AC/DC - FOR THOSE ABOUT TO ROCK (WE SALUTE YOU)

Llançament: juny de 1982

Àlbum: For Those About to Rock

“For Those About to Rock (We Salute You)” és la cançó que dona títol a l’àlbum d’AC/DC de 1981, el qual va seguir l’èxit massiu de “Back in Black”. Llançada com a senzill el 1982, es va convertir en un dels himnes més emblemàtics de la banda. A diferència de “Back in Black”, que mai va arribar al #1 als Estats Units, “For Those About to Rock” sí que ho va fer, marcant una fita important en la carrera d’AC/DC. La cara B del senzill incloïa una versió en directe de “Let There Be Rock”, enregistrada a Maryland el 1981, on també es va filmar el videoclip.

El títol “For Those About to Rock (We Salute You)” està inspirat en la frase “Per als que estan a punt de morir, us saludem”, que segons es diu els gladiadors romans pronunciaven abans de la batalla. Angus Young va treure la idea d’un llibre que li va regalar Bon Scott sobre els jocs de gladiadors romans. Tot i que Young recordava el llibre com For Those About to Die We Salute You de Robert Graves, probablement es referia a Those About to Die de Daniel Mannix. El títol fa referència als saluts dels gladiadors, mentre que la lletra de Brian Johnson inclou un doble sentit enginyós: “Pick up your balls and load your cannon” (“Aixequeu les vostres pilotes i carregueu el canó”). Aquesta cançó segueix la tradició d’AC/DC d’incorporar la paraula “rock” a frases conegudes, com ja havien fet amb l’àlbum de 1977 “Let There Be Rock”, inspirat en la frase bíblica “Que es faci la llum” (Let there be light).

AC/DC va tenir la idea d’utilitzar canons a “For Those About to Rock (We Salute You)” mentre assajaven a París i van veure per televisió el casament del príncep Carles i Lady Diana, que anava acompanyat de foc de canons cerimonial. Inspirats per això, van incorporar dos canons als seus concerts, de manera similar a com havien introduït una campana gegant per a “Hells Bells”. Inicialment, van provar amb 21 canons més petits, però generaven massa espurnes. Amb el temps, la cançó es va convertir en el tancament tradicional dels concerts d’AC/DC, ja que l’espectacle dels canons disparant feia que fos impossible seguir amb una altra cançó.

AC/DC - FOR THOSE ABOUT TO ROCK (WE SALUTE YOU)

Released: June 1982

Album: For Those About to Rock

“For Those About to Rock (We Salute You)” is the title track from AC/DC’s 1981 album, which followed the massively successful Back in Black. Released as a single in 1982, it became one of the band’s signature anthems. Unlike Back in Black, which never reached #1 on the US charts, For Those About to Rock did, marking a major milestone for AC/DC. The single’s B-side featured a live version of “Let There Be Rock,” recorded in Maryland in 1981, where the music video was also filmed.

The title “For Those About to Rock (We Salute You)” is inspired by the phrase “For those about to die, we salute you,” which Roman gladiators reportedly said before battle. AC/DC guitarist Angus Young got the idea from a book that Bon Scott gave him about ancient Roman gladiator games. Though Young recalled the book as For Those About To Die We Salute You by Robert Graves, it was more likely Those About to Die by Daniel Mannix. Its title nods to Roman gladiator salutes, while Brian Johnson’s lyrics include a cheeky double entendre: “Pick up your balls and load your cannon.” This song follows AC/DC’s tradition of incorporating “rock” into well-known phrases, similar to their 1977 album “Let There Be Rock”, inspired by the biblical phrase “Let there be light.”

AC/DC got the idea to use cannons in “For Those About to Rock (We Salute You)” while rehearsing in Paris, where they saw Prince Charles and Lady Diana’s wedding on TV, accompanied by celebratory cannon fire. Inspired, they incorporated two cannons into their live performances, similar to how they had previously used a giant bell for “Hells Bells.” The stage cannons evolved from an initial 21 smaller ones, which produced excessive sparks. The song became AC/DC’s traditional concert closer, as the spectacle of firing cannons made it nearly impossible to follow. 

