“Pleasant Valley Sunday,” written by Gerry Goffin and Carole King, was inspired by suburban life in West Orange, New Jersey. Recorded by the Monkees in 1967, the single became one of their biggest hits, reaching No. 3 on the charts and appearing on their fourth album, “Pisces, Aquarius, Capricorn & Jones Ltd”.
Carole King revealed that “Pleasant Valley Sunday” was inspired by her and Gerry Goffin’s move to suburban West Orange, New Jersey, where Goffin grew disillusioned with the conformity and materialism of suburban life. His lyrics critique status-seeking, boredom, and societal pressure, making the song a sharp social commentary. Scholars have linked it to the New Left and 1960s counterculture, while Michael Nesmith humorously claimed it was about a mental institution.
The Monkees mostly played their own instruments on “Pleasant Valley Sunday,” with Peter Tork on piano and Mike Nesmith performing the iconic opening guitar riff. Producer Chip Douglas, formerly of The Turtles, created the riff—based on The Beatles’ “I Want to Tell You”—and taught it to Nesmith, who overdubbed it twice. Vocals were handled in unison by Nesmith and drummer Micky Dolenz, creating a distinctive blend of contrasting tones that Peter Tork later praised as a unique melding of their voices.
STEVE MILLER BAND - ABRACADABRA
Publicada: maig de 1982
EUA: núm. 1 (2 setmanes)
“Abracadabra” és una cançó del grup de rock nord-americà Steve Miller Band, escrita pel mateix Steve Miller. Va ser llançada com a primer single del seu àlbum del mateix nom l’any 1982. El tema va arribar al número 1 del Billboard Hot 100 durant dues setmanes i va assolir el número 2 al Regne Unit.
Va ser el major èxit de la carrera del grup i, alhora, la seva última entrada al Top 40 dels EUA. Malgrat l’èxit de la cançó, el grup va tenir dificultats per omplir grans recintes a mesura que les tendències musicals es desplaçaven cap al punk, la new wave i el glam metal. Steve Miller va reflexionar més tard sobre aquest període, reconeixent que molts els veien com un “grup dinosaure”. Després d’una pausa de sis anys sense fer gires, Miller va tornar als escenaris l’any 1988, identificat amb el seu estatus de llegenda del rock clàssic i tornant a atreure grans audiències. Des de llavors, ha mantingut una activitat constant, amb una mitjana de 50 concerts a l’any.
“Abracadabra” és una cançó d’amor que utilitza la màgia com a metàfora de l’atracció intensa. La lletra transmet una sensació d’encantament, amb una tornada que evoca un encanteri per expressar el desig físic. Frases com “I heat up, I can’t cool down” (“m’escalfo, no em puc refredar”) destaquen la passió i l’impuls incontrolable dels sentiments del cantant.
El videoclip va ser el primer de Steve Miller, creat per adaptar-se a l’auge de MTV l’any 1982. Com que Miller mantenia un perfil discret, el vídeo es va centrar en el tema de la màgia, amb mags fent trucs. El mateix Miller hi apareix d’incògnit, amb ulleres de sol i movent-se a càmera lenta mentre toca la guitarra. Dirigit per Peter Conn, va ser un dels primers vídeos musicals a incorporar efectes per ordinador.
STEVE MILLER BAND - ABRACADABRA
Released : May 1982
US: #1 (2 weeks)
"Abracadabra" is a song by American rock group the Steve Miller Band, written by Steve Miller. It was released as the first single from the 1982 album of the same name. The single topped the Billboard Hot 100 for two weeks and peaked #2 in the UK.
It was the Steve Miller Band’s biggest hit and their last US Top 40 entry, reaching #1 in 1982. Despite the song’s success, the band struggled to fill arenas as musical trends shifted toward punk, new wave, and glam metal. Steve Miller later reflected on this period, acknowledging that they were seen as a “dinosaur group.” After a six-year hiatus from touring, he returned in 1988, embracing his status as a classic rock act and consistently drawing large crowds again. Since then, Miller has maintained a steady touring schedule, performing around 50 shows a year.
“Abracadabra” is a playful love song that uses magic as a metaphor for intense attraction. The lyrics convey the singer’s sense of enchantment, with the chorus mimicking a magic spell to emphasize their desire for physical connection. The song describes the overwhelming emotions and physical sensations the singer experiences, portraying them as being completely under their lover’s spell. Lines like “I heat up, I can’t cool down” highlight the passionate and uncontrollable nature of their feelings.
