Peter Gabriel’s version of “The Book of Love” was recorded for the 2004 film “Shall We Dance” and later released as the lead single from his 2010 album “Scratch My Back”. The album featured Gabriel covering twelve songs by various artists, using only orchestral arrangements and vocals instead of traditional rock instrumentation. His stripped-down, emotive take on “The Book of Love” transformed Stephin Merritt’s dry, wry original into a deeply heartfelt ballad.
Gabriel’s “Scratch My Back” project was meant to be a song exchange—artists he covered would, in turn, reinterpret his songs on a companion album called “I’ll Scratch Yours”. Peter Gabriel originally intended to release “Scratch My Back” and “I’ll Scratch Yours” as a simultaneous two-part project in 2010, but delays arose as some artists either missed deadlines or declined to participate, forcing changes to the concept. With new contributors, the rebranded “And I’ll Scratch Yours” finally came out in September 2013. “Scratch My Back” peaked at No. 12 on the UK Albums Chart and No. 26 on the Billboard 200 in the U.S. Gabriel’s version of “The Book of Love” remains one of the most beloved covers of the song, often used at weddings and emotional moments in film and television.
While waiting for the companion album’s completion, Gabriel opted for an alternative approach—releasing a series of double A-sided singles on iTunes during 2010, each featuring one song from “Scratch My Back” alongside a corresponding cover of a Gabriel song. These were released on full moons, aligning with Gabriel’s affinity for lunar cycles. The first of these, “The Book of Love” (Gabriel’s cover of The Magnetic Fields) and “Not One of Us” (covered by Stephin Merritt), was released on 30 January 2010. Subsequent releases included “The Boy in the Bubble” (Gabriel covering Paul Simon) paired with “Biko” (Simon covering Gabriel) on 28 February and “Flume” (Gabriel covering Bon Iver) paired with “Come Talk to Me” (Bon Iver covering Gabriel) on 30 March.
Peter Gabriel was drawn to The Magnetic Fields through a friend’s recommendation and became captivated by their songwriting. He found “The Book of Love” particularly compelling because of its mix of deep romance and subtle cynicism, making it more than just a sentimental love song. While working on the orchestration for his song “Signal to Noise”, Gabriel decided to arrange “The Book of Love” for strings as well. He managed to get it recorded during the “Signal to Noise”session, resulting in a stripped-down, emotive version that has since gained a cult following.
17.2.25
CLIFF RICHARD - WE DON’T TALK ANYMORE
Llançament: 6 de juliol de 1979
Regne Unit: #1 (4 setmanes)
“We Don’t Talk Anymore” és una cançó de Cliff Richard, escrita per Alan Tarney i produïda per Bruce Welch. Va esdevenir el seu senzill més venut a nivell mundial, arribant al número 1 de la llista britànica de singles durant quatre setmanes l’agost de 1979—el seu primer número 1 al Regne Unit des de “Congratulations” el 1968. Tot i ser una estrella important a Gran Bretanya, Richard mai va tenir un èxit significatiu als Estats Units, tot i que aquesta cançó es va llançar en el moment àlgid de la seva carrera americana. Curiosament, els cors taral·lejats del tema van ser interpretats per Bryan Ferry, de Roxy Music, un gran admirador de Richard.
Alan Tarney la va escriure originalment per a la Tarney/Spencer Band el 1979, però la va tocar per al productor Bruce Welch, que de seguida va veure-hi potencial per ser un èxit. Welch va contactar amb el mànager de Cliff Richard, convençut que era l’artista ideal per interpretar-la. La cançó es va gravar ràpidament al maig de 1979 als estudis RG Jones de Wimbledon. Llançada com a senzill independent entre els àlbums “Green Light” i “Rock ‘n’ Roll Juvenile”, inicialment no estava destinada a cap disc, però després del seu enorme èxit, EMI va insistir a incloure-la a “Rock ‘n’ Roll Juvenile”, tot i les reticències de Richard. L’èxit de la cançó va portar Tarney a produir els dos següents àlbums de Richard, “I’m No Hero” i “Wired for Sound”. Tarney va afirmar posteriorment que la cançó hauria encaixat millor a “I’m No Hero”.