PHIL COLLINS - I WISH IT WOULD RAIN DOWN

Released:  January 15, 1990

Charts: UK: #7   US: #3 

“I Wish It Would Rain Down” is a song from Phil Collins’ 1989 album “…But Seriously”, featuring lead guitar by Eric Clapton and a gospel choir. The song became a major hit in early 1990, reaching No. 7 in the UK, No. 3 in the US, and No. 1 in Canada, where it was the most successful song of the year. Collins, who had collaborated with Clapton on previous albums, saw this as his closest attempt at writing a blues song. Lyrically, it reflects on a lost relationship, with the singer longing for reconciliation despite knowing it’s unlikely.

The music video is an 8:30-minute black-and-white production directed by Jim Yukich, with a 2:30-minute comedic introduction. Set in a 1930s theater, it parodies “Gone with the Wind” and features actor Jeffrey Tambor as a demanding director. The scene opens with dancers rehearsing to “Sunshine of Your Love” by Cream, with Eric Clapton seated on a stool.

An in-joke references Collins’ transition from drummer to singer in Genesis when Clapton notes that “Billy” (played by Collins) used to be a drummer before taking on lead vocals. Collins’ backing band members appear in non-speaking roles, including drummer Chester Thompson and bassist Leland Sklar. Collins is reluctantly cast in a play after the lead actor falls ill. When Tambor’s character criticizes his acting, Collins responds, “I never said I could act, he said I could sing.” The director then tells him to play the song, leading into the performance. As Collins sings, his character imagines himself as a major stage and film star.

TUBEWAY ARMY - ARE FRIENDS ELECTRIC?

Llançament: 4 de maig de 1979

Regne Unit: #1 (4 setmanes)

“Are ‘Friends’ Electric?” és una cançó de la banda anglesa Tubeway Army, escrita i produïda per Gary Numan. Es va publicar a l’àlbum de 1979 “Replicas”, que va significar la transició de Numan cap a la seva carrera en solitari, tot i que la discogràfica va insistir que el crèdit continués a nom del grup. Aquest va ser l’últim senzill de Tubeway Army abans de la seva dissolució. A partir del seu tercer àlbum, “The Pleasure Principle”, Gary Numan ja seria reconegut oficialment com a artista en solitari.

La lletra de Numan es basava en un relat curt que ell mateix havia escrit sobre un home que contracta una prostituta i descobreix que és un androide. La cançó va sorgir de la combinació de dues peces inacabades, i un error crucial—una nota equivocada—va acabar definint el seu so. Gary Numan, que té la síndrome d’Asperger, sovint explora temes de desconnexió i tecnologia en la seva música. En una entrevista, va revelar que la cançó parla d’una prostituta robot, un concepte prou ambigu per esquivar la censura. Segons ell, si la BBC hagués entès el significat real, probablement no l’haurien programat ni l’haurien deixat actuar a Top of the Pops.

Inicialment, la cançó va rebre crítiques pel seu so electrònic, poc acceptat a l’època. Tanmateix, el públic la va acceptar abans que la premsa, i va arribar al número 1 al Regne Unit durant quatre setmanes. Numan recorda que les emissores de ràdio no van començar a programar-la fins a la seva tercera setmana al cim de les llistes, fet que demostra la resistència inicial dels mitjans convencionals. Tot i la seva inusual estructura —sense una tornada clara i sense ritme ballable—, la cançó es va convertir en un moment clau per a la música electrònica.

Si bé va ser un èxit al Regne Unit, “Are ‘Friends’ Electric?” no va tenir gaire impacte als Estats Units, on Numan és més conegut per “Cars”. Ell ha admès que no es preocupa gaire per la seva manca d’èxit als EUA, ja que el que més valora és el procés de crear música. Tot i algunes frustracions, està agraït per l’èxit assolit al Regne Unit i altres països, que li ha permès mantenir la seva carrera durant dècades.

Numan tenia aspiracions modestes al començament, només volia omplir la sala Marquee de Londres, però l’èxit d’aquesta cançó va ajudar a impulsar la música electrònica cap al corrent principal. Mirant enrere, se sent orgullós d’haver contribuït a l’evolució del gènere i de veure com la tecnologia ha influït en la música moderna.

TUBEWAY ARMY - ARE FRIENDS ELECTRIC?

Released: May 4, 1979

UK: #1 (4 wks)

“Are ‘Friends’ Electric?” is a song by the English band Tubeway Army, written and produced by Gary Numan. It was released on the 1979 album “Replicas”, which marked Numan’s transition to a solo career despite being credited to the band at the record label’s insistence. This was Tubeway Army’s final single before their breakup. By Numan’s third album, “The Pleasure Principle”, he was officially recognized as a solo artist.

