HERBIE HANCOCK - ROCKIT

Llançament: Juliol de 1983

Llistes d’èxits: EUA: #71  Regne Unit: #8

“Rockit”, una composició de Herbie Hancock del 1983, escrita en col·laboració amb Bill Laswell i Michael Beinhorn, va aparèixer a l’àlbum “Future Shock”. Influenciada per les tècniques de scratching que Hancock va descobrir a “Buffalo Gals” de Malcolm McLaren, la cançó va destacar pel talent del DJ DXT, que hi va aportar el seu estil característic. “Rockit” va guanyar el Grammy a la millor interpretació instrumental de R&B el 1983 i va obtenir cinc premis als MTV Video Music Awards el 1984, gràcies al seu videoclip innovador amb l’art robòtic de Jim Whiting.

Herbie Hancock, una figura destacada del jazz que es va unir a la banda de Miles Davis el 1963, va aprendre del seu mentor el valor de l’experimentació i de confiar en els seus col·laboradors. Aquest enfocament va ser clau per a la creació de “Rockit”, un clàssic d’electro-fusió que va marcar una clara ruptura amb les tradicions del jazz. Produïda pel baixista Bill Laswell la peça combinava elements d’electro, fusió jazzística i hip-hop.

Laswell va explicar que “Rockit” es va crear de manera ràpida i inesperada. Inspirat per una nit al club Roxy, on va veure actuar DJs com Afrika Bambaataa, va gravar les pistes de ritme en un soterrani de Brooklyn. Hancock va improvisar a sobre de les pistes en una sessió a Los Angeles que va durar només una hora, i la mescla final es va completar en el mateix temps. Encara dubtant del que havien creat, van posar una versió preliminar en una botiga d’altaveus, on una multitud curiosa, incloent-hi Grandmaster Caz i GrandMixer D.ST, es va reunir per escoltar-la. La seva reacció els va confirmar que havien creat una cosa innovadora.

“Rockit” va ser la primera cançó d’èxit que va incloure el scratching, introduint aquesta tècnica de manipulació del tocadiscos al gran públic. Aquest element del hip-hop, desenvolupat per DJs com Grandmaster Flash i Grand Wizard Theodore, consistia a moure un disc endavant i enrere al tocadiscos per crear sons rítmics de rascat. Segons Flash, el scratching va sorgir com una manera de preparar els discos en les actuacions, però van decidir compartir el so amb el públic ajustant el fader sense perdre el ritme.

El videoclip de “Rockit”, que mostrava maniquins animats i art mecànic, va ser un èxit rotund a MTV, guanyant cinc premis als MTV Video Music Awards de 1984, incloent-hi els de millor concepte i millors efectes especials. Dirigit per Kevin Godley i Lol Creme, el vídeo minimitzava l’aparició de Hancock per superar les reticències de MTV a mostrar artistes negres. En canvi, se centrava en les creacions de l’artista britànic Jim Whiting, amb instal·lacions mecàniques que es coordinaven perfectament amb els sons del scratching. L’edició innovadora, amb transicions entre música i moviment, va fer del vídeo una obra avantguardista, convertint-lo en un dels més experimentals del seu temps i un referent en els primers anys de MTV.

HERBIE HANCOCK - ROCKIT

Released: July 1983

Charts:  US: #71   UK: #8 

“Rockit,” a 1983 composition by Herbie Hancock, was co-written with Bill Laswell and Michael Beinhorn and featured on the album “Future Shock”. Influenced by scratching techniques Hancock first heard in Malcolm McLaren’s “Buffalo Gals,” the track showcased DJ DXT’s scratch style and included a groundbreaking music video featuring Jim Whiting’s robotic art. The song earned a Grammy Award for Best R&B Instrumental Performance in 1983 and won five MTV Video Music Awards in 1984.

Herbie Hancock, a celebrated jazz musician who joined Miles Davis’ band in 1963, learned from Davis the value of experimentation and trusting collaborators. This ethos shaped the creation of “Rockit,” an electro-fusion classic that departed from jazz traditions. Produced by bassist Bill Laswell, known for blending genres in his “collision music” style, the track incorporated elements of electro, fusion jazz, and hip-hop. 

Bill Laswell recounted how “Rockit” came together quickly and unexpectedly. After being inspired by a night at the Roxy, where he saw DJs like Afrika Bambaataa perform, Laswell recorded rhythm tracks in a Brooklyn basement. Herbie Hancock improvised over the tracks for about an hour in Los Angeles, and the final mix took just another hour. Initially uncertain of what they had created, they played a rough cassette mix at a speaker store, drawing a crowd of intrigued onlookers, including Grandmaster Caz and GrandMixer D.ST. Their reaction confirmed they had something groundbreaking.

“Rockit” was the first hit song to feature scratching, introducing the sound of turntable manipulation to a broader audience. This hip-hop technique, pioneered by DJs like Grandmaster Flash and Grand Wizard Theodore in New York, involved moving a record back and forth on the turntable to create rhythmic, scratching noises. Flash explained that scratching originated as a way for DJs to cue records, but they decided to share the sound with the audience by adjusting the fader while keeping the beat.

The music video featuring animated mannequins and mechanical art, was a major success on MTV, winning five Video Music Awards in 1984, including Best Concept and Best Special Effects. Directed by Kevin Godley and Lol Creme, the video minimized Hancock’s appearance to overcome MTV’s reluctance to feature black artists. Instead, the focus was on the creations of British artist Jim Whiting, whose mechanical art installations synchronized seamlessly with the song’s scratching sounds. The video’s innovative back-and-forth editing technique added to its avant-garde feel, making it one of the most experimental videos of its time and a landmark in the early days of MTV.

HOWARD JONES - PEARL IN THE SHELL

Released: May 26, 1984

Charts:  UK: #7 

“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.