THE MAMAS AND THE PAPAS - MONDAY, MONDAY

Estrena: març de 1966 

Llistes: EUA: #1 (3 setmanes) Regne Unit: #3

“Monday, Monday” és una cançó escrita per John Phillips amb veu principal de Denny Doherty, inspirada en la sensació universal de desànim que acompanya el final del cap de setmana. La cançó, amb lletres que reflecteixen els “Monday blues,” va ser enregistrada amb músics de sessió de la Wrecking Crew i es va convertir en l’únic número 1 de The Mamas & the Papas als Estats Units, on va liderar el Billboard Hot 100 durant tres setmanes el 1966. També va assolir el número 3 al Regne Unit. El tema va valer al grup un Grammy el 1967 per la Millor interpretació contemporània (R&R) de grup, vocal o instrumental, i va ser inclòs al Grammy Hall of Fame el 2008.

Aquest va ser el tercer senzill del grup. Després del fracàs inicial de “Go Where You Wanna Go” i l’èxit massiu de “California Dreamin’”, les emissores de ràdio van començar a emetre “Monday, Monday” abans del seu llançament oficial, augmentant les expectatives i ajudant-la a escalar ràpidament a la primera posició. Va ser la primera cançó amb un dia de la setmana al títol que va assolir el número 1 als Estats Units, i segueix sent l’única amb “Monday” que ho ha fet. Altres temes sobre dilluns, com “Manic Monday” de les Bangles o “Rainy Days and Mondays” de The Carpenters, van arribar com a màxim al número 2.

Tot i el seu èxit, inicialment els membres del grup no estaven convençuts de la cançó. Denny Doherty l’havia descartat per ser una peça simple sobre el “treballador de cada dia” i es va sorprendre pel seu èxit. Tant Mama Cass com Michelle Phillips tampoc la van apreciar inicialment, i fins i tot John Phillips va admetre que no sabia ben bé què volia dir. La gravació va coincidir amb moments de tensió personal dins del grup, incloent-hi l’afair de Doherty amb Michelle Phillips i la lluita amb la beguda de Doherty.

Els músics de sessió de Los Angeles que van treballar a la pista incloïen Larry Knechtel als teclats, Joe Osborn al baix, Hal Blaine a la bateria i P.F. Sloan a la guitarra. Sloan, que només tenia 20 anys, va descriure la sessió com “màgica” i va acreditar-se com l’autor del suggeriment del riff de bateria de Blaine, inspirat pel seu treball anterior amb The Grass Roots.

THE MAMAS AND THE PAPAS - MONDAY, MONDAY

Released: March 1966 

Charts:  US: #1 (3 weeks)  UK: #3 

“Monday, Monday” is a song written by John Phillips, featuring lead vocals by Denny Doherty. Phillips composed it after being encouraged by Doherty to create new material. Inspired by the universal feeling of dread at the end of the weekend, the song captures the “Monday blues.” Recorded with backing music by members of the Wrecking Crew, it became the Mamas & the Papas’ only #1 hit on the U.S. Billboard Hot 100. The song earned the group a Grammy Award for Best Contemporary (R&R) Group Performance, Vocal or Instrumental on March 2, 1967, and was inducted into the Grammy Hall of Fame in 2008.

“Monday, Monday” was The Mamas & the Papas’ third single. After their first release, “Go Where You Wanna Go,” failed, “California Dreamin’” became a massive success, leading radio stations to play “Monday, Monday” before its official release. Anticipation helped it rise quickly to #1 on the Billboard Hot 100, making it the first chart-topping song with a day of the week in the title and the only one with “Monday.” Other “Monday” hits, like “Manic Monday” by the Bangles and “Rainy Days and Mondays” by the Carpenters, peaked at #2.

