KRAFTWERK - TOUR DE FRANCE

Estrena: 3 d'agost de 1983

Llistes: Regne Unit: #22

"Tour de France" va ser inspirada per la famosa cursa ciclista francesa del mateix nom. Els membres de Kraftwerk, Florian Schneider i Ralf Hutter, eren fervents ciclistes i tenien una gran passió per les bicicletes, fins al punt que es referien a ells mateixos com el Radsportegruppe Schneider (Club Ciclista Schneider). Aquesta obsessió pel ciclisme va ser destacada per l'exmembre de Kraftwerk Karl Bartos com una de les raons que van influir en la seva decisió de deixar la banda.

"Tour de France" originalment es va gravar per a l'àlbum "Techno Pop", que posteriorment va ser reanomenat i llançat com "Electric Café" el 1983. Finalment, la cançó no va entrar a la llista definitiva de l'àlbum i es va llançar com a single independent. La cançó és notable per l'ús innovador de veus samplejades i sons mecànics associats amb el ciclisme, que complementen un patró d'electro-percussió. Aquest detall fa referència a les pistes anteriors de Kraftwerk com "Metal on Metal" de "Trans-Europe Express", així com "Numbers" i "Pocket Calculator" de "Computer World".

A Alemanya, "Tour de France" es va llançar amb versions en alemany i francès, cadascuna a una cara del disc de vinil. En altres països, la cançó es va publicar exclusivament en francès. Al Regne Unit, la cara B del single era una edició instrumental de la pista de la cara A. A més, es va incloure una pista instrumental anomenada "Tour de France, Étape 2", amb percussió i samplers, en les edicions maxi-single  i cassette al país britànic.

El 22 de juny de 1984, la cançó es va rellançar en dues noves versions: un arranjament substancialment diferent remesclat per François Kevorkian a Nova York, i una versió alternativa remesclada per Kraftwerk de l'arranjament original, amb seccions llargues de percussió a la segona meitat. Les edicions posteriors al Regne Unit d'aquesta versió van incloure un missatge indicant que apareix a la pel·lícula “Breakdance" a la part frontal de les fundes. El remix de Kevorkian va arribar al número 24 a les llistes de singles del Regne Unit i al número 4 a les llistes de música de ball/club als Estats Units.

Algunes curiositats com ara que la funda del single va incloure una il·lustració adaptada d'un segell postal hongarès de 1953. La melodia de la cançó sembla haver estat presa d'una secció de l'obertura de la "Sonata per a Flauta i Piano" del compositor alemany Paul Hindemith, escrita el 1936. A Gran Bretanya, la cançó va guanyar reconeixement addicional quan es va utilitzar com a música temàtica per a la cobertura del Canal 4 del Tour de France.

Per al llançament de 1983, es va crear un vídeo amb imatges de ciclisme. El 1984, amb la versió remixada per François Kevorkian, es va produir un vídeo que incloïa imatges dels membres de la banda pedalant a Düsseldorf. En el llançament de 1999 es va reutilitzar el mateix vídeo que la versió de 1983.

KRAFTWERK - TOUR DE FRANCE

Released: August 3, 1983

Charted:  UK: #22 

"Tour de France" was inspired by the famous French road race for professional cyclists of the same name. Kraftwerk members Florian Schneider and Ralf Hutter were avid cyclists and had a strong passion for bicycles, even referring to themselves as the Radsportegruppe Schneider (Schneider Cycling Club). This obsession with cycling was noted by ex-Kraftwerk member Karl Bartos as one of the reasons that influenced his decision to leave the band.

"Tour de France" was initially recorded for Kraftwerk's album "Techno Pop," which later was re-titled and released as "Electric Café" in 1983. Finally the track did not make it onto the final tracklist of the album but was instead released as a single. The song is notable for its innovative use of sampled voices and mechanical sounds associated with cycling, which complement a straightforward electro-percussion pattern. This approach harkens back to Kraftwerk's earlier tracks like "Metal on Metal" from "Trans-Europe Express," as well as "Numbers" and "Pocket Calculator" from "Computer World."

In Germany, "Tour de France" was released with both German- and French-language versions, each on one side of the vinyl disc. In other countries, the song was issued exclusively in French. The seven-inch versions typically featured edited versions of the longer tracks found on twelve-inch singles. In the UK, the seven-inch B-side was an instrumental edit of the A-side track. Additionally, an instrumental track titled "Tour de France, Étape 2", featuring percussion and samples, was included on the UK twelve-inch and cassette releases.

