TALKING HEADS - PSYCHO KILLER

Publicada: Desembre de 1977

Llistes: EUA: #92 

“Psycho Killer” és una cançó de la banda de rock americana Talking Heads, inclosa al seu àlbum debut “Talking Heads: 77”. Aquesta cançó va marcar un gran avenç per al cantant principal, David Byrne, qui inicialment la veia com una cançó ximple però ràpidament va reconèixer la forta connexió amb el públic. L’èxit de la cançó va demostrar que Byrne, juntament amb els membres de la banda Chris Frantz i Tina Weymouth, podien col·laborar eficaçment en la creació musical. La popularitat de la cançó va ajudar a consolidar l’estil de Byrne i va mostrar que hi havia un públic per a l’estil poc convencional de la banda.

“Psycho Killer” va ser interpretada per primera vegada per David Byrne i Chris Frantz el 1974 amb la seva banda The Artistics. Més tard aquell mateix any, Frantz i Tina Weymouth, recentment graduats en pintura de la Rhode Island School of Design, es van traslladar a Nova York amb Byrne, formant Talking Heads. Weymouth es va convertir en la seva baixista, i al maig del 1975, la banda va començar a fer actuacions al CBGB, obrint per als Ramones. Al seu repertori hi havia originals primerencs com “Psycho Killer”, “Warning Sign” i “Love Goes to Building on Fire”, a més de versions de cançons com “96 Tears”. Aquesta exposició els va portar a un contracte amb Sire Records i, després d’afegir el guitarrista Jerry Harrison, Talking Heads va llançar “Talking Heads: 77”. “Psycho Killer” va ser el seu primer single a entrar a les llistes, arribant al número 92 el 1978.

“Psycho Killer”, acreditada a David Byrne, Chris Frantz i Tina Weymouth, és l’única cançó de “Talking Heads: 77” que no està exclusivament acreditada a Byrne. Els crèdits de composició es van convertir més tard en un punt de tensió dins la banda, ja que Byrne, sent el focus principal, semblava ser l’únic compositor. Frantz afirma que va contribuir amb la segona estrofa, mentre que Byrne ha minimitzat la seva participació, dient que només van ajudar amb algunes parts en francès.

“Psycho Killer” s’endinsa en la ment d’una persona pertorbada, capturant una sensació de perill i paranoia. David Byrne, inspirat per l’estil de rock de xoc d’Alice Cooper, va començar a escriure amb una primera estrofa inquietant que reflecteix la inestabilitat i la por del personatge:

“No puc enfrontar-me als fets  

Estic tens i nerviós i no em puc relaxar  

No puc dormir perquè el meu llit crema  

No em toquis, sóc una autèntica espurna”

Tot i que la cançó comparteix una intensitat teatral amb la música de Cooper, va resultar ser més introspectiva, alineant-se amb la intensitat natural i la persona desmanegada de Byrne. A diferència del personatge en escena de Cooper, la pròpia personalitat de Byrne es reflecteix, donant una autenticitat inquietant a la interpretació d’un “psicòpata”.

Talking Heads en van gravar una versió acústica amb el violoncel·lista Arthur Russell, que afegeix un to sinistre a la cançó. Aquesta versió es va llançar com a cara B del single i ha aparegut en diverses recopilacions.

TALKING HEADS - PSYCHO KILLER

Released: December 1977

Charted:  US: #92 

“Psycho Killer” is a song by American rock band Talking Heads, featured on their 1977 debut album “Talking Heads: 77”. The song marked a breakthrough for lead singer David Byrne, who initially saw it as a silly song but quickly recognized its strong connection with audiences. Its success affirmed that Byrne, along with bandmates Chris Frantz and Tina Weymouth, could collaborate effectively on music. The song’s popularity helped solidify Byrne’s unique style and showed there was an audience for the band’s unconventional approach.