Denny Doherty initially dismissed it as a simple song about the working man and was surprised by its success. Mama Cass and Michelle Phillips also disliked the song, and John Phillips, its writer, admitted he didn’t know what it meant. The song’s creation coincided with personal struggles within the group, including Doherty’s heavy drinking while dealing with his affair with Michelle Phillips. This tension, along with Laura Nyro’s anxiety about performing live after being invited to the Monterey Pop Festival by Phillips, contributed to the somber mood surrounding the event.

The Mamas & the Papas used top-tier Los Angeles studio musicians for “Monday, Monday.”Larry Knechtel played keyboards, Joe Osborn handled bass, Hal Blaine was on drums, and P.F. Sloan played guitar. Sloan, just 20 at the time, described the recording as a “magical session” and credited himself for suggesting the drum riff to Blaine, inspired by his earlier work with the Grass Roots. Sloan also used a tremolo effect on his guitar part, which he later overdubbed.

MEAT LOAF - HOT PATOOTIE / BLESS MY SOUL

Released: August 14, 1975

Album: The Rocky Horror Picture Show

“Hot Patootie” is a high-energy rock ‘n’ roll song featured in “The Rocky Horror Show”. Originally performed by Paddy O’Hagan in the 1973 stage production, it gained widespread fame when Meat Loaf performed it in the 1974 Roxy production, the original Broadway run, and the iconic 1975 film.

Directed by Jim Sharman, the film is an adaptation of the stage musical “The Rocky Horror Show” by Richard O’Brien, who also co-wrote the screenplay and appears in the movie as the character Riff Raff. The plot raves about vampiric aliens, transvestites, supermen, groupies, innocent middle-class couples, terrifying castles... It's a crazy homage to the story of Frankenstein and RKO's B-series classics, among other things.

The story follows a newly engaged couple, Brad Majors (Barry Bostwick) and Janet Weiss (Susan Sarandon), whose car breaks down on a stormy night. They seek shelter in a nearby castle, only to find themselves in a bizarre, otherworldly party hosted by Dr. Frank-N-Furter (Tim Curry), a flamboyant and eccentric scientist. Frank-N-Furter is unveiling his latest creation, a muscle-bound artificial man named Rocky. As the night unfolds, the couple is drawn into a wild mix of seduction, experiments, and chaos.

Meat Loaf’s character in the movie, Eddie, performs the song after being freed from his frozen state, bursting onto the scene on a motorcycle, crashing through a wall, dressed like a rebellious roadside rocker with a saxophone strapped to his belt, and before being axed to death by Dr. Frank-N-Furter (played by Tim Curry in the film). Meanwhile, he sings, dances, plays, and delivers a masterclass in showmanship. As the lyrics say: “a saxophone was blowin’ on a rock and roll show”.

Meat Loaf revisited the song 20 years later and included it in his 1996 live album “Live Around the World”, which featured many tracks from his previous two albums, “Bat Out of Hell II” and “Welcome to the Neighborhood”. Brian May recorded a version of “Hot Patootie” as a bonus track for the Japanese edition of his 1998 album “Another World”.

The song is a staple of the Rocky Horror franchise, appearing in all major soundtracks associated with the theatrical and cinematic productions. Its energetic delivery and nostalgic rock style make it one of the most memorable numbers in the show.

MEAT LOAF - ROCK AND ROLL DREAMS COME THROUGH

Released: January 1994

Charts:  US: #13    UK: #11 

“Rock and Roll Dreams Come Through” is a song written by Jim Steinman and originally featured on his 1981 solo album “Bad for Good”, with Rory Dodd providing lead vocals. Meat Loaf later recorded the song for his 1993 album “Bat Out of Hell II: Back into Hell”, releasing it as the third single in 1994. 

“Rock and Roll Dreams Come Through” showcases Jim Steinman’s theatrical style and highlights his enduring collaboration with Meat Loaf. The song celebrates the healing power of music, particularly rock and roll, as a source of comfort during times of loneliness and despair. It portrays music as a “gift of the gods,” with the drums symbolizing the heartbeat of life.