Cliff Richard, nascut Harry Webb a Lucknow, Índia, va iniciar la seva carrera musical el 1957 amb el grup Dick Teague Skiffle abans de formar Harry Webb & the Drifters, que més tard es va rebatejar com a Cliff Richard & the Drifters. El 1958, va signar amb EMI després d’audicionar per al productor Norrie Paramor i va llançar el seu primer senzill, “Move It”, que va arribar al número 2 al Regne Unit. La seva banda d’acompanyament, posteriorment anomenada The Shadows, incloïa Hank Marvin i Bruce Welch. Richard es va convertir en l’artista solista més exitós del Regne Unit, aconseguint 13 números 1 i participant a Band Aid II i The Young Ones. El 1990, “Saviour’s Day” el va convertir en el primer artista a tenir números 1 al Regne Unit en cinc dècades consecutives, i gairebé va ampliar aquesta ratxa amb “Millennium Prayer” el 1999. Va ser nomenat cavaller el 1995.
CLIFF RICHARD - WE DON’T TALK ANYMORE
Released: July 6, 1979
UK: #1 (4 weeks)
“We Don’t Talk Anymore” is a 1979 hit song by Cliff Richard, written by Alan Tarney and produced by Bruce Welch. It became Richard’s biggest-selling worldwide hit, topping the UK Singles Chart for four weeks in August 1979—his first UK No. 1 since “Congratulations” in 1968. Though a major star in Britain, Richard never had sustained success in the U.S., but this song was released during the peak of his American career. Notably, the hummed backing vocals on the chorus were provided by Roxy Music’s Bryan Ferry, a longtime fan of Richard.
Alan Tarney originally wrote it for the Tarney/Spencer Band in 1979 but played it for producer Bruce Welch, who immediately saw its hit potential. Welch contacted Cliff Richard’s manager, believing Richard was the perfect artist for the song. It was quickly recorded in May 1979 at RG Jones Studios in Wimbledon. Released as a standalone single between the albums “Green Light” and “Rock ‘n’ Roll Juvenile”, it wasn’t initially intended for an album, but after its massive success, EMI insisted on including it on “Rock ‘n’ Roll Juvenile”, despite Richard’s reservations. The hit led to Tarney producing Richard’s next two albums, “I’m No Hero” and “Wired for Sound”, with Tarney later stating the song would have fit better on “I’m No Hero”.
Cliff Richard, born Harry Webb in Lucknow, India, began his music career in 1957 with the Dick Teague Skiffle Group before forming Harry Webb & the Drifters, later renamed Cliff Richard & the Drifters. In 1958, he signed with EMI after auditioning for producer Norrie Paramor and released his debut single, “Move It”, which reached #2 in the UK. His backing band, later renamed The Shadows, included Hank Marvin and Bruce Welch. Richard became the UK’s most successful solo artist, scoring 13 #1 hits and participating in Band Aid II and The Young Ones collaborations. In 1990, “Saviour’s Day” made him the first artist to have UK #1 hits in five consecutive decades, and he nearly extended this streak with “Millennium Prayer” in 1999. He was knighted in 1995.
16.2.25
THE POLICE - SYNCHRONICITY II
Llançament: 28 d’octubre de 1983
Llistes: EUA: #16 | Regne Unit: #17
“Synchronicity II” és el tercer senzill de l’àlbum “Synchronicity” de The Police, publicat el 1983. Escrita per Sting, la cançó va obtenir un notable èxit comercial, assolint el número 17 a les llistes britàniques i el número 16 al Billboard Hot 100 dels Estats Units al desembre de 1983. La cara B del single inclou la pista no inclosa a l’àlbum, “Once Upon a Daydream”.
La cançó s’inspira en la teoria de la sincronicitat de Carl Jung, que proposa que esdeveniments aparentment no relacionats poden estar significativament connectats. “Synchronicity II” explora dues narratives paral·leles: d’una banda, la devastació ambiental, representada per l’aparició d’un monstre mutant en un llac contaminat, i, de l’altra, la vida opressiva d’un home atrapat en la monotonia i la desesperació del seu dia a dia.
