“Disco Duck” is a satirical disco song by Rick Dees and His Cast of Idiots. Released in 1976 while Dees was a Memphis DJ, it became a #1 hit on the Billboard Hot 100 for one week in October and reached #15 on the Hot Soul Singles chart. Originally released on Fretone Records, it gained national and international success through RSO Records. The song was featured in “Saturday Night Fever” but was notably absent from its blockbuster soundtrack.
The song tells the story of a man who, at a dance party, is suddenly overcome by the urge to dance like a duck—flapping his arms and moving awkwardly. At first, he sits back down when the music stops, but when he starts dancing again, he realizes that everyone else has joined in, mimicking his moves. The track blends orchestral disco elements with humor.
The duck voice in Disco Duck closely resembles Donald Duck, leading to speculation that Clarence Nash (Donald Duck’s official voice actor) was involved, but Disney denied this and later released Mickey Mouse Disco in 1979, featuring their own disco-themed Donald Duck song.
According to Rick Dees, the duck voice was actually performed by Kenneth Pruitt, a man he met at the gym who could mimic the sound. After the song became a hit, Pruitt sued Dees, claiming he was only paid $188 despite also promoting the song in a duck suit on TV and even in Times Square. The case was likely settled privately, as Pruitt has remained silent since.
14.2.25
DEAD OR ALIVE - YOU SPIN ME ROUND (LIKE A RECORD)
Publicació: 5 de novembre de 1984
Regne Unit: #1 (2 setmanes)
«You Spin Me Round (Like a Record)» és una cançó de la banda britànica Dead or Alive, inclosa en el seu àlbum de 1985, “Youthquake”. Llançada com a single el 5 de novembre de 1984, va assolir el número 1 a la llista de singles del Regne Unit al març de 1985, després de 17 setmanes, convertint-se en el primer número 1 produït per Stock Aitken Waterman. Als Estats Units, va arribar al número 11 al Billboard Hot 100. La cançó també va liderar les llistes a Irlanda i Canadà, i va tenir un bon rendiment a Europa i Austràlia. Escrita pel cantant principal Pete Burns juntament amb els membres de la banda Steve Coy, Tim Lever i Mike Percy, es va convertir en l’èxit més gran de Dead or Alive.
Pete Burns va revelar que «You Spin Me Round (Like a Record)» es va inspirar en «I Wanted Your Love» de Luther Vandross i «See You ‘Round Like a Record» de Little Nell. Va combinar elements d’aquestes cançons per crear una peça nova. Burns volia que la cançó s’allunyés del so anterior de la banda i fos produïda en l’estil Hi-NRG de Stock Aitken Waterman, tot i que més tard va insistir que la cançó era simplement disco.
Burns va afirmar que la cançó ja estava completa abans de triar els productors, però Epic Records no n’estava interessada fins al punt que va haver de demanar un préstec de 2.500 lliures per finançar la seva gravació. Després de completar-la, la discogràfica la va desestimar per horrible, obligant la banda a autofinançar el vídeo musical. Les tensions eren altes a l’estudi, amb disputes entre la banda i els productors sobre el control creatiu. L’enginyer Phil Harding va recordar enfrontaments gairebé violents, mentre que el productor Mike Stock va minimitzar la fricció, qualificant alguns relats d’exagerats. Tot i això, «You Spin Me Round (Like a Record)» es va convertir en una cançó emblemàtica dels anys 80.
El vídeo musical, dirigit per Vaughan Arnell i Anthea Benton, presenta una bola de discoteca, banderes daurades onejant i una evocació de la deïtat de sis braços Vishnu.
DEAD OR ALIVE - YOU SPIN ME ROUND (LIKE A RECORD)
Released: November 5, 1984
UK: #1 (2 weeks)
“You Spin Me Round (Like a Record)” is a song by Dead or Alive from their 1985 album “Youthquake”. Released as a single in November 1984, it took 17 weeks to reach No. 1 on the UK Singles Chart in March 1985, setting a record for the slowest climb to the top. It was the first UK No. 1 hit produced by Stock Aitken Waterman. In the U.S., it peaked at No. 11 on the Billboard Hot 100. The song also topped the charts in Ireland and Canada and performed well across Europe and Australia. Written by lead singer Pete Burns along with bandmates Steve Coy, Tim Lever, and Mike Percy, it became Dead or Alive’s most successful hit.