On June 22, 1984, the song was re-released in two new versions: a substantially different arrangement remixed by François Kevorkian in New York, and a Kraftwerk-remixed alternative version of the original arrangement, featuring extended percussive sections in the latter half. Later UK pressings of this version featured the message "As featured in the film Breakdance" on the front of the sleeves. The Kevorkian remix reached number 24 on the UK Singles Chart and number 4 on the US Hot Dance Music/Club Play chart.

The sleeve of the single featured artwork adapted from a 1953 Hungarian postage stamp. The melody of the song appears to have been borrowed from a section of the opening of German composer Paul Hindemith's 1936 "Sonata for Flute and Piano." In Britain, the song gained additional recognition when it was used as the theme music for Channel 4's coverage of the Tour de France.

For the 1983 release a video clip featuring cycling footage was created. In 1984, with the François Kevorkian remix version, a rare video was produced that included footage of the band members cycling in Düsseldorf. The 1999 release of the song reused the same video as the 1983 version.

THE CURE - CHARLOTTE SOMETIMES

Released: October 9, 1981

Charted:  UK: #44 

"Charlotte Sometimes" is a single released in October 1981, not included on any of their albums. It was recorded at Playground Studios with producer Mike Hedges. Despite its popularity, the single only reached No. 44 on the UK Singles Chart. Robert Smith drew inspiration from Penelope Farmer's novel "Charlotte Sometimes" for the song. 

The track echoes themes of time shifting and displacement found in Farmer's book, where the protagonist Charlotte experiences being transported back in time. Smith's lyrics directly reference Farmer's language and capture a colorful yet doomed atmosphere, marking a departure from typical Cure themes. This song is noted for its vivid storytelling and foreshadows Smith's evolving songwriting style evident in later records. The B-side of the single, titled "Splintered in Her Head," derived its title from a line in Penelope Farmer's novel. "Splintered in Her Head" exhibited a more unsettling mood characterized by metallic, distorted vocals and intense percussion. This sound hinted at the darker and more abrasive direction that the band would explore further in their subsequent studio album, "Pornography”. 

The music video directed by Mick Mansfield, was filmed at the Holloway Sanatorium in Virginia Water, Surrey, a disused lunatic asylum. The location, known for its therapeutic use of art, intrigued Robert Smith, who discovered drawings by former patients during filming. This experience inspired the band to perform at benefit concerts for MENCAP (The Society for the Mentally Handicapped). Despite the meaningful setting, The Cure felt disconnected from the video's direction and struggled to find synergy with directors until collaborating with Tim Pope, who subsequently directed most of their future videos.

T. REX - GET IT ON (BANG A GONG) 

Publicació: 2 de juliol de 1971 (Regne Unit) Gener de 1972 (EUA)

Llistes: Regne Unit: #1 (4 setmanes)   EUA: #10

Al Regne Unit, "Get it On" va arribar al número 1 el 24 de juliol de 1971, proporcionant a T. Rex el seu segon màxim èxit a les llistes, després de "Hot Love". La companyia discogràfica nord-americana del grup, Reprise, va retardar el seu llançament i no la va publicar fins a gener de 1972. Va arribar al número 10 al març, però va ser l'únic èxit significatiu del grup als Estats Units. Al Regne Unit, van aconseguir dos altres número 1, "Telegram Sam" i "Metal Guru", i un total d’onze cançons al Top 10.

"Get It On (Bang a Gong)" celebra i gaudeix de tots els plaers de la vida. La lletra descriu una relació romàntica basada en la passió i l'admiració, que és forta i en constant creixement. El seu missatge general és que no cal témer viure la vida i gaudir-la al màxim. La cançó insta les persones a arriscar-se, ballar i deixar de banda les inhibicions o les inseguretats, i a “donar un cop de gong” mentre ho fan.

Aquest és un gran exemple del "glam rock", caracteritzat per vestits extravagants, sovint afeminats, lletres sense sentit, ritmes enèrgics i posades en escena molt teatrals. El ritme constant, les lletres còsmiques i la entrega vocal cool de Marc Bolan són pur or del glam rock, convertint la peça en un dels autèntics himnes del gènere.

