THE POLICE - FALL OUT

Llançament: 1 de maig de 1977

Posicions a les llistes: Regne Unit: #47

“Fall Out” va ser el primer senzill de la banda britànica The Police, llançat l’1 de maig de 1977 amb “Nothing Achieving” com a cara B. En aquell moment, la formació de la banda era Sting, Stewart Copeland i Henri Padovani. Més tard aquell mateix any, el guitarrista Andy Summers va substituir Padovani, completant la formació que definiria el so de la banda.

Aquest senzill no formava part de cap àlbum i inicialment no va aconseguir entrar a les llistes d’èxit. Tanmateix, quan es va re-llençar el 1979, després de l’èxit de “Message in a Bottle”, va arribar al número 47 de les llistes britàniques. Des de llavors, “Fall Out” s’ha inclòs en diversos àlbums recopilatoris i en directes, com ara “Message in a Box: The Complete Recordings” i “The Police Live”.

Escrit per Stewart Copeland amb l’ajuda lírica del seu germà Ian Copeland, el single es va gravar abans que la banda realitzés el seu primer concert en directe. Copeland descriu la lletra com a sincera, mentre que Sting considera que, malgrat la manca de sofisticació de les seves primeres cançons, aquestes eren plenes d’energia en brut. “Fall Out” reflecteix l’esperit del moviment punk de l’època amb la seva resistència a la conformitat i als convencionalismes socials.

El single es va gravar amb un pressupost de 150 lliures, prestades per Paul Mulligan, i és l’única gravació de The Police que compta amb el guitarrista original Henri Padovani. Tot i això, a causa dels nervis de Padovani durant l’enregistrament, Stewart Copeland va acabar tocant la major part de les parts de guitarra mentre que Padovani va aportar els solos.

La cançó va tenir èxit dins de l’escena punk del Regne Unit, ajudant la banda a obtenir visibilitat i signar un contracte amb A&M Records. El 1979, Miles Copeland, germà de Stewart, va crear el segell discogràfic I.R.S. Records com una filial d’A&M, que posteriorment contractaria artistes destacats dels anys 80 com The Go-Go’s, The Bangles i R.E.M.

“Fall Out” representa els inicis punk de The Police, abans que evolucionessin cap a un so més melòdic amb influències reggae, amb Sting com a principal compositor de la majoria dels seus èxits.

THE POLICE - FALL OUT

Released: May 1, 1977

Charts:  UK: #47 

“Fall Out” was the debut single by British rock band The Police, released on May 1, 1977, with “Nothing Achieving” as the B-side. At the time, the band consisted of Sting, Stewart Copeland, and Henri Padovani. Later that year, guitarist Andy Summers replaced Padovani, completing the lineup that would define the band.

The track, a non-album single, initially failed to chart but gained more attention when it was re-released in 1979, reaching No. 47 on the UK Singles Chart shortly after their hit “Message in a Bottle” topped the chart. “Fall Out” has since been included in several compilation and live albums, including Message in a Box: The Complete Recordings and The Police.

“Fall Out” was written by drummer Stewart Copeland with lyrical assistance from his brother Ian, and recorded before the band had performed live. Copeland described the lyrics as heartfelt, while Sting described the early tracks as lacking sophistication but full of raw energy, crediting Copeland’s focus and drive for the band’s inception. The track’s lyrics convey a resistance to conforming to societal trends, embodying the punk ethos of the time. 

The single was recorded on a £150 budget borrowed from Paul Mulligan and is the only Police recording featuring original guitarist Henry Padovani. Due to Padovani’s studio nerves, Copeland played most of the guitar parts, using a Gibson SG, while Padovani contributed the solos with his Jacobacci guitar. 

The song sold well within the UK punk scene, helping the Police gain traction and sign with A&M Records. In 1979, Miles Copeland, Stewart’s brother, launched I.R.S. Records as an imprint of A&M, which would go on to sign major ‘80s acts like The Go-Go’s, the Bangles, and R.E.M. While Fall Out represented their punk beginnings, the Police would later evolve into a more melodic band with reggae influences, with Sting writing most of their hits.

