HOWARD JONES - WHAT IS LOVE?

Llançament: 18 de novembre de 1983

Llistes d’èxits: EUA: #33  Regne Unit: #2

“What Is Love?” és el segon single de Howard Jones, publicat el 1983 com a part del seu àlbum debut “Human’s Lib”. La cançó es va convertir en el senzill de Jones amb més èxit al Regne Unit, assolint el número 2 a la UK Singles Chart, mentre que als Estats Units va arribar al número 33 del Billboard Hot 100. El videoclip, rodat a París, mostra Jones explorant la ciutat i un parc.

La cançó tracta el concepte de l’amor des d’una perspectiva filosòfica i introspectiva, qüestionant les nocions tradicionals de dependència romàntica. En una entrevista, Jones va explicar que volia allunyar-se dels temes habituals de les cançons d’amor, com el desamor i la co-dependència, i plantejar la pregunta: “Què entenem per amor? Què és realment?”.

Jones va destacar que el veritable amor i les relacions significatives requereixen autoconsciència i independència, argumentant que dependre d’una altra persona per ser feliç condueix a la insatisfacció. Segons ell, per a què una relació prosperi, ambdues persones han de conèixer-se a si mateixes i mantenir-se fermes, afrontant la vida junts com a iguals.

Inicialment, “What Is Love?” es titulava simplement “Love?” en la maqueta que Jones va enregistrar el 1982 i que venia als seus concerts. En aquella època, Jones va incorporar el símbol de la pregunta a la seva imatge, utilitzant-lo en pòsters i decoració d’escenaris. A les seves actuacions en llocs com el Marquee Club, es podien veure aquests signes amb el text “Howard Jones?” durant les seves performances.

HOWARD JONES - WHAT IS LOVE?

Released: November 18, 1983

Charts:  US: #33   UK: #2 

“What Is Love?” is the second single by Howard Jones, released in 1983 as part of his debut album “Human’s Lib”. The song became Jones’ highest-charting single in the UK, reaching No. 2 on the UK Singles Chart, while it peaked at No. 33 on the US Billboard Hot 100. The music video, filmed in Paris, showcases Jones exploring the city and a park.

The song explores the concept of love from a philosophical and introspective perspective, questioning traditional notions of romantic dependence. In an interview, Jones explained his intent to move away from typical love song themes of heartbreak and co-dependency, instead asking, “What do we mean by love? What is it, really?”

He emphasized that true love and meaningful relationships require self-awareness and independence, arguing that relying on another person for happiness leads to dissatisfaction. Jones believes that for a relationship to thrive, both individuals must know and stand on their own, facing life together as equals.

“What Is Love?” was initially titled “Love?” on the demo tape he recorded in 1982, which was sold at his concerts. Around this time, Jones embraced the question mark motif in his branding, using it on concert posters and stage decor. These signs, displayed during his performances at venues like the Marquee Club, simply read “Howard Jones?”.

THE POLICE - WALKING ON THE MOON

Llançament: 23 de novembre de 1979

Llistes: Regne Unit: #1 (1 setmana)

“Walking on the Moon” és una cançó inspirada en el reggae, publicada com el segon single del segon àlbum de The Police, “Reggatta de Blanc”. Escrita per Sting, es va convertir en el segon número 1 de la banda al Regne Unit el desembre de 1979, seguint l’èxit de “Message in a Bottle”. Tot i la seva popularitat al Regne Unit, la cançó no va aconseguir entrar a les llistes dels Estats Units, on el seu reconeixement arribaria més tard amb l’àlbum “Zenyatta Mondatta”.

Sting es va inspirar en les seves experiències i sentiments per escriure “Walking on the Moon”, incloent-hi influències de la seva primera nòvia, Deborah Anderson. Va descriure l’amor com una sensació de lleugeresa, com si estigués “alleugerit de la gravetat”. La idea de la cançó va sorgir a principis de 1979, a Munic, després d’una nit de copes amb el compositor d’avantguarda Eberhard Schoener. De tornada a la seva habitació d’hotel, Sting va començar a murmurar “walking round the room”. L’endemà, va transformar la frase en “Walking on the Moon” i la va combinar amb un riff inspirat en el reggae. Inicialment es va gravar com un tema rocker abans de ser reestructurada en la seva forma final. Sting va descriure el riff de baix com estrany i jazzístic, amb el guitarrista Andy Summers afegint-hi l’acord distintiu després de les notes de baix.

El bateria Stewart Copeland va utilitzar una unitat Roland RE-201 Space Echo per crear un efecte rítmic de retard que complementava el tema lunar de la cançó. Activat en directe amb un pedal, el retard replicava no la nota immediata, sinó la nota anterior, generant un so únic. Inspirat en la música dub del reggae, aquest efecte també va ser aplicat per Summers a la guitarra, definint l’atmosfera característica de la peça. La banda va descobrir el Space Echo a Manny’s Music, a Nova York, i el va comprar amb els guanys de l’èxit inicial amb “Roxanne”. Aquest tècnica va ser adoptada més tard per altres grups, com ara U2.