Pete Burns revealed in his autobiography that “You Spin Me Round (Like a Record)” was inspired by Luther Vandross’s “I Wanted Your Love” and Little Nell’s “See You ’Round Like a Record”. He combined elements of these songs to create something new. Burns wanted the track to move away from the band’s earlier sound and be produced in the Hi-NRG style of Stock Aitken Waterman, though he later insisted the song was simply disco.
Burns claimed the song was already complete before producers were chosen, but Epic Records was so uninterested that he had to take out a £2,500 loan to fund its recording. After it was completed, the label dismissed it as awful, forcing the band to self-fund the music video. Tensions ran high in the studio, with disputes between the band and producers over creative control. Engineer Phil Harding recalled near-violent clashes, while producer Mike Stock downplayed the friction, calling some accounts exaggerated.
JOHN “COUGAR” MELLENCAMP - JACK & DIANE
Llançament: 24 de juliol de 1982
Posició a les llistes: EUA: #1 (4 setmanes)
“Jack & Diane” és un èxit de John Mellencamp, aleshores conegut com a John Cougar. Aquesta balada d’amor sobre una parella d’institut d’un petit poble reflexiona sobre la fugacitat de la joventut i les realitats de la classe treballadora. Inspirada en la ciutat natal de Mellencamp, Seymour (Indiana), es va convertir en el seu single més reeixit, passant quatre setmanes al número 1 del Billboard Hot 100. Mellencamp va explicar que preferia escriure sobre experiències quotidianes en lloc de grans temes polítics. Va ser llançada com el segon senzill del seu àlbum de 1982, “American Fool”.
Inicialment, “Jack & Diane” parlava d’una parella interracial, inspirada en les relacions diverses que Mellencamp havia observat durant les seves actuacions en directe. Jack era negre i Diane, blanca, però un executiu discogràfic li va suggerir que canviés la història per fer-la més accessible. Mellencamp va modificar la lletra i va convertir Jack en una estrella del futbol americà. Aquest canvi va ajudar la cançó a connectar amb un públic més ampli, especialment al Midwest dels Estats Units, on molts oients s’identificaven amb els personatges. Al llarg dels anys, molts fans han explicat a Mellencamp que “Jack & Diane” reflectia les seves pròpies vides.
El videoclip es va fer amb un pressupost mínim, ja que la discogràfica no confiava en el potencial de la cançó. El vídeo inclou fotos de l’institut i pel·lícules casolanes de Mellencamp, donant-li un to nostàlgic. Després d’acabar els vídeos de “Hurts So Good” i “Hand To Hold On To”, Mellencamp va demanar al seu equip que guardés un rodet de pel·lícula per filmar-lo cantant la cançó. El vídeo es va muntar a Los Angeles, fent servir diapositives projectades i un tècnic amb guants blancs per crear l’efecte de les palmades.
El solo de bateria es va afegir a última hora, inspirat per “In The Air Tonight” de Phil Collins. El bateria Kenny Aronoff temia ser substituït per una caixa de ritmes quan va veure un Linn LM-1 a l’estudi. Després de programar la base rítmica, li van demanar que creés un solo de bateria a l’instant. Sabent que la seva carrera estava en joc, Aronoff va improvisar el famós fragment de bateria, que va acabar sent una part essencial per convertir la cançó en un número 1.
JOHN “COUGAR” MELLENCAMP - JACK & DIANE
Released: July 24, 1982
US: #1 (4 weeks)
“Jack & Diane” is a 1982 hit by John Mellencamp, then known as John Cougar. A love ballad about a small-town high school couple, the song reflects on the fleeting nature of youth and the realities of working-class life. Inspired by Mellencamp’s hometown of Seymour, Indiana, it became his most successful single, spending four weeks at #1 on the Billboard Hot 100. Mellencamp emphasized writing about everyday experiences rather than grand political themes. It was released as the second single from his 1982 album “American Fool”.