Gary Numan’s lyrics were based on a short story he had written about a man who hires a prostitute, only to find she is an android. The track was created by combining two unfinished songs, with a crucial mistake—a wrong note—helping to define its unique sound. Gary Numan, who has Asperger’s Syndrome, often explores these ideas in his music. In an interview, he revealed that the song is about a robot prostitute, a concept that was obscure enough to avoid censorship. Had the BBC realized its true meaning, they likely wouldn’t have played it or allowed Numan to perform on Top of the Pops.

The song faced criticism due to its electronic sound, which wasn’t widely accepted at the time. However, the public embraced it before the media, and it topped the UK charts for four weeks. Gary Numan recalled that radio stations only began to playlist the track in its third week at #1, highlighting the initial resistance from mainstream outlets. Despite this skepticism, the track became a defining moment for electronic music, even though it lacked a traditional chorus and wasn’t danceable. 

This was a hit in the UK but failed to gain much attention in the US, where Gary Numan remains best known for “Cars”. Numan has stated that he doesn’t dwell on the lack of American success, as he primarily enjoys the process of making music. While he acknowledges some frustration, he is grateful for his success in the UK and other countries, which has allowed him to sustain his career. 

Numan initially had modest ambitions, aiming only to sell out the Marquee club, but the song’s success helped push electronic music into the mainstream. Looking back, he’s proud to have contributed to the genre’s evolution, seeing how technology has shaped modern music.

10cc - DREADLOCK HOLIDAY

Llançament: Juliol de 1978

Llistes: Regne Unit: #1 (1 setmana)

“Dreadlock Holiday” és una cançó de reggae de 10cc, escrita per Eric Stewart i Graham Gouldman. Llançada com el primer senzill del seu àlbum “Bloody Tourists”, va arribar al número 1 en diverses llistes internacionals i es va convertir en el tercer número 1 i últim èxit al Top 10 del grup al Regne Unit.

La cançó narra la història d’un home blanc que es perd a Jamaica i és estafat repetidament, incloent-hi per una prostituta i una banda que li roba una medalla. Es va inspirar en una experiència real que Eric Stewart i Justin Hayward dels Moody Blues van viure mentre feien parasailing a Barbados. Mentre Stewart estava en l’aire, Hayward es va quedar en una balsa amb tres homes, un dels quals va fer broma sobre tallar-li la mà per robar-li una cadena de plata. Sentint-se incòmode, Hayward va marxar immediatament. Quan Stewart li va explicar la història a Gouldman, van decidir transformar-la en una cançó.

La lletra prové de diverses influències. La frase “Don’t you walk through my words”(No passegis per les meves paraules) ve d’una anècdota sobre un DJ de Newcastle, que va ser advertit després d’interrompre una conversa de grup. La frase més famosa, “I don’t like cricket, I love it” (No m’agrada el cricket, m’encanta), es basa en una conversa que Gouldman va tenir amb un home jamaicà que expressava apassionadament el seu amor pel cricket. En una entrevista del 2025, Gouldman va reconèixer que, tot i la bona acollida de la cançó, reformularia algunes frases si l’escrivís avui per evitar perpetuar estereotips.

“Dreadlock Holiday” va ser un gran èxit al Regne Unit, però va fracassar als Estats Units, on segueix sent relativament desconeguda. Un dels motius principals va ser la reticència de les ràdios americanes de rock a emetre cançons amb influència reggae. Gouldman es va mostrar frustrat per aquesta actitud, recordant que una emissora es va negar a reproduir-la només perquè era reggae. Va criticar aquesta mentalitat, defensant que la bona música hauria de ser apreciada independentment del seu gènere.

10cc - DREADLOCK HOLIDAY

Released: July 1978

UK: #1 ( 1 week) 

“Dreadlock Holiday” is a reggae song by 10cc, written by Eric Stewart and Graham Gouldman. Released as the lead single from their 1978 album Bloody Tourists, it became a number-one hit in several countries and was the band’s third number one and final UK top 10 hit.

The song tells the story of a white man who gets lost in Jamaica and is repeatedly scammed, including by a prostitute and a gang that steals his medal. It was inspired by a real-life experience that Eric Stewart and Justin Hayward had while parasailing in Barbados. While Stewart was airborne, Hayward was left on a raft with three men, one of whom jokingly threatened to cut off his hand for a silver chain. Feeling uneasy, Hayward quickly left the raft, and Stewart later recounted the story to Graham Gouldman, leading to the creation of the song.

