“Pearl in the Shell” is a single released as the fourth and final track from his debut album, “Human’s Lib”. The song reached #7 on the UK Singles Chart and features a saxophone solo by Davey Payne of Ian Dury’s band, the Blockheads.
Jones acknowledged the influence of 1970s music on the song, citing artists like Stevie Wonder, Earth Wind & Fire, Keith Emerson, and Little Feat as inspirations, as well as the work of Donald Fagen and Walter Becker of Steely Dan. Growing up in the ’70s, Jones blended these influences with his love for synthesizers to create a sound that bridges the styles of the ’60s, ’70s, and the emerging synth-pop genre of the ’80s.
“Pearl in the Shell” delves into themes of self-doubt, missed opportunities, and the internal barriers that prevent individuals from realizing their potential. The song uses vivid imagery to highlight how fear and hesitation can obscure the valuable aspects of life, symbolized by the “pearl in the shell.” Repeated phrases like “the fear goes on shadows” and “the tear flows on for nothing” suggest persistent anxiety and sadness without resolution.
The lyrics “Under his nose was a dream come true / Been there all the time and he almost knew” emphasize how close people can be to achieving their goals while remaining unaware due to inner struggles. The line “Thoughts of people in misfortune stopped him doing things well” reflects how excessive focus on others’ suffering can sometimes paralyze rather than inspire action. The title serves as a metaphor for the undiscovered value within oneself waiting to be uncovered.
HOWARD JONES - LOOK MAMA
Released: April 12, 1985
Charted: UK: #10
“Look Mama,” from 1985 album “Dream into Action”, was released as the album’s second single and reached #10 on the UK Singles Chart. While it wasn’t issued as a single in the US, a unique mix appeared on the US-only remix album “Action Replay”. The song opens with a sample of dialogue from the 1974 film Alice Doesn’t Live Here Anymore.
The song delves into the universal struggle for independence and individuality in the face of parental expectations. The lyrics portray a heartfelt yet assertive dialogue between a child and their overprotective mother, as the protagonist expresses love and respect for their parent while urging for personal freedom.
A key line, “Honey, I think Audrey’s a little mature for you,” reveals the mother’s concern about the protagonist’s choices, reflecting her protective nature. However, the protagonist’s response—defending Audrey as “nice” rather than “mature”—illustrates their desire to make their own judgments and decisions. The recurring refrain, “Look mama I love you, but you gotta let me live my life,” encapsulates the song’s core message. It conveys both affection and a plea for space, as the protagonist insists on being allowed to navigate their own path.
Other lines, such as “Don’t try to stick your rules on me” and “I wasn’t born as a carbon copy,” underscore a longing for self-expression and the right to define their own identity. While recognizing the mother’s wisdom, the protagonist seeks to learn and grow through personal experiences, asserting their individuality against the pressures of conformity.
GREG KIHN BAND - JEOPARDY
Llançament: Gener de 1983
Llistes d’èxits: EUA: #2, Regne Unit: #63
“Jeopardy”, de la Greg Kihn Band, forma part del seu àlbum “Kihnspiracy” de 1983 i es va convertir en el seu únic èxit al Top 10, arribant al número 2 del Billboard Hot 100. Escrita per Greg Kihn i el baixista Steve Wright, la cançó és un típic tema pop dels anys 80, però el que realment la va diferenciar va ser el seu videoclip.
Al vídeo, Greg Kihn interpreta un nuvi que experimenta por escènica abans del casament. En somnis, veu com els convidats es transformen en monstres i, finalment, fuig de la cerimònia. El videoclip porta els espectadors a un viatge surrealista ple d’escenaris estranys i onírics. Comença com una dolça història de casament, però aviat es converteix en un espectacle de terror amb imatges grotesques que recorden l’horror corporal de David Cronenberg i acaba amb un gir ambigu d’estil David Lynch. El vídeo deixa moltes preguntes obertes: Era la núvia realment un monstre? Tot era producte de la ment paranoica del nuvi? Eren els cadàvers fumants un símbol?
La història continua al videoclip de la següent cançó, “Reunited”, que parodia El Mag d’Oz i mostra els nuvis transportats a un món ple de bruixes i petits personatges anomenats “munchkihns.” Greg Kihn va defensar l’enfocament poc convencional dels seus videoclips, evitant la tendència de l’època d’imatges sexualitzades, preferint un estil entretingut i apte per a totes les edats. Reflectint sobre la indústria dels videoclips, Kihn va criticar amb humor l’ús excessiu de models atractives, contrastant la seva narrativa creativa amb l’estil provocatiu de bandes com Duran Duran.