Originally, “Jack & Diane” was about an interracial couple, inspired by the diverse relationships Mellencamp observed during his live performances. Jack was initially Black, and Diane was white, but a record executive suggested changing the story to make it more broadly relatable. Mellencamp adjusted the lyrics, making Jack a football star instead. This revision helped the song resonate with a wider audience, particularly in the Midwest, where many listeners saw themselves in the characters. Over the years, fans have often told Mellencamp that “Jack & Diane” felt like a reflection of their own lives.
The music video was an afterthought, created on a minimal budget after Mellencamp’s label didn’t initially believe in the song. The video includes Mellencamp’s high school photos and home movies, giving it a nostalgic feel. After finishing videos for “Hurts So Good” and “Hand To Hold On To”, Mellencamp asked the production team to save a roll of film to shoot him singing the song. They edited it together in LA, using projected slides and a tape operator wearing white gloves for the clapping effect.
The iconic drum break was a last-minute addition inspired by Phil Collins’ “In The Air Tonight”. Drummer Kenny Aronoff initially feared being replaced by a drum machine when he saw a Linn LM-1 in the studio. After programming the drum part for the track, he was unexpectedly called in and asked to create a drum solo on the spot. Aronoff, knowing his career was on the line, quickly came up with the now-famous drum break, which helped make the song a #1 hit.
13.2.25
LAURYN HILL - DOO WOOP (THAT THING)
Llançament: 10 d’agost de 1998
Posicions a les llistes: Estats Units: #1 (2 setmanes) Regne Unit: #3
“Doo Wop (That Thing)” és el single debut en solitari de Lauryn Hill, inclòs al seu àlbum “The Miseducation of Lauryn Hill” de 1998. Escrita i produïda íntegrament per Hill, la cançó es va llançar el 10 d’agost de 1998 a través de Ruffhouse i Columbia Records. Tot i que inicialment no estava previst un llançament comercial als Estats Units, es van distribuir edicions físiques limitades. El tema va guanyar dos premis Grammy el 1998: Millor interpretació vocal femenina de R&B i Millor cançó de R&B. L’àlbum de Hill va rebre 11 nominacions als Grammy, convertint-se en el primer àlbum de hip-hop a assolir aquesta fita, i va guanyar-ne cinc, fent d’Hill la primera artista femenina en guanyar tants premis en una sola nit.
“Doo Wop (That Thing)” va fer història debutant al número 1 del Billboard Hot 100, un fet que només s’havia aconseguit 10 vegades abans. També va ser el primer número 1 als Estats Units des de “Lost in Your Eyes” de Debbie Gibson (1989) escrit, produït i interpretat per una sola dona. Hill es va convertir en una de les poques dones que ha produït en solitari un número 1. A més, el senzill va establir rècords com el primer número 1 d’una rapera, la primera cançó de rap escrita per una dona a debutar al cim de la llista, i el primer senzill de hip-hop en solitari que debuta al número 1 (un rècord que es va mantenir fins a “Not Afraid” d’Eminem el 2010). També va ser el primer single debutant a assolir el número 1 i la tercera cançó de rap per una dona a entrar al top 10.
Hill va crear “Doo Wop (That Thing)” per desafiar la idea que les artistes femenines havien de dependre de la seva aparença física per tenir èxit. Va explicar que la seva música critica aquesta mentalitat i no pas individus específics, com Lil’ Kim. Reflexionant sobre la seva pròpia joventut, Hill va admetre que en algun moment havia buscat validació masculina, però va destacar que la maduresa porta a valorar qualitats més profundes. Per a Hill, el sexe forma part de la història, però no hauria de definir la identitat o l’art d’una dona.
La cançó s’enten com un avís sobre els perills de prioritzar el materialisme per sobre de les relacions. Hill critica tant homes com dones que posen els diners i les possessions per davant de valors com l’amor o la família. És possible que la lletra reflecteixi experiències personals d’Hill, incloent-hi la seva relació complicada amb el membre dels Fugees Wyclef Jean i el seu compromís amb Rohan Marley, fill de Bob Marley.
