i, de nou, a l'àlbum “Hell Freezes Over” de 1994. A més, Timothy B. Schmit la va interpretar durant una gira de 1992 com a membre de la banda d'estrelles de Ringo Starr, “Ringo Starr & His All-Starr Band”.

Timothy B. Schmit, que es va unir als Eagles el 1977, va ser el cantant i un dels compositors principals de "I Can't Tell You Why". Va explicar que la va coescriure amb Henley i Frey, aportant una versió inacabada per fer una bona impressió a la banda. La cançó es va inspirar en experiències personals de Schmit.

"I Can't Tell You Why" explora les complexitats d'una relació turbulenta, capturant el conflicte intern del cantant entre voler romandre amb algú i reconèixer la necessitat de marxar. La lletra reflecteix la dificultat de deixar algú, fins i tot quan un és conscient que la relació no és saludable. La tornada reflecteix aquesta lluita, destacant la dificultat del cantant per expressar les raons de la seva vinculació emocional.

El 1980, els Eagles van llançar un videoclip de "I Can't Tell You Why", amb Timothy B. Schmit al baix i la resta de la banda, amb Glenn Frey tocant el piano elèctric. Cal destacar que Frey va enregistrar els solos de guitarra de la cançó, fet inusual, ja que les parts de guitarra solista solien ser tocades per Don Felder o Joe Walsh, mentre Frey es concentrava en el ritme.

EAGLES - I CAN’T TELL YOU WHY

Released: February 8, 1980

Charted:  US: #8 

"I Can't Tell You Why" is a soulful ballad by the Eagles, co-written by band members Timothy B. Schmit, Glenn Frey, and Don Henley. Recorded in March 1978, it was the first song completed for their album “The Long Run” and marked the first time Schmit took the lead vocals on an Eagles track. Released as a single in February 1980, the song became the group's last top 10 hit on the Billboard charts in April. Live versions were included on the Eagles' 1980 album “Eagles Live” and again on the 1994 album “Hell Freezes Over”. Additionally, Timothy B. Schmit performed the song during a 1992 tour as a member of Ringo Starr & His All-Starr Band. 

Timothy B. Schmit, who joined the Eagles in 1977, served as the lead vocalist and primary songwriter for "I Can't Tell You Why", revealed that he co-wrote the song with Don Henley and Glenn Frey, bringing an unfinished piece of it to the band as he aimed to make a positive impression. The song was inspired by Schmit's personal experiences.

"I Can't Tell You Why" explores the complexities of a troubled relationship, capturing the singer's internal conflict between wanting to remain with someone and recognizing the need to leave. The lyrics reflect the turmoil of being unable to let go, even when aware that the relationship is unhealthy. The chorus encapsulates this struggle, highlighting the singer's difficulty in articulating the reasons for his emotional attachment. 

In 1980, the Eagles released a music video for "I Can't Tell You Why," featuring Timothy B. Schmit on bass guitar and the rest of the band, with Glenn Frey playing electric piano. Notably, Frey recorded the guitar solos for the song, which was unusual since lead guitar parts were typically played by Don Felder or Joe Walsh, leaving Frey to focus on rhythm. 

FREEEZ - SOUTHERN FREEEZ / I.O.U.

Freeez, un grup electrònic anglès del nord de Londres, va guanyar fama inicialment com una de les principals bandes de jazz-funk abans de passar a un estil electrònic als anys 80. Fundat per John Rocca el 1978, el grup incloïa músics com Andy Stennett, Peter Maas i els bateria Paul Morgan o Everton McCalla. El seu primer single autofinançat "Keep In Touch" (1979) els va ajudar a establir-se a l'escena jazz-funk del Regne Unit i comptava amb el guitarrista Jean-Paul "Bluey" Maunick, que més tard va fundar Incognito. Freeez va aconseguir un èxit al top 10 del Regne Unit amb "Southern Freeez" i un èxit internacional amb "I.O.U."