Malgrat les interpretacions sobre possibles significats ocults, Greg Kihn va rebutjar la idea de símbols complexos en les seves cançons, explicant que les seves lletres solen abordar temes senzills inspirats en les relacions i en la seva parella. Jeopardy va suposar un canvi respecte al so habitual de rock de la banda, inclinant-se cap a un estil pop més peculiar que va connectar amb un públic més ampli. Tot i així, aquest èxit va ser una excepció per a la banda, que habitualment es mantenia fidel a les seves arrels rockeres.
Kihn es va resistir a les pressions de la seva discogràfica per replicar l’èxit de Jeopardy. El seu següent senzill, “Reunited”, i els àlbums posteriors van tornar a un estil de rock més directe que agradava als seus fans de sempre, però no van aconseguir repetir l’èxit comercial. Malgrat això, Kihn es mostrava orgullós de l’autenticitat de la banda i de la seva capacitat per entretenir nous públics amb actuacions enèrgicament diverses, fins i tot quan obrien concerts per a grups com Journey.
Més enllà de la música, Greg Kihn es va convertir en novel·lista i va passar molts anys com a DJ matinal a K-Fox FM a San Jose, Califòrnia, mentre continuava actuant en directe fins ben entrada la dècada del 2000. Greg Kihn va morir l’any 2024, als 75 anys, després d’una batalla contra l’Alzheimer.
GREG KIHN BAND - JEOPARDY
Released: January 1983
Charts: US: #2 UK: #63
“Jeopardy” by the Greg Kihn Band, from their 1983 album Kihnspiracy, became their only Top 10 hit, peaking at No. 2 on the Billboard Hot 100. Written by Greg Kihn and bassist Steve Wright, the song is a typical ‘80s pop tune, but its music video set it apart.
In the video, Kihn portrays a groom who experiences cold feet, dreams of his wedding guests turning into monsters, and ultimately runs out on the ceremony. The video takes viewers on a surreal journey through layers of bizarre, dream-like scenarios. It begins as a sweet wedding story but quickly spirals into a horror-themed spectacle with grotesque imagery akin to David Cronenberg’s body horror and ends with an ambiguous, Lynchian twist. The plot leaves viewers pondering: Was the bride a monster? Was it all in the groom’s paranoid mind? Were the smoking corpses symbolic?
The story continues in the sequel video for “Reunited,” which parodies The Wizard of Oz as the bride and groom are whisked into a whimsical land filled with witches and “munchkihns.” Greg Kihn defended his unconventional approach to music videos, avoiding the era’s trend of sexualized imagery, instead aiming for family-friendly entertainment. Reflecting on the music video industry, Kihn humorously criticized the gratuitous use of video vixens, contrasting his creative storytelling with the provocative style of bands like Duran Duran.
Greg Kihn dismissed the notion of hidden meanings or complex symbolism in his songs, explaining that his lyrics typically revolve around simple themes, often inspired by relationships and his girlfriend. The 1983 hit “Jeopardy” was a departure from the Greg Kihn Band’s usual rock sound, leaning into a quirky pop style that connected with a broader audience and became their biggest hit, but this success was an outlier for the band, which predominantly stuck to their rock roots.
Kihn resisted pressure from his record company to replicate the success of “Jeopardy.” Their next single, “Reunited,” and subsequent albums returned to a straightforward rock style, which appealed more to their longtime fans but failed to produce another major hit. Kihn took pride in the band’s authentic approach and their ability to entertain new audiences with diverse, high-energy live performances, even when opening for major acts like Journey.
Beyond music, Greg Kihn became a novelist and spent many years as a morning DJ at K-Fox FM in San Jose, California, while continuing to perform live into the 2000s, often at venues like the Santa Cruz Beach Boardwalk. Kihn passed away in 2024 at the age of 75 after battling Alzheimer’s disease.
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SUPERTRAMP - THE LOGICAL SONG
Llançament: Març de 1979
Llistes d’èxits: EUA: #6 Regne Unit: #7
“The Logical Song” va ser publicada com el single principal de l’àlbum “Breakfast in America” i es va convertir en el major èxit de Supertramp, arribant al número 7 al Regne Unit i al número 6 al Billboard Hot 100 dels EUA. Va tenir un èxit especial al Canadà, on va liderar la llista RPM Singles Chart durant dues setmanes.