Sting va escriure aquesta peça, com gran part de l’àlbum “Synchronicity”, mentre s’allotjava a la finca Golden Eye d’Ian Fleming, a Jamaica. Influenciat per les idees de Jung, Sting va voler dramatitzar la coincidència significativa i alhora crear una peça enèrgica i dinàmica. La cançó també reflexiona sobre la guerra de les Malvines i el deteriorament ambiental, abordant temes com la futilitat, la connexió humana i la decadència. Sting la va descriure com una exploració filosòfica i, al mateix temps, com un “himne contundent”.
“Synchronicity II” comença amb un so de feedback produït per la guitarra d’Andy Summers, que va aconseguir aquest efecte experimentant amb l’amplificador a ple volum, posicionant-se prop d’ell i tocant sense escoltar el resultat a través dels auriculars. Quan va escoltar la gravació, va quedar encantat amb el resultat. Summers, conegut pel seu enfocament innovador, sovint utilitzava una gran varietat d’efectes per crear sons únics amb la seva guitarra, molts dels quals sovint es confonien amb sintetitzadors en les gravacions de The Police.
El videoclip, dirigit per Kevin Godley i Lol Creme, és una producció impressionant i visualment impactant. Mostra els membres de la banda actuant sobre torres d’aproximadament 7,5 metres, cadascuna dissenyada per reflectir l’instrument del músic. L’escenari, que semblava un abocador futurista, es va veure sacsejat per un incendi sota la torre de Stewart Copeland durant el rodatge, un moment que els directors van continuar filmant per capturar la dramàtica escena.
Godley va explicar que el concepte buscava crear un ambient intens i ple de caos visual, amb vent, deixalles i una energia visceral que s’ajustava a la potència de la cançó. L’ús innovador del sistema de càmeres Hot Head va aportar angles dinàmics al rodatge. A més de les actuacions al plató, es van incloure escenes filmades a Escòcia per enriquir la narrativa global del videoclip.
THE POLICE - SYNCHRONICITY II
Released: October 28, 1983
Charts: US: #16 UK: #17
“Synchronicity II” is the third single from The Police’s 1983 album “Synchronicity”. Written by Sting, the song achieved notable chart success, reaching No. 17 on the UK Singles Chart and No. 16 on the US Billboard Hot 100 in December 1983. The single’s B-side features the non-album track “Once Upon a Daydream.”
“Synchronicity II” draws inspiration from Carl Jung’s theory of synchronicity, which suggests that seemingly unrelated events are meaningfully connected. The song connects two parallel narratives: the environmental devastation symbolized by a mutant monster emerging from a polluted loch, and the internal turmoil of “Daddy,” a man trapped in a despairing, monotonous life.
Sting wrote the song, along with most of the Synchronicity album, while staying at Ian Fleming’s Golden Eye estate in Jamaica. Influenced by Jung’s ideas, Sting aimed to dramatize meaningful coincidence while crafting a high-energy, dynamic track. Reflecting on the Falklands War and his own surroundings, he explored themes of futility, connection, and environmental decay. Sting described the song as both a philosophical exploration and a “rocking” anthem.
“Synchronicity II” opens with a distinctive squeal of feedback from guitarist Andy Summers. Summers achieved this sound by experimenting with his amp cranked up, standing near it, and playing without hearing the output in his headphones. Upon playback, he was thrilled with the results. Known for his innovative approach, Summers often used a variety of effects to produce unique sounds on his guitar, many of which were mistaken for synthesizers in Police recordings.
The music video was directed by Kevin Godley and Lol Creme. The video was a grand, visually striking production featuring each band member performing on 25-foot-high towers, constructed to reflect their instruments. The set resembled a futuristic garbage dump, and during filming, a fire broke out under Stewart Copeland’s tower, which the directors continued to film to capture the dramatic moment.
Godley explained that the concept involved creating an intense, windblown environment with debris and visual chaos, matching the song’s visceral energy and momentum. The innovative use of a Hot Head camera mount added dynamic angles to the shoot. While the studio performance was the core of the video, additional footage, including scenes shot in Scotland, contributed to the overall narrative.
15.2.25
RICK DEES AND HIS CAST OF IDIOTS - DISCO DUCK
Released: September 4, 1976
US: #1 (1 week)
“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.