PHIL COLLINS - A GROOVY KIND OF LOVE

Released: August 22, 1988

Charts: UK: #1 (2 weeks)  US: #1 (2 weeks)

“A Groovy Kind of Love” is a song written by Toni Wine and Carole Bayer Sager, inspired by a melody from classical composer Muzio Clementi. The song was written in just 20 minutes in the mid-1960s when Sager was 22 years old and working as a high school English teacher, while Wine was still in high school at 17. They aimed to incorporate the word “groovy” into the title, as it was a popular slang term at the time.

The first version was recorded by the American duo Diane & Annita in 1965 under the title “Groovey Kind of Love”, but it gained major success when recorded by The Mindbenders in 1965 and later by Phil Collins, whose 1988 version became a number one hit.

Phil Collins recorded his version of “A Groovy Kind of Love” in 1988 for the soundtrack of the film “Buster”, in which he starred. Initially, Collins suggested the song for Stephen Bishop, but while filming, he proposed it as a love theme for the main character. He recorded a demo, which unexpectedly ended up being used in the film.

Co-produced with Anne Dudley (of The Art of Noise), Collins’ version slowed down the original 1965 hit by The Mindbenders, adding synths, echoing drum beats, and orchestral strings. Though the lyrics celebrate the joy of love, Collins’ melancholic delivery gives the song a bittersweet tone. The track became a number one hit, appearing on several of his compilation albums, including “…Hits”, “Love Songs: A Compilation…” “Old and New”, and “The Singles”.

When released as a single, “A Groovy Kind of Love” reached No. 1 in both the U.S. and UK, making it Phil Collins’ only song to top the charts in both countries. It was also his last UK No. 1 hit. The single was certified silver in the UK and topped the U.S. Adult Contemporary chart. It remained on the Billboard Hot 100 for 25 weeks, the longest run of any Collins single. The song also earned him a Grammy nomination for Best Pop Vocal Performance, Male in 1989.

PETER GABRIEL - SLEDGEHAMMER

Llançament: 14 d’abril de 1986

Posició a les llistes: EUA: #1 (1 setmana) | Regne Unit: #4

“Sledgehammer” és una cançó de Peter Gabriel, publicada com a single principal del seu àlbum “So”. Produïda per Gabriel i Daniel Lanois, es va convertir en el seu major èxit comercial, arribant al número 1 del Billboard Hot 100 als Estats Units i al Canadà, i assolint el número 4 al Regne Unit. L’èxit de la cançó es va veure impulsat pel seu innovador videoclip, que va guanyar nou premis als MTV Video Music Awards del 1987—un rècord en aquell moment—i el premi a Millor Vídeo Britànic als Brit Awards. A més, Gabriel va rebre tres nominacions als Grammy: Millor Interpretació Vocal de Rock Masculina, Disc de l’Any i Cançó de l’Any.

“Sledgehammer” està fortament influenciada per la música soul dels anys 60 que Gabriel escoltava de jove, en especial Otis Redding, a qui va veure actuar a Londres el 1967. La secció de vents va ser interpretada pels llegendaris Memphis Horns, consolidant aquest so. Tot i algunes crítiques que l’acusaven de copiar Phil Collins—que en aquell moment feia servir seccions de vents en èxits com “Easy Lover” i “Sussudio”—Gabriel va defensar-se dient que ell havia influït més en Collins que no pas a l’inrevés, en referència als seus anys junts a Genesis.

La lletra de “Sledgehammer” està plena d’al·lusions sexuals, amb símbols fàl·lics com el tren, els autos de xoc i la muntanya russa (big dipper). Gabriel va explicar que aquesta mena de metàfores eren habituals en la música blues, un dels seus referents, i que el sexe pot ajudar a trencar barreres de comunicació. Algunes parts de la lletra també estan inspirades en Friedrich Nietzsche, concretament en la seva idea que un bon llibre hauria d’impactar com “an ax in a frozen sea“ (una destral en un mar glaçat).

El videoclip de “Sledgehammer” va ser dirigit per Stephen R. Johnson i va utilitzar stop-motion i claymation (animació amb plastilina). Johnson havia treballat anteriorment en “Road to Nowhere” de Talking Heads, i tot i que inicialment no li agradava la cançó, va acceptar el projecte quan la discogràfica de Gabriel va veure el seu treball. L’equip d’animació incloïa els germans Quay i Nick Park d’Aardman Animations (creadors de Wallace & Gromit).