"Get It On (Bang a Gong)" va ser escrita i enregistrada mentre T. Rex feia gires pels Estats Units el 1971. El grup havia aconseguit èxits al seu país natal amb el seu àlbum homònim de 1970, però eren poc coneguts al país americà. Marc Bolan volia canviar això creant alguna cosa que arribés al cor d'Amèrica. Va escriure aquesta cançó que parla de sexe, però amb imatges tan còmicament vagues que fins i tot els oients més prudents tindrien dificultats per ofendre's. 

La interpretació de Bolan és ferotge, i continua cridant a la noia "dirty and sweet" (bruta i dolça), però realment es complicat trobar connotacions sexuals en frases com “hubcap diamond star halo" (halo de diamants de tapacubos) o una "cloak full of eagles" (capa plena d'águilas) -és el que dèiem a l’inici de les frases sense sentit-. La suggerència més gran es troba en el títol. Tot encaixa aquí, el títol provocador, el riff irresistible, l'òrgan que atrau, els cors aguts de veus de fons, la pausa per deixar que les guitarres, la bateria i el saxòfon tornin a posar-ho tot en marxa i, és clar, aquella senzilla tornada de donar cops al gong. Tot això i la lletra esbojarrada i sexy de Bolan, que anticipa "Cream" de Prince uns 35 anys després, amb un respectuós treure’s el barret a l'inspiració de Chuck Berry al final.

Aquesta cançó va ser versionada per The Power Station el 1985. La seva versió, anomenada "Get It On (Bang a Gong)" als Estats Units, va tenir un gran èxit a les llistes Billboard Hot 100, on el senzill va arribar al número 9 (un lloc més alt que l'original) l'estiu de 1985.

Durant una actuació a Top of the Pops el desembre de 1971, Elton John va acompanyar la banda al piano a la cançó.

Com a dada curiosa, cal destacar que Marc Bolan va adoptar el seu nom de Bob Dylan... BO de Bob i LAN de Dylan.

T. REX - GET IT ON (BANG A GONG) 

Released: July 2, 1971 (UK) January 1972 (US)

Charted: UK: #1 (4 weeks)  US: #10 

In the UK, “Get it On” hit #1 on July 24, 1971, giving T. Rex their second chart-topper there, following "Hot Love". The band's American record company, Reprise, dragged their feet on the song and didn't release it until January 1972. It went to #10 in March, but ended up being the group's only significant hit Stateside. In the UK, they had two more number 1’s, "Telegram Sam" and "Metal Guru", and a total of 11 Top 10s.

“Get It On (Bang a Gong)” is about celebrating and enjoying all the pleasures of life. The lyrics describe a romantic relationship built on both passion and admiration that is strong and ever-growing. The overall message of the song is to not be afraid to live life and enjoy it to fullest. The song urges people to take chances, dance, and let go of any inhibitions or insecurities—and to ‘bang a gong’ while they’re at it.

This is a great example of "glam rock," which was characterized by outrageous, often effeminate costumes, nonsensical lyrics, driving beats and very theatrical stage shows. The songs low slung groove, cosmic lyrics and Marc Bolan's cool vocal delivery is pure glam rock gold. This is one of the true glam anthems.

This song was written and recorded when T. Rex was touring America in 1971. The group had made inroads in their native UK with their 1970 self-titled album, but were little-known in the US. Marc Bolan wanted to change that by coming up with something that would strike to the heart in America. He wrote this song that is all about sex, but with imagery so comically vague it would be hard for even the most prudish listeners to take offense. 

Bolan's delivery is feral, and he does keep calling the girl "dirty and sweet," but you really have to stretch to find sexual connotations in a "hubcap diamond star halo" or a "cloak full of eagles." The biggest suggestion is in the title. Everything fits here, the provocative title, that sinuous, slinky-irresistible riff, the organ fills, the high-pitched backing vocals, the breakdown to let the guitars, drums and saxophone kick-start it again and of course that so-simple gong-banging chorus. All this and Bolan's crazy-sexy lyrics, which anticipate Prince's "Cream" by about 35 years, there's a doff of the cap to inspiration Chuck Berry over the fade. 

This track was covered by The Power Station in 1985. Their version, referred to as "Get It On (Bang a Gong)" in the US, was a strong hit on the US Billboard Hot 100 chart, where the single peaked at #9 (one place higher than the original) in the summer of 1985. 

During a December 1971 Top of the Pops performance, one of our artists of the week, Elton John mimed a piano on the song.

As a curious fact we want to say that Marc Bolan took his name from Bob Dylan... BO from Bob and LAN from Dylan.