The music video was Steve Miller’s first, created to adapt to the rise of MTV in 1982. Since Miller was a low-profile frontman, the video leaned into the song’s magic theme, featuring magicians performing tricks. Miller himself appears incognito, wearing sunglasses and moving in slow motion while playing guitar. Directed by Peter Conn, the video was one of the first to incorporate computer effects.
8.5.25
THE MONKEES - LAST TRAIN TO CLARKSVILLE
Released: August 16, 1966
Charts: US: #1 (1 week) UK: #23
“Last Train to Clarksville” was the Monkees’ debut single, released on August 16, 1966, and later included on their self-titled album. Written by Tommy Boyce and Bobby Hart, the song was recorded in July 1966 and reached No. 1 on the Billboard Hot 100 by November 5. Micky Dolenz provided lead vocals. The song gained popularity after being featured in multiple episodes of the Monkees’ TV show, eventually becoming a major hit as the show gained traction.
“Last Train to Clarksville” was subtly written as a protest against the Vietnam War. Songwriters Tommy Boyce and Bobby Hart crafted the song to reflect the story of a man being drafted, heading to an army base, and uncertain if he’ll return—hinted at in the lyric, “I don’t know if I’m ever coming home.” Because of the Monkees’ mainstream pop image, the anti-war message had to be disguised. The name “Clarksville” was chosen for its sound, though coincidentally, there is a military base near Clarksville, Tennessee, aligning perfectly with the theme. The song features lyrical dissonance, with its upbeat, danceable tempo contrasting the somber subject matter. Session bassist Carol Kaye noted that maintaining the brisk tempo was crucial for danceability, which made the emotional weight of the lyrics less apparent in the song’s energetic delivery.
Bobby Hart was inspired to write “Last Train to Clarksville” after mistakenly hearing The Beatles’ “Paperback Writer” lyric as “Take the last train.” Realizing his error, he used the misheard line to craft the Monkees’ debut single. Aware that the Monkees’ TV show was modeled after The Beatles’ A Hard Day’s Night, Hart intentionally echoed their style by including a catchy guitar riff and the “Oh No-No-No” vocal line, a nod to the Beatles’ iconic “Yeah Yeah Yeah.” Micky Dolenz was the only Monkee to perform on the track, as the group was initially cast more for TV appeal than musical skill.
GARY NUMAN - CARS
Publicada: 21 d’agost de 1979
Regne Unit: núm. 1 (1 setmana)
“Cars” és el single debut en solitari de Gary Numan, extret del seu àlbum “The Pleasure Principle” de 1979. La cançó es va convertir en un gran èxit, encapçalant les llistes a diversos països i consolidant Numan com un pioner del synth-pop.
La lletra reflexiona sobre com les persones utilitzen la tecnologia i les possessions materials per aïllar-se dels altres. Numan, que més endavant revelaria que té síndrome d’Asperger, sempre havia tingut dificultats socials i va trobar la inspiració per a la cançó després d’un incident de ràbia al volant, on va percebre el seu cotxe com una mena de closca protectora dins la societat moderna. Irònicament, malgrat el seu missatge anti-materialista, “Cars” va ser utilitzada en anuncis de Nissan, Oldsmobile i fins i tot en una publicitat de DieHard, on Numan tocava la cançó amb 24 clàxons de cotxe alimentats per una sola bateria.
El seu nom artístic prové d’una empresa de fontaneria (Neumann Kitchen Appliances); Numan buscava un cognom de dues síl·labes que sonés millor que el seu veritable cognom, Webb.
El videoclip de “Cars” es va convertir en un clàssic de MTV quan la cadena es va llançar el 1981, cosa que va ajudar a augmentar la popularitat de la cançó als Estats Units.
GARY NUMAN - CARS
Released: August 21, 1979
UK: #1 (1 wk)
“Cars” is the debut solo single by Gary Numan, released from his 1979 album The Pleasure Principle. It became a major hit, topping charts in several countries and establishing Numan as a pioneer of synth-pop.
The song explores how people use technology and material possessions to isolate themselves from human interaction. Numan, who later revealed he has Asperger syndrome, struggled with social interactions and found inspiration for the song after a road rage incident where he viewed his car as a protective shell in modern society. Despite its anti-materialistic message, the song was used in commercials for Nissan and Oldsmobile, and in a DieHard ad featuring Numan playing the song on 24 car horns powered by one battery.