Gabriel va haver de suportar un rodatge extremadament exigent, passant 16 hores estirat sota un vidre mentre es filmava un fotograma rere l’altre. Una de les seqüències més icòniques mostrava núvols pintats a mà sobre la seva cara, creant la il·lusió de moviment. Altres moments destacats incloïen dos pollastres decapitats animats en stop-motion i una escena final on diversos actors—incloses les filles de Gabriel—giraven al seu voltant amb un moviment surrealista. L’última escena simbolitzava el cicle de la vida, des de la fecundació fins a Gabriel flotant cap a l’univers.

Els reptes tècnics van ser nombrosos: per exemple, el vestit lluminós de Gabriel generava corrent elèctric, i l’equip va haver de cobrir-lo amb cinta reflectant per evitar descàrregues. L’animació dels pollastres va haver de simplificar-se perquè els models reals que havien servit com a referència es van fer malbé massa ràpidament. En total, es van necessitar 100 hores de rodatge, amb cada segon de vídeo requerint 25 posicions diferents de Gabriel. Parlant sobre l’experiència, ell mateix va comentar: “Si algú vol intentar copiar aquest vídeo, li desitjo molta sort.”

“Sledgehammer” es va convertir en l’únic número 1 de Peter Gabriel als Estats Units, assolint el cim el 26 de juliol de 1986. Curiosament, la setmana anterior, la seva antiga banda Genesis havia arribat al número 1 amb “Invisible Touch”, mentre “Sledgehammer” estava al número 2. Quan Gabriel va pujar al primer lloc, Genesis va baixar al tercer, creant una simbòlica transició entre l’excantant i el grup que havia deixat enrere.

PETER GABRIEL - SLEDGEHAMMER

Released: April 14, 1986

Charts:  US: #1 (1 week)   UK: #4 

“Sledgehammer” is a song by Peter Gabriel, released in April 1986 as the lead single from his album “So”. Produced by Gabriel and Daniel Lanois, it became his biggest hit, reaching No. 1 on the Billboard Hot 100 in the U.S. and No. 1 in Canada, while peaking at No. 4 in the UK. The song’s success was bolstered by its groundbreaking music video, which won a record nine MTV Video Music Awards in 1987 and Best British Video at the Brit Awards. Gabriel was also nominated for three Grammy Awards, including Best Male Rock Vocal Performance, Record of the Year, and Song of the Year.

“Sledgehammer” was influenced by the ‘60s soul music Gabriel loved as a teenager, particularly Otis Redding, whom he saw perform in London in 1967. The song’s prominent horn section, played by the legendary Memphis Horns, reflected this style. Some critics accused Gabriel of copying Phil Collins, who was using horns in hits like “Easy Lover” and “Sussudio” to gain mainstream success, but Gabriel dismissed this, stating that he was more of an influence on Collins, his former Genesis bandmate, rather than the other way around.

“Sledgehammer” is a song about sex, filled with phallic symbols like the train, bumper cars, and big dipper. This kind of innuendo was common in the blues music that influenced Gabriel. He explained that sometimes sex can break through communication barriers. Some lyrics were also inspired by Friedrich Nietzsche’s idea that a good book should break through like “an ax in a frozen sea.”

The groundbreaking video for Sledgehammer was directed by Stephen R. Johnson and used stop-motion claymation. Johnson had previously worked on Talking Heads’ “Road to Nowhere” and was brought in after Peter Gabriel’s record company saw his work. Despite initially disliking the song, Johnson assembled a team of animators, including the Quay Brothers and Nick Park of Aardman Animations.

Gabriel endured a grueling shoot, lying under a sheet of glass for 16 hours while filming one frame at a time. A key sequence featured clouds painted frame-by-frame across his face to create the illusion of movement. Other innovative moments included two dead, headless chickens animated in stop motion and a finale where extras—including Gabriel’s daughters—rotated around him in a jerky, surreal motion. The final shot metaphorically depicted the journey of life, starting with fertilization and ending with Gabriel floating into the cosmos.

Technical challenges included electrical current running through Gabriel’s lighted suit, which was resolved by covering him and the set in Scotchlite tape. The video’s ambitious ideas often exceeded its budget and timeline—originally, the dancing chickens were meant to perform more complex moves, but the real chickens used for modeling spoiled too quickly. A total of 100 hours went into shooting the video, with each second requiring 25 different poses from Gabriel. Reflecting on the process, Gabriel remarked, “If anyone wants to try and copy this video, good luck to them.”