Escrita per Roger Hodgson, explora temes sobre l’educació i el seu impacte, en una línia similar a “School”, una peça anterior escrita per Rick Davies per a l’àlbum “Crime of the Century” de 1974. Tot i la seva col·laboració com a compositors, Hodgson i Davies solien escriure per separat. En una entrevista del 1979, Davies va reconèixer la semblança temàtica, però també va comentar que l’experiència personal de Hodgson era limitada, ja que va passar directament de l’escola pública al món de la música.
La cançó analitza la pèrdua de la innocència i la meravella de la infància a mesura que la societat imposa normes de lògica i responsabilitat. Hodgson la va escriure en un moment de confusió personal i d’un desig d’entendre el significat més profund de la vida, criticant el sistema educatiu per prioritzar la formació intel·lectual i descuidar el desenvolupament emocional i intuïtiu. En una entrevista del 2012, Hodgson va comentar que la cançó continua sent rellevant, sovint citada en escoles, on provoca reflexions en els estudiants sobre la seva identitat i propòsit.
“The Logical Song” era una peça profundament personal per a Roger Hodgson, desenvolupada inicialment durant proves de so i completada mesos abans de ser presentada a Supertramp. Al principi, Hodgson no estava segur que la resta del grup l’acceptés, però va acabar convertint-se en una de les seves cançons més rellevants. Igual que “Another Brick in the Wall (Part II)” de Pink Floyd, critica el sistema educatiu anglès per centrar-se en la funcionalitat externa i descuidar el desenvolupament intern i el veritable propòsit de la vida. Hodgson lamentava com la meravella i l’entusiasme naturals de la infància es perden sovint a través de l’escolarització i les expectatives socials.
Durant un concert, Roger Hodgson va explicar l’origen personal de “The Logical Song”, recordant els seus 10 anys en un internat, que el van deixar qüestionant la vida i els ensenyaments rebuts. La va descriure com una manera lleugera d’abordar qüestions profundes, destacant com se li havia ensenyat a conformar-se i ser sociable, però no an entendre la seva identitat o propòsit. Hodgson va assenyalar que aquest missatge profund va agradar a molts oients quan la cançó es va publicar.
SUPERTRAMP - THE LOGICAL SONG
Released: March 1979
Charts: US: #6 UK: #7
“The Logical Song” was released as the lead single from the album “Breakfast in America”. It became Supertramp’s biggest hit, peaking at No. 7 in the UK and No. 6 on the US Billboard Hot 100. The song was especially successful in Canada, where it topped the RPM Singles Chart for two weeks.
“The Logical Song,” written by Roger Hodgson, explores themes of education and its impact, similar to Rick Davies’ earlier song “School” from the band’s 1974 “Crime of the Century”album. Despite their songwriting partnership, Hodgson and Davies often wrote separately, and in 1979, Davies noted the thematic overlap but remarked on Hodgson’s limited personal experience, as he transitioned directly from public school to music.
This song examines the loss of childhood innocence and wonder as society imposes the constraints of logic and responsibility. Hodgson wrote the song out of personal confusion and a desire to understand life’s deeper meaning, criticizing the education system for prioritizing intellectual training while neglecting emotional and intuitive development. He noted in a 2012 interview that the song remains relevant, often quoted in schools, and sparks introspection among students about identity and purpose.
Roger Hodgson’s “The Logical Song” was a deeply personal piece, developed during soundchecks and completed months before being shared with Supertramp. Initially unsure if it would be accepted by the rest of the band, Hodgson found the song became one of the most quoted in schools. Like Pink Floyd’s “Another Brick in the Wall (Part II),” it critiques the English education system for focusing on outward functionality while neglecting inner development and life’s true purpose. Hodgson lamented how the natural wonder and enthusiasm of childhood are often lost through schooling and societal expectations.
At a concert, Roger Hodgson explained the personal origins of “The Logical Song,” recounting his 10 years at boarding school, which left him questioning life and the teachings he received. He described the song as a lighthearted way of addressing deep issues, highlighting how he was taught to conform and be acceptable but not to understand his identity or purpose. Hodgson noted that this profound message resonated with many listeners upon the song’s release.