Numan adopted his stage name from a plumbing company (Neumann Kitchen Appliances) after searching for a cooler-sounding two-syllable surname than his real name, Webb.
The music video became a staple on MTV when it launched in 1981, helping the song gain popularity in the United States.
6.5.25
AC/DC - HELL’S BELLS
Publicada: 31 d’octubre de 1980
Àlbum: Back in Black
“Hells Bells” és la cançó que obre “Back in Black”, l’àlbum de retorn d’AC/DC de 1980 després de la tràgica mort del cantant Bon Scott. Publicada com a segon senzill el 31 d’octubre de 1980, la cançó va establir el to d’aquesta nova etapa amb Brian Johnson com a nou vocalista.
La cançó comença de manera ominosa amb el so d’una campana fúnebre, que sona quatre vegades abans que entri el cèlebre riff de guitarra. En total, la campana toca tretze vegades, simbolitzant tant un homenatge a Scott com una presentació carregada de presagi d’un dels àlbums més llegendaris d’AC/DC. El tema arrenca amb la campana, seguida per un riff de guitarra lent i desolat, un ritme de bateria senzill i una construcció gradual fins que explota el riff principal. La veu de Brian Johnson no apareix fins gairebé als 90 segons.
Per honrar adequadament la memòria de Bon Scott, AC/DC necessitava una campana real i enorme per a “Hells Bells”, no només un efecte sonor. El primer intent de gravar una campana a Leicestershire, Anglaterra, va fracassar perquè hi havia ocells niant a l’interior, cosa que provocava sorolls no desitjats. Finalment, la banda va encarregar una campana de bronze d’una tona a John Taylor Bellfounders, que després van utilitzar també en les actuacions en directe. Com que la campana no estava llesta per a la gravació, van portar un estudi mòbil al taller de fosa i van enregistrar el so quan el campaner la va tocar. L’enginyer Tony Platt va gravar el so des de diversos angles i després el va alentir a l’estudi per fer-lo encara més ominós.
L’expressió “Hell’s Bells” normalment s’utilitza com una exclamació de sorpresa, però en aquesta cançó evoca imatges de l’infern i l’esperit rebel que caracteritzava Scott. A l’escenari, Brian Johnson sovint colpejava una gegantina campana com a part de l’espectacle. Avui dia, “Hells Bells” no només és un himne del rock, sinó també un homenatge perfectament construït a Bon Scott, completat amb la seva icònica campana d’escenari i un dels solos més elèctrics d’Angus Young.
AC/DC - HELL’S BELLS
Released: October 31, 1980
Album: Back in Black
“Hells Bells” is the opening track of “Back in Black”, AC/DC’s 1980 comeback album following the tragic death of lead singer Bon Scott. Released as the second single on October 31, 1980, the song set the tone for the band’s new era with Brian Johnson as their frontman.
The song begins ominously with the tolling of a funeral bell, ringing four times before the iconic guitar riff kicks in. The bell tolls a total of 13 times, symbolizing both a tribute to Scott and a foreboding introduction to one of AC/DC’s most legendary albums. The track opens “Back in Black” with a tolling bell, followed by a slow, desolate guitar riff, a simple drumbeat, and a gradual build-up before the explosive main riff kicks in. Brian Johnson’s vocals don’t appear until nearly 90 seconds in.
To properly honor Bon Scott’s memory, AC/DC needed a real, massive bell for “Hells Bells”, not just a sound effect. Their first attempt at recording a bell in Leicestershire, England, failed due to birds nesting inside it, causing unwanted fluttering sounds. Ultimately, the band commissioned a custom one-ton bronze bell from John Taylor Bellfounders, which they later used in live performances. Since the bell wasn’t ready in time for recording, they brought a mobile studio into the foundry and captured the sound as the bell was struck by the man who built it. Engineer Tony Platt carefully recorded the bell from multiple angles and later slowed it down in the studio to make it sound even more ominous.
The phrase “Hell’s Bells” is typically an exclamation of surprise, but in this song, it evokes images of the underworld and the rebellious spirit Scott was known for. On stage, Brian Johnson would often strike a giant bell as part of the performance. Today, “Hells Bells” is not just a rock anthem but a perfectly crafted tribute to Scott, complete with its iconic stage bell prop and one of Angus Young’s most electrifying solos.