“Sledgehammer” became his first and only #1 hit on the Billboard Hot 100 in the U.S., reaching the top on July 26, 1986. The week before, his former band Genesis had been at #1 with “Invisible Touch”, while “Sledgehammer” was at #2. When Gabriel claimed the top spot, Genesis dropped to #3, making for a rare and poetic chart transition between a former lead singer and his old band.

 

PHIL COLLINS - AGAINST ALL ODDS (TAKE A LOOK AT ME NOW)

Llançament: febrer de 1984

Posició a les llistes: Regne Unit: #2 | EUA: #1 (3 setmanes)

“Against All Odds (Take a Look at Me Now)” és una balada de Phil Collins, gravada per a la banda sonora de la pel·lícula “Against All Odds” de 1984. La lletra expressa el desig per un antic amor, malgrat les mínimes possibilitats de reconciliació. Va esdevenir el primer número 1 de Collins als Estats Units, i també va liderar les llistes al Canadà, Irlanda i Noruega, mentre que al Regne Unit va arribar al #2. La cançó va guanyar el Grammy de 1984 a la Millor Interpretació Vocal Pop i va ser nominada a l’Oscar a la Millor Cançó Original, tot i que va perdre davant “I Just Called to Say I Love You” de Stevie Wonder. Collins acabaria guanyant un Oscar el 1999 per “You’ll Be in My Heart” de “Tarzan”.

El director Taylor Hackford va demanar a Phil Collins que compongués una cançó per a la pel·lícula “Against All Odds”. Collins va decidir adaptar una cançó inèdita de les sessions de “Face Value” anomenada “How Can You Sit There”. Inicialment, Collins no la considerava rellevant, però la va recuperar després de la petició de Hackford. El director buscava una cançó que capturés l’emoció del film i va escollir Collins pel seu timbre vocal. La peça es va adaptar específicament per encaixar amb la pel·lícula i sona durant els crèdits finals.

Collins va escriure “Against All Odds” durant el traumàtic divorci de la seva primera esposa, utilitzant la música com una manera d’expressar el seu dolor. Va confessar que, sense aquestes experiències personals, potser mai hauria començat una carrera en solitari i hauria fet un disc de jazz/rock en lloc d’un àlbum pop. Originalment, la cançó era una peça molt íntima, però la va adaptar per a la pel·lícula per motius econòmics, una decisió que va reconèixer obertament. En una entrevista a Rolling Stone el 2016, Collins va recordar amb humor que el que més li havia quedat de la pel·lícula era l’aparença de Rachel Ward, específicament la seva pitrera, tot i que també va expressar la seva admiració per Jeff Bridges.

PHIL COLLINS - AGAINST ALL ODDS (TAKE A LOOK AT ME NOW)

Released: February 1984

Charts: UK: #2   US: #1 (3 weeks)

Against All Odds (Take a Look at Me Now) is a power ballad by Phil Collins, recorded for the 1984 film of the same name. The song’s lyrics express longing for an ex-lover despite the slim chances of reconciliation. It became Collins’ first U.S. No. 1 hit and also topped the charts in Canada, Ireland, and Norway, while reaching No. 2 in the U.K. The song won Collins the 1984 Grammy Award for Best Pop Vocal Performance and was nominated for an Oscar for Best Original Song, though it lost to Stevie Wonder’s “I Just Called to Say I Love You”. Collins later won an Oscar in 1999 for “You’ll Be in My Heart” from Tarzan.

Director Taylor Hackford asked Phil Collins to write a song for the film “Against All Odds”, leading Collins to adapt an unreleased song from his “Face Value” sessions called “How Can You Sit There”. Collins initially overlooked the song but revisited it after Hackford’s request. Hackford, who wanted a theme song that captured the film’s emotions, chose Collins for his distinctive voice. The song was specifically tailored to fit the movie and plays during the closing credits.

Phil Collins wrote ‘Against All Odds” during the emotional turmoil of his first divorce, using music as an outlet for his pain. He explained that without those personal struggles, he might never have pursued a solo career or would have made a jazz/rock album instead. The song was originally a personal piece before being adapted for the film, a decision Collins later admitted was financially motivated. In a 2016 Rolling Stone interview, he jokingly recalled that his main memory of the movie was Rachel Ward’s appearance, while also expressing his admiration for Jeff Bridges.