THE CURE - BOYS DON’T CRY

Publicació: 12 de juny de 1979

Llistes: Regne Unit: #22

"Boys Don't Cry" és una cançó llançada el 1979, que reflexa temes de masculinitat i vulnerabilitat. Escrita per Robert Smith, la cançó aborda les expectatives socials dels homes per suprimir les seves emocions i mantenir una aparença dura. Va ser inicialment publicada al Regne Unit com a senzill independent i després inclosa a l'àlbum nord-americà "Boys Don't Cry", que essencialment era una versió amb títol canviat del seu àlbum debut "Three Imaginary Boys".

Llançada inicialment el 1979 com el seu segon senzill, després de "Killing An Arab", "Boys Don't Cry" no va aconseguir un èxit comercial significatiu en el seu primer llançament. Malgrat la seva recepció inicial, la cançó va guanyar reconeixement amb el temps i es va reeditar el 1986 amb una nova versió. Aquesta reedició va incloure una pista remesclada i veus regravades, cosa que va contribuir a la seva nova popularitat. El rellançament de la cançó va aconseguir arribar al número 22 a les llistes del Regne Unit, significant un èxit tardà però notable per al grup.

La lletra explica una història on el protagonista intenta conformar-se amb els estereotips masculins tradicionals, amagant la seva turbulència emocional darrere d'una façana d'estoïcisme. La frase, "Boys don't cry" (Els nois no ploraran), reforça la pressió que se li imposa als homes per suprimir els seus sentiments, fins i tot quan es troben amb desconsol o tristor. El seu tempo animat i la melodia enganxosa es combinen amb la lletra introspectiva, creant un contrast que subratlla la lluita interna descrita en la narrativa.

El vídeo musical llançat el 1986 per promocionar la nova versió "New Voice New Mix" va emprar un concepte creatiu i visualment impactant. En el vídeo, tres adolescents fan playback sobre la lletra de la cançó. Mentre, darrere d'una cortina, els membres de The Cure Robert Smith, Lol Tolhurst i Michael Dempsey apareixien com ombres amb ulls vermells brillants. Per aconseguir l'efecte inquietant dels ulls brillants, les parpelles dels membres de la banda van ser pintades amb pintura fluorescent. Aquesta tècnica va crear un contrast visual diferencial entre els adolescents i les ombres misterioses i inquietants dels membres de la banda.

"Boys Don't Cry" segueix sent una cançó significativa dins de la discografia de The Cure, mostrant el talent primerenc de Robert Smith com a compositor i l'habilitat del grup per barrejar l'energia del punk rock amb temes lírics sentimentals.

THE CURE - BOYS DON’T CRY

Released: June 12, 1979

Charted:  UK: #22 

"Boys Don't Cry" is a song released in 1979, reflecting themes of masculinity and vulnerability. Written by Robert Smith, the song addresses societal expectations of men to suppress their emotions and maintain a tough exterior. It was initially released in the UK as a stand-alone single and later included on the American album "Boys Don't Cry," which was essentially a re-titled version of their debut album "Three Imaginary Boys." 

Initially released in 1979 as their second single, following "Killing An Arab," "Boys Don't Cry" did not achieve significant commercial success upon its first release. Despite its initial reception, the song gained recognition over time and was reissued in 1986 with a new version. This reissue featured a remixed track and re-recorded vocals, which contributed to its renewed popularity. The song's re-release managed to reach number 22 on the UK charts, marking a belated but notable success for the band.

The lyrics convey a narrative where the protagonist tries to conform to traditional masculine stereotypes, hiding his emotional turmoil behind a facade of stoicism. The refrain, "Boys don't cry," reinforces the pressure placed on men to suppress their feelings, even when faced with heartache or sorrow. The song's upbeat tempo and catchy melody combine with its introspective lyrics, creating a contrast that underscores the internal struggle described in the narrative.

The music video released in 1986 to promote the "New Voice New Mix" re-recording of the song, employed a creative and visually striking concept. In the video, three children mimed the song's lyrics. Meanwhile, behind a curtain, The Cure's members Robert Smith, Lol Tolhurst, and Michael Dempsey appeared as shadows with glowing red eyes. To achieve the eerie effect of glowing eyes, the band members' eyelids were painted with fluorescent paint. This technique created a distinctive visual contrast between the innocent miming children and the mysterious, haunting shadows of the band members. 

"Boys Don't Cry" remains a significant track in The Cure's discography, showcasing Robert Smith's early songwriting talent and the band's ability to blend punk rock energy with poignant lyrical themes.