El videoclip, dirigit per Derek Burbidge, es va gravar el 23 d’octubre de 1979 al Kennedy Space Center. Mostra la banda tocant entre exposicions de naus espacials, intercalades amb imatges d’arxiu de la NASA. Curiosament, Sting apareix tocant la guitarra en lloc del baix, i Stewart Copeland utilitza les baquetes sobre un coet Saturn V.

THE POLICE - WALKING ON THE MOON

Released: November 23, 1979

Charts:  UK: #1 (1 week)

“Walking on the Moon” is a reggae-inspired song released as the second single from the second album “Reggatta de Blanc”. Written by Sting, it became the band’s second UK No. 1 hit in December 1979, following the success of “Message in a Bottle.” While it solidified their popularity in the UK, the song failed to chart in the US, where their breakthrough came later with their third album, “Zenyatta Mondatta”. 

“Walking on the Moon” was inspired by Sting’s experiences and feelings. Partially influenced by his first girlfriend, Deborah Anderson, Sting described love as feeling weightless, like being “relieved of gravity.” The song’s inception occurred in early 1979 in Munich, after a night of heavy drinking with avant-garde composer Eberhard Schoener. Returning to his hotel room drunk, Sting wandered around muttering “walking round the room.” The next morning, he refined the phrase to “Walking on the Moon” and paired it with a reggae-inspired riff. The song uses space as a metaphor for Sting’s experiences on the road, feeling isolated in hotel rooms and stages while the world carried on. “Walking on the Moon” was originally recorded as a rocker before being reworked into its final form. Sting described the bass riff as “weird” and “jazzy,” with guitarist Andy Summers adding the distinctive chord after the bass notes. 

Stewart Copeland used a Roland RE-201 Space Echo unit on “Walking on the Moon” to create a delayed rhythmic effect that complemented the song’s moon theme. Triggered live with a foot pedal, the delay added a “wobbling rhythmic effect,” inspired by reggae dub music. Copeland explained that each echo repeats not the immediate note but the one before it, creating a unique sound. Andy Summers employed a similar delay effect on the guitar, shaping the track’s signature atmosphere. The band discovered the Space Echo at Manny’s Music in New York City, purchasing it after their initial success with “Roxanne.” This technique later became widely adopted by other bands, including U2.

The video, directed by Derek Burbidge, was filmed at the Kennedy Space Center on October 23, 1979. It features the band miming to the track among spacecraft displays, with scenes of NASA footage. Notably, Sting plays guitar instead of bass, and Stewart Copeland uses his drumsticks on a Saturn V rocket.

ROD STEWART - THE FIRST CUT IS THE DEEPEST

Llançament: Febrer de 1977

Llistes d’èxits: EUA: #21 | Regne Unit: #1 (4 setmanes)

“The First Cut Is the Deepest” és una cançó del 1967 escrita per Cat Stevens i popularitzada per P.P. Arnold. Stevens va incloure la seva pròpia versió al seu àlbum New Masters aquell mateix any. La cançó, que explora els temes del primer desamor, ha estat àmpliament versionada i s’ha convertit en un èxit per sis artistes diferents, incloent Keith Hampshire (1973), Rod Stewart (1977), Papa Dee (1995) i Sheryl Crow (2003). La versió de Rod Stewart, llançada una dècada després de la d’Arnold, es va convertir en un èxit mundial i continua sent una peça imprescindible en les seves actuacions en directe. La versió de Sheryl Crow del 2003 també va gaudir d’un èxit comercial significatiu.

Rod Stewart va gravar “The First Cut Is the Deepest” als Muscle Shoals Sound Studio d’Alabama per al seu àlbum del 1976 A Night on the Town. Llançada com a senzill als Estats Units i algunes parts d’Europa, es va convertir en una doble cara A amb “I Don’t Want to Talk About It” al Regne Unit l’abril de 1977. La cançó va ser un èxit massiu, ocupant el número 1 a la llista de singles britànica durant quatre setmanes al maig de 1977, arribant al lloc 11 al Canadà i al 21 del Billboard Hot 100 als Estats Units. La versió de Stewart es diferencia de l’original per l’omissió de la frase final de la tornada. També va gravar una versió en directe durant la seva actuació a MTV Unplugged el 1993, inclosa a l’àlbum Unplugged…and Seated.

La versió de Rod Stewart és una balada sobre el dolor del primer desamor i la dificultat d’obrir-se de nou a l’amor. La lletra captura les cicatrius emocionals persistents d’una relació passada, amb la “primera ferida” simbolitzant l’impacte profund de la decepció romàntica inicial. Tot i el seu patiment, Stewart expressa una voluntat cautelosa de donar una altra oportunitat a l’amor, però admet la vulnerabilitat que encara sent.