“Rock and Roll Dreams Come Through,” along with the rest of the “Bad for Good” album, was originally intended for Meat Loaf. However, due to a combination of mental and physical issues, Meat Loaf was unable to record his vocals. With the tracks already laid down using many of the same musicians and studios from “Bat Out of Hell”, Jim Steinman decided to take on the vocals himself for most of the album. For this track, however, he enlisted Rory Dodd, a Canadian singer known for his backing vocals on “Bat Out of Hell” and his iconic “turn around, bright eyes” line on “Total Eclipse of the Heart.”

The music video directed by Michael Bay, features Meat Loaf as a fortuneteller who helps guide lost and troubled individuals. An 18-year-old Angelina Jolie portrays a runaway teenager who seeks solace and ultimately reunites with her family by the video’s end. Meat Loaf’s character also intervenes to protect a young boy from joining a gang and provides comfort to others experiencing loneliness and despair.

ALAN PARSONS PROJECT - EYE IN THE SKY

Llançament: Maig de 1982

Llistes d’èxits: EUA: #3

“Eye in the Sky” és una cançó de la banda britànica The Alan Parsons Project, llançada el maig de 1982 com a single del seu sisè àlbum d’estudi, del mateix nom. És la cançó de més èxit del grup, arribant al número 3 de les llistes de Billboard als Estats Units l’octubre de 1982, així com al número 1 al Canadà i Espanya, i al número 6 a Nova Zelanda.

Sovint es rumoreja que “Eye in the Sky” s’inspira en la novel·la “1984” de George Orwell, que retracta un futur distòpic amb vigilància constant, però no hi ha referències directes als temes o la terminologia del llibre a la lletra. Alan Parsons va mencionar que l’àlbum en el seu conjunt explora el concepte de “Big Brother is watching” (el Gran Germà t’observa), però la cançó sembla més centrada en una relació personal, on el narrador afirma tenir coneixement de les reaccions d’una amant. El títol també coincideix amb el terme eye in the sky, utilitzat per descriure les càmeres de vigilància en casinos. Tot i això, la connexió amb Orwell no està confirmada, i el tema principal de la cançó gira entorn de la confiança, la intuïció i el control.

La veu principal és d’Eric Woolfson, lletrista, mànager i principal col·laborador d’Alan Parsons. En aquell moment, The Alan Parsons Project era un grup d’estudi que sovint utilitzava diferents vocalistes per a les seves cançons. Woolfson proporcionava la guia vocal abans que Parsons triés el cantant més adequat. Parsons era inicialment escèptic sobre la cançó i va haver de ser convençut per incloure-la a l’àlbum. Tot i que Woolfson i altres músics hi creien fermament, Parsons va dubtar tant del seu potencial que fins i tot va apostar amb el guitarrista Ian Bairnson que no seria un èxit. Malgrat això, es va convertir en el tema més reeixit del grup. Posteriorment, Parsons el va interpretar durant les seves gires en directe.

La peça instrumental “Sirius” enllaça perfectament amb “Eye in the Sky” a l’àlbum, però al single “Eye in the Sky” es presenta de manera independent, sense “Sirius”. Tot i que “Sirius” no era habitualment reproduïda a la ràdio amb “Eye in the Sky”, va adquirir estatus icònic com a himne esportiu. Els Chicago Bulls la van fer servir com a música d’introducció durant l’any de debut de Michael Jordan, i es va convertir en sinònim de les sis victòries del campionat de l’equip. Amb el temps, “Sirius” va ser adoptada per nombrosos equips esportius d’arreu del món.

La portada de l’àlbum presenta el símbol egipci de l’ull d’Horus, un emblema conegut de la mitologia de l’antic Egipte. Horus, un déu amb cap de falcó, representava protecció, poder i salut, qualitats simbolitzades per l’ull. Aquesta imatge contrasta amb la lletra de la cançó, que tracta temes com la vigilància i la traïció.