FREEEZ - SOUTHERN FREEEZ

Llançament: 30 de gener de 1981  

Posició a les Llistes: Regne Unit: #8  

"Southern Freeez" va ser el primer senzill de la banda britànica Freeez, del seu àlbum debut homònim, autofinançat i produït pel membre de la banda John Rocca. Inicialment llançat pel segell de Rocca, Pink Rhythm Records, l'àlbum va ser posteriorment signat per Beggars Banquet Records. La cançó, que compta amb la veu convidada d'Ingrid Mansfield Allman, es va convertir en un èxit del Top 10 del Regne Unit i va ajudar a establir la popularitat de Freeez a l'escena de la música de dansa britànica.

"Southern Freeez" va aportar a Freeez un reconeixement significatiu, superant les vendes i l'èxit en les llistes dels singles anteriors "Keep in Touch" i "Stay/Hot Footing It". El senzill va aconseguir el número 1 a la llista de Blues & Soul i va passar dues setmanes al número 8 de la llista de singles del Regne Unit a principis de 1981. El títol de la cançó fa referència a un moviment de ball, "The Freeze", popular al club Royalty de Southgate, inspirat per les aturades a la cançó de Rodney Franklin "The Groove", creant els moments d'immobilitat de la coreografia. 

FREEEZ - I.O.U.

Llançament: 17 de juny de 1983  

Posició a les Llistes: UK: #2  

"I.O.U." és el major èxit de Freeez, escrit i produït per Arthur Baker, amb lletra i veu de John Rocca. Remasteritzat per Baker i Jellybean Benitez, la pista es va convertir en un gran èxit a nivell mundial, assolint el número 2 a la llista de singles del Regne Unit i passant dues setmanes al número 1 de la llista Dance de Billboard dels Estats Units el 1983. Va ser l'únic single de Freeez a arribar a la primera posició en qualsevol llista de Billboard i va ser el 20è single més venut al Regne Unit el 1983.

Presentat a la pel·lícula de breakdance “Beat Street”, "I.O.U." va ser seguit de singles exitosos com "Pop Goes My Love" / "Scratch Goes My Dub", que també van aconseguir el top 5 de dance als EUA. Una reedició de 1987 de "I.O.U." va tornar a entrar a les llistes, assolint el número 18 a la llista de dance dels EUA i el número 23 al Regne Unit.

Al Regne Unit, on el jazz-funk havia modelat la cultura de les discoteques, "I.O.U." va afrontar crítiques per, presumptament, abaratir el so de Freeez buscant comercialitat per capitalitzar la tendència emergent de la música electro. El vídeo musical presentava nens amb patinets i bicicletes BMX, intentant recrear elements de la cultura hip-hop de Nova York, dirigint-se a un públic més jove menys familiaritzat amb les arrels jazz-funk de Freeez.

FREEEZ - SOUTHERN FREEEZ / I.O.U.

Freeez, an English electronic group from North London, initially gained fame as a leading jazz-funk band before shifting to an electro style in the 1980s. Founded by John Rocca in 1978, the group included musicians like Andy Stennett, Peter Maas, and drummers Paul Morgan or Everton McCalla. Their early self-funded single "Keep In Touch" (1979) helped establish them in the UK jazz-funk scene and featured guitarist Jean-Paul "Bluey" Maunick, who later founded Incognito. Freeez achieved a UK top 10 hit with "Southern Freeez" and international success with "I.O.U."

FREEEZ - SOUTHERN FREEEZ

Released: January 30, 1981

Charts:  UK: #8 

"Southern Freeez" was the first single by British dance band Freeez, from their self-funded debut album of the same name, produced by band member John Rocca. Initially released on Rocca's label, Pink Rhythm Records, the album was later signed to Beggars Banquet Records. The track, featuring guest vocals by Ingrid Mansfield Allman, became a UK Top 10 hit and helped establish Freeez's popularity in the British dance music scene.