La cançó combina esperança i resiliència amb un toc d’amargor, especialment en versos que reflecteixen el fracàs de la relació passada i la incapacitat de l’antiga parella de correspondre als seus sentiments. La tornada subratlla l’efecte durador d’aquest primer desamor. Tot i que Stewart mostra el desig de trobar una nova companya per sanar el seu dolor, la lletra també revela la seva lluita interna per avançar, equilibrant les ganes d’estimar amb la por de tornar a patir.

La gravació als llegendaris estudis Muscle Shoals d’Alabama va tenir un repte inusual: cap dels músics coneixia la cançó. Stewart va explicar a les notes de Anthology que es va fer una trucada frenètica a Los Angeles, on algú va córrer a comprar l’enregistrament original, el va reproduir per telèfon i va ajudar la banda a aprendre’l. L’esforç va donar els seus fruits, ja que la versió de Stewart es va convertir en un èxit destacat en la seva carrera.

ROD STEWART - THE FIRST CUT IS THE DEEPEST

Released: February 1977

Charts:  US: #21   UK: #1 (4 weeks)

“The First Cut Is the Deepest” is a 1967 song written by Cat Stevens and first made a hit by P.P. Arnold. Stevens included his own version on his album New Masters later that year. The song, which explores themes of early heartbreak, has been widely covered and became a hit for six different artists, including Keith Hampshire (1973), Rod Stewart (1977), Papa Dee (1995), and Sheryl Crow (2003). Rod Stewart’s version, released a decade after Arnold’s, became a global hit and remains a staple in his live performances. Sheryl Crow’s 2003 rendition also enjoyed significant commercial success.

Rod Stewart recorded “The First Cut Is the Deepest” at Muscle Shoals Sound Studio in Alabama for his 1976 album A Night on the Town. Released as a single in the U.S. and parts of Europe, it became a double A-side with “I Don’t Want to Talk About It” in the UK in April 1977. The song was a massive success, topping the UK Singles Chart for four weeks in May 1977, reaching No. 11 in Canada, and No. 21 on the U.S. Billboard Hot 100. Stewart’s version differs from the original by omitting the concluding line of the refrain. He recorded a live version for his 1993 MTV Unplugged session, which was included on his album Unplugged…and Seated.

Rod Stewart’s “The First Cut Is the Deepest” is a poignant ballad about the pain of first heartbreak and the difficulty of opening up to love again. The lyrics capture the lingering emotional scars from a previous relationship, with the “first cut” symbolizing the profound impact of early romantic disappointment. Despite his heartbreak, Stewart expresses a cautious willingness to try love again, though he acknowledges the lingering vulnerability.

The song complements hope and resilience with bitterness, particularly in lines reflecting on the failed relationship and the inability of his past lover to reciprocate his feelings. The chorus underscores the lasting effect of the initial heartbreak. While Stewart expresses a desire for companionship to help heal his pain, the lyrics also reveal his internal struggle to move forward, balancing a yearning for love with the fear of further hurt. 

Recorded at the famed Muscle Shoals studio in Alabama, the process faced an unusual challenge: none of the musicians were familiar with the song. Stewart recounted in his Anthology liner notes how a frantic phone call was made to Los Angeles, where someone rushed to purchase the original record, played it over the phone, and helped the band learn it. The effort paid off, as Stewart’s rendition became a standout hit in his career.

HOWARD JONES - HIDE AND SEEK

Released:  February 18, 1984

Charts:  UK: #12  

“Hide and Seek” is a song released in February 1984 as the third single from the debut album, “Human’s Lib”. The track reached No. 12 on the UK Singles Chart and stands out for its darker, gothic-inspired tone, contrasting with Jones’s typically upbeat style. The song was released in multiple formats, including a Limited Edition 10” vinyl and picture disc, featuring an extended mix and a live recording from High Wycombe Town Hall. The 7” vinyl included the inscriptions “This Time No. 1” and “The Brilliant Town Hall” on its sides.

Lyrically, the song explores existential themes, referencing the origins of the universe and urging listeners to reflect on a time when there was “nothing at all, just a distant hum.” The song metaphorically traces the journey of a being seeking meaning, starting alone with nothing but the work of creation and contemplation. Over time, the being hopes to find purpose in every aspect of existence, as reflected in the recurring lyric, “Hope you find it in everything, everything that you see.”

The narrative shifts to a second character, a woman who builds a life symbolized by her elaborate home. Initially fulfilled, she becomes distracted by life’s pleasures and loses touch with her true self, representing how people can become disconnected from their core identities. The refrain, “Hope you find me in you,” underscores the yearning for reconnection with the deeper self and the recognition of shared humanity.

The music video complements the song’s celestial and introspective vibe, featuring Jones performing against space-themed backdrops enhanced by early green-screen technology. The track’s heavy synth sound aligns with its cosmic and contemplative theme.

Jones famously performed the track at Live Aid in 1985 using Freddie Mercury’s piano, though he humorously noted that the magic of the performance came from his own interpretation rather than the instrument itself.