El videoclip, dirigit per Monty Whitebloom i Andy Delaney de Bigtv, es va filmar a Washington Heights, Nova York. Presenta un concepte de pantalla dividida amb dues Lauryn Hill: la Hill de 1967, amb roba retro que celebra el R&B i el doo-wop clàssics, i la Hill de 1998, que representa la cultura contemporània del hip-hop. El 1999, als MTV Video Music Awards, el vídeo va guanyar quatre premis: Millor vídeo femení, Millor vídeo de R&B, Millor direcció artística i Vídeo de l’any, convertint-se en el primer vídeo de hip-hop en guanyar aquest últim guardó. Hill també va ser la primera artista negra en solitari a aconseguir aquest premi.
Creat durant una pausa dels Fugees, l’àlbum “The Miseducation of Lauryn Hill” pren el títol de “The Mis-Education of the Negro” de Carter G. Woodson i de la pel·lícula “The Education of Sonny Carson”. Hill va escriure i produir la majoria de l’àlbum ella sola, explorant temes d’autoeducació en l’amor, incloent-hi relacions, conflictes, maternitat i fe. Tot i ser principalment un àlbum de neo-soul i R&B, també barreja elements de hip-hop, reggae i soul. Entre els col·laboradors convidats s’hi inclouen Carlos Santana, Mary J. Blige i D’Angelo.
LAURYN HILL - DOO WOOP (THAT THING)
Released: August 10, 1998
Charts: US: #1 (2 weeks) UK: #3
“Doo Wop (That Thing)” is Lauryn Hill’s debut solo single from her 1998 album “The Miseducation of Lauryn Hill”. Written and produced by Hill, the track was released on August 10, 1998, by Ruffhouse and Columbia Records. Although initially not planned for commercial release in the US, limited physical formats were issued later. The song won two Grammy Awards in 1998: Best Female R&B Vocal Performance and Best R&B Song. Hill’s album earned 11 Grammy nominations, the first hip-hop record to achieve this milestone, and won five, making Hill the first female artist to win that many in one night.
“Doo Wop (That Thing)” made history by debuting at number one on the Billboard Hot 100, becoming the tenth song ever to do so. It was the first US chart-topper since Debbie Gibson’s 1989 “Lost in Your Eyes” to be written, produced, and performed by one woman. Lauryn Hill also became one of only a few women to solely produce a number one hit. The track marked several milestones: the first number one single by a female rapper, the first rap single by a woman to debut at number one, and the first solo hip-hop song to debut at the top of the chart (a record held until Eminem’s “Not Afraid” in 2010). It was also the first debut single to open at number one and the third rap single by a solo woman to enter the top 10.
Lauryn Hill created “Doo Wop (That Thing)” to challenge the belief that female artists needed to rely on their physical appearance to achieve success. Hill explained that her music critiques the mindset behind that approach, not specific individuals like Lil’ Kim. Reflecting on her own teenage years, she admitted to once seeking male validation for her self-worth but emphasized that maturity leads to valuing deeper qualities. Hill argued that while sex is part of the story, it shouldn’t define a woman’s identity or artistry.
“Doo Wop (That Thing)” serves as a cautionary tale about prioritizing materialism over meaningful relationships. Lauryn Hill critiques men who value frivolous, expensive things above their partners or families. The song may draw from Hill’s personal experiences, including her complicated relationship with Fugees bandmate Wyclef Jean and her engagement to Rohan Marley, son of Bob Marley.
The music video was directed by Monty Whitebloom and Andy Delaney of Bigtv and filmed in Washington Heights, New York City. It features a split-screen concept showing two Lauryn Hills performing at a block party: the 1967 Hill in retro attire, celebrating classic R&B and doo-wop, and the 1998 Hill, representing contemporary hip-hop culture. At the 1999 MTV Video Music Awards, the video won four awards: Best Female Video, Best R&B Video, Best Art Direction, and Video of the Year, becoming the first hip-hop video to win Video of the Year. Lauryn Hill also became the first solo Black artist to win this award.
Created during the Fugees’ hiatus, the album “The Miseducation of Lauryn Hill” draws its title from “The Mis-Education of the Negro” by Carter G. Woodson and the film “The Education of Sonny Carson”. Hill wrote and produced most of the album herself. The album explores themes of self-education in love, delving into relationships, conflict, motherhood, and faith. While predominantly a neo-soul and R&B record, it blends elements of hip-hop, reggae, and soul. Guest contributors include Carlos Santana, Mary J. Blige, and D’Angelo.