The lyrics were influenced by various sources. The phrase “Don’t you walk through my words” came from a story about a Newcastle DJ who was warned after interrupting a group conversation. The famous line “I don’t like cricket, I love it” was inspired by a conversation Gouldman had with a Jamaican man who passionately expressed his love for the sport. In a 2025 interview, Gouldman addressed concerns that the lyrics perpetuate Caribbean stereotypes, stating that while people from the region had reacted positively to the song, he acknowledged that he would phrase some lines differently if writing them today.

“Dreadlock Holiday” was a major hit in the UK but failed to gain traction in the US, where it remains relatively unknown. A key reason for this was the reluctance of American rock radio stations to play reggae-influenced songs. Graham Gouldman expressed frustration over this, recalling that one station outright refused to play the track simply because it was reggae. He criticized this mindset, emphasizing that good music should be played regardless of genre.

AC/DC - BACK IN BLACK

Llançament: desembre de 1980

Àlbum: Back in Black

“Back in Black” és una cançó de la banda australiana de rock AC/DC, llançada el 1980 com el segon single als Estats Units del seu setè àlbum, “Back in Black”. Va arribar al #37 del Billboard Hot 100 el 1981 i més tard va entrar a les llistes d’Austràlia (#65) i el Regne Unit (#27) el 2012. L’àlbum “Back in Black” és el disc més venut d’AC/DC, amb més de 19 milions de còpies venudes als EUA i 40 milions arreu del món, convertint-se en un dels àlbums més venuts de tots els temps.

Es va publicar cinc mesos després de la mort del cantant Bon Scott, el febrer de 1980, com a tribut a ell. La lletra, amb versos com “Forget the hearse ’cause I never die” (“Oblideu el cotxe fúnebre perquè jo mai moro”), suggereix que el llegat de Scott perdura a través de la seva música. Brian Johnson, antic membre de Geordie, el va substituir i va debutar amb aquest tema, demostrant que AC/DC podia continuar sense el seu vocalista original.

El títol ja estava decidit abans d’escriure la cançó, i Malcolm Young feia anys que tenia el riff principal. La portada de l’àlbum va ser negra en homenatge a Scott, però la banda volia que la cançó fos una celebració, no una balada trista. Johnson va escriure la lletra amb llibertat, capturant l’esperit rebel de Scott. La cançó es va convertir en una de les més emblemàtiques d’AC/DC, ajudant a consolidar Johnson com la nova veu de la banda.

“Back in Black” és sovint considerada una de les millors cançons d’AC/DC, rivalitzant fins i tot amb “Highway to Hell”. La seva genialitat rau en la seva simplicitat i detalls, com la baixada en espiral després del primer riff i les petites pauses musicals després del segon. Com passa amb les millors cançons d’AC/DC, utilitza l’espai sonor amb mestria, deixant que cada matís brilli amb força.

AC/DC - BACK IN BLACK

Released: December 1980

Album: Back in Black

“Back in Black” is a song by Australian rock band AC/DC, released in 1980 as the second US single from their seventh album of the same name. It peaked at #37 on the Billboard Hot 100 in 1981 and later charted in Australia (#65) and the UK (#27) in 2012. The album “Back in Black” is AC/DC’s best-selling record, with over 19 million copies sold in the US and 40 million worldwide, making it one of the best-selling albums of all time.

It was released five months after the death of lead singer, Bon Scott, who died in February 1980, as a tribute to him. The lyrics, including “Forget the hearse ’cause I never die,” suggest that Scott’s legacy lives on through his music. Brian Johnson, formerly of Geordie, replaced Scott and made a strong debut with this song, proving AC/DC could continue without their original frontman.

The title was chosen before the song was written, with Malcolm Young already having the main guitar riff from years earlier. The album cover was black as a tribute to Scott, but the band wanted the song to be a celebration rather than a mournful ballad. Johnson wrote the lyrics freely, capturing Scott’s rebellious spirit. The track became one of AC/DC’s most iconic songs, helping establish Johnson as the band’s new voice.

“Back in Black” is often considered one of AC/DC’s greatest riffs, rivaling even “Highway to Hell”. Its brilliance lies in its simplicity and detail—the descending spiral after the first pass, the subtle musical hiccups after the second. Like the best AC/DC songs, it uses space effectively, letting every nuance shine.