“Psycho Killer” was initially performed by David Byrne and Chris Frantz in 1974 with their band The Artistics. Later that year, Frantz and Tina Weymouth, recent painting graduates from RISD, moved to New York City with Byrne, forming Talking Heads. Weymouth became their bass player, and by May 1975, the band began playing gigs at CBGB, opening for the Ramones. Early originals like “Psycho Killer,” “Warning Sign,” and “Love Goes to Building on Fire” were joined by covers like “96 Tears” in their setlist. This exposure led to a record deal with Sire Records, and after adding guitarist Jerry Harrison, Talking Heads released “Talking Heads: 77”. “Psycho Killer” was their first charting single, reaching #92 in 1978.

"Psycho Killer," credited to David Byrne, Chris Frantz, and Tina Weymouth, is the only song on “Talking Heads: 77” that isn’t solely credited to Byrne. Songwriting credits later became a point of tension within the band, as Byrne, being the main focus, appeared to be the primary songwriter. Frantz claims he contributed the second verse, while Byrne has minimized their involvement, stating they only helped with “some of the French stuff.” This difference in perspective reflects a recurring conflict over creative contributions within Talking Heads.

"Psycho Killer" delves into the mind of a disturbed individual, capturing a sense of danger and paranoia. David Byrne, inspired by Alice Cooper's shock rock style, began writing with a chilling opening verse that reflects the character’s instability and fear:

"I can't seem to face up to the facts  

I'm tense and nervous and I can't relax  

I can't sleep 'cause my bed's on fire  

Don't touch me, I'm a real live wire"

Although the song shares a theatrical edge with Cooper's music, it turned out more introspective, aligning with Byrne’s natural intensity and awkward persona. Unlike Cooper's on-stage character, Byrne’s own personality shines through, lending an unsettling authenticity to the song's portrayal of a "psycho killer."

The Talking Heads recorded an acoustic version of "Psycho Killer" featuring cellist Arthur Russell, which adds a sinister tone to the song. This version was released as the flip side of the single and has since appeared on various compilations. 

 HUMAN LEAGUE - BEING BOILED

Released: June 30, 1978

Charts: UK: #6 

"Being Boiled" is the Human League's debut single, originally composed by Martyn Ware and Ian Craig Marsh, with lyrics by Philip Oakey. Released in 1978, it was one of the first British singles to feature exclusively electronic instrumentation, marking a pioneering moment in synth-pop. Though initially released with limited success, it was reissued several times and eventually became a UK top ten hit in 1982.

"Being Boiled" is a dark, intense track that critiques the silkworm industry, condemning the practice of killing silkworms for silk. The lyrics, referencing themes of "slaying," "torture," and "being boiled alive," intertwine this critique with Buddhist concepts. The song opens with the unsettling line, “OK. Ready. Let’s do it,” inspired by the final words of convicted murderer Gary Gilmore before his execution in 1977.

The music for "Being Boiled" was created before Philip Oakey joined the Human League. At that time, Martyn Ware and Ian Craig Marsh were in a band called The Future and had just parted ways with their singer, Adi Newton. They invited Oakey, a former schoolmate, to try out for the band by writing lyrics for their instrumental track. Oakey returned two days later with completed lyrics, impressing Marsh so much that he instantly felt Oakey was the right fit for the band. This marked the beginning of Oakey's role as lead vocalist for what would become the Human League.

The Human League, inspired by the German electronic group Kraftwerk, aimed to make music solely with electronic instruments. In 1978, they recorded "Being Boiled" and "Circus of Death" in mono for £250 using a Roland System 100 synthesizer. The track was recorded in a factory room for just £3 using minimal equipment. Adrian Wright joined the band, adding visual flair with mood-setting slides that complemented Oakey’s striking appearance. Released on the independent Fast Product label, initially gained underground popularity, selling 3,000 copies and winning support from John Peel, but failed to chart. After the massive success of "Don't You Want Me" in 1982, EMI re-released "Being Boiled" with a slightly extended runtime and a fade-out ending instead of an abrupt cut. This reissue became a hit reaching No. 6 in the UK charts.

Recognized for inspiring other artists, "Being Boiled" was especially admired by Vince Clarke of Depeche Mode (and later Erasure), who cited it as a favorite record and a major influence in shaping his work with Depeche Mode. The song's impact also extended to other contemporaries like Soft Cell. The song has since become iconic, inspiring mashups like Richard X’s blend with TLC’s "No Scrubs" and Liberty X’s cover of "Ain’t Nobody."

 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.