"Southern Freeez" brought Freeez significant recognition, outperforming previous singles "Keep in Touch" and "Stay/Hot Footing It" in both sales and chart success. The single hit No. 1 on the Blues & Soul chart and spent two weeks at No. 8 on the UK Singles Chart in early 1981. The song's title references a dance move, "The Freeze," popular at Southgate's Royalty club, inspired by moments of stillness in Rodney Franklin's track "The Groove."

FREEEZ - I.O.U.

Released: June 17, 1983

Charts:  UK: #2 

Freeez’s biggest hit, "I.O.U.," was written and produced by Arthur Baker, with lyrics and vocals by John Rocca. Remixed by Baker and Jellybean Benitez, the track became a major hit worldwide, reaching No. 2 on the UK Singles Chart and spending two weeks at No. 1 on the U.S. Billboard Dance chart in 1983. It became Freeez's only chart-topping single on any Billboard chart and was the 20th best-selling single in the UK for 1983.

Featured in the breakdance movie “Beat Street”, "I.O.U." was followed by successful singles like "Pop Goes My Love" / "Scratch Goes My Dub," which also made the U.S. dance top 5. A 1987 remix of "I.O.U." further charted, reaching No. 18 on the U.S. dance chart and No. 23 in the UK.

In the UK, where jazz-funk had shaped clubbing culture, "I.O.U." faced criticism for allegedly "dumbing down" Freeez's sound to appeal commercially, capitalizing on the rising electro music trend. The music video featured children with skateboards and BMX bikes, aiming to recreate elements of New York hip-hop culture, targeting a younger audience less familiar with Freeez's jazz-funk roots.

HUMAN LEAGUE - ALL I EVER WANTED

Released: July 23, 2001

Charts: UK: #47 

“All I Ever Wanted” is a synth-pop track by the Human League, released as the lead single from their 2001 album “Secrets”. Featuring the classic band structure of Philip Oakey’s baritone lead vocals with backing harmonies from Joanne Catherall and Susan Ann Sulley, the song adheres to the signature Human League sound. Notably, Sulley was credited under her married name, Susan Gayle, leading to some confusion among fans who speculated she had been replaced. Released in July 2001, the single marked the band’s latest major-label release but peaked at a modest #47 on the UK Singles Chart.

The Human League, after signing with Papillon Records (a subsidiary of the Chrysalis Group), recorded “Secrets”, their first studio album since 1995's “Octopus”. The lead single, “All I Ever Wanted,” was backed by a professionally produced music video, raising expectations for a successful return, much like their “Octopus” era, but Papillon’s indecision over the release date led to delays and uncertainty, even frustrating frontman Philip Oakey, who was left unsure of the single’s actual release timing.

The single was eventually released on July 23, 2001, but logistical issues meant that many UK stores didn’t receive copies on launch day, causing fans to struggle to find it. Initial midweek charts showed the single positioned within the top 30, but as stores sold out of limited stock, it dropped in ranking. This distribution mishap resulted in the single peaking at only number 47 in the UK charts, where it lingered briefly before falling off. Despite fans' criticisms, Philip Oakey defended Papillon Records, acknowledging the label’s substantial investment in “Secrets”. However, the disappointing release left the band privately devastated. In 2003, after the collapse of Papillon Records, a follow-up single from Secrets, "Love Me Madly?," was released privately by Michiel Van Bokhorst's Nukove Records, a company set up especially to release Human League records.

The music video was filmed on a minimal set designed to evoke a science fiction theme. Like previous Human League videos, it had no narrative, featuring only Philip Oakey, Joanne Catherall, and Susan Ann Sulley dressed in black against a stark, futuristic white background. To address concerns over the band's age, the filmmakers used bright lighting and high exposure to give a youthful appearance. This technique suited Oakey's and Catherall's darker features, but it resulted in Sulley, with her blonde hair and fair complexion, appearing overexposed throughout the video.