El 2019, Alan Parsons va enregistrar una versió en català d’”Eye in the Sky”, titulada “Seré els teus ulls al camí”. Aquesta versió es va incloure en un CD produït per La Marató de TV3, en el programa destinat a recaptar fons per a la investigació de malalties incurables.

ALAN PARSONS PROJECT - EYE IN THE SKY

Released: May 1982

Charts:  US: #3 

“Eye in the Sky” is a song by the British band The Alan Parsons Project, released in May 1982 as a single from their sixth studio album of the same name. It became their most successful release, reaching No. 3 on the US Billboard charts in October 1982, as well as No. 1 in Canada and Spain, and No. 6 in New Zealand.

“Eye in the Sky” is often rumored to be inspired by George Orwell’s novel “1984”, which portrays a dystopian future of constant surveillance, but there are no direct references to the novel’s themes or terminology in the lyrics. While Alan Parsons mentioned that the album as a whole explores a “Big Brother is watching” concept, the song itself seems more focused on a personal relationship, with the narrator claiming awareness of a lover’s reactions. The title also aligns with the term “eye in the sky,” used for surveillance cameras in casinos. The Orwellian connection remains unconfirmed, and the song’s central theme revolves around trust, intuition, and control.

The song features lead vocals by Eric Woolfson, the lyricist, manager, and main collaborator of Alan Parsons. The Alan Parsons Project, a studio-based group at the time, often used different vocalists for their songs, with Woolfson providing guide vocals before Parsons selected the best fit. Parsons was initially skeptical about the song and had to be persuaded to include it on the album. Woolfson and the other musicians believed in its potential, but Parsons was so doubtful he even bet guitarist Ian Bairnson it wouldn’t be a hit. Despite this, it became the group’s most successful track. Parsons himself later performed it during live tours.

The instrumental track “Sirius” seamlessly transitions into “Eye in the Sky” on the album, but on the single release, “Eye in the Sky” stands alone, with “Sirius” omitted. While “Sirius” was not commonly played on the radio alongside “Eye in the Sky,” it gained iconic status as a sports anthem. The Chicago Bulls famously used it as their introduction music during Michael Jordan’s rookie year, and it became synonymous with their six championship wins. Over time, “Sirius” was adopted by numerous sports teams across various disciplines.

The cover art of album features the Egyptian symbol of the Eye of Horus, a well-known emblem from ancient Egyptian mythology. Horus, a falcon-headed god, represented protection, power, and health—qualities symbolized by the eye. This imagery contrasts with the song’s lyrics, which center on themes of surveillance and betrayal.

In 2019, Alan Parsons recorded a Catalan version of Eye in the Sky, titled “Seré els teus ulls al camí” (“I’ll Be Your Eyes on the Road”). This version was included on a CD produced by La Marató de TV3, a telethon dedicated to raising funds for research into incurable diseases.

 

STONEY & MEATLOAF - WHAT YOU SEE IS WHAT YOU GET

Released: October 1971

Charts:  US: #71 

Before rising to fame with “Bat Out of Hell”, Meat Loaf (Marvin Aday) recorded “Stoney and Meatloaf”, a 1971 Motown album with singer Shaun Murphy, whom he met during the Detroit production of “Hair”. Released on the Rare Earth label, the album showcased Meat Loaf’s powerful voice in a soul-rock style, marking his first professional recording. The single “What You See Is What You Get,” released ahead of the album, became his first charting hit, peaking at #71 on the Billboard Hot 100. This early work hinted at the dramatic vocal talent that would later define his career and collaborations with Jim Steinman.

The “Stoney and Meatloaf” album featured a special contribution from Motown legend Stevie Wonder, who played piano on one of the tracks. Meat Loaf recalled that Wonder, recording his iconic “Innervisions” at the same studio, offered to play on what he humorously described as a corny song. 

The album, originally released in 1971, was re-released multiple times under the title Featuring Stoney and Meat Loaf with altered track listings, first in 1978 and 1979 on the Prodigal label and again in 1986 on Tamla Motown.