ANDY GIBB - SHADOW DANCING 

Estrena: abril de 1978

EUA: #1 (7 setmanes)

“Shadow Dancing” és una cançó d’Andy Gibb, llançada com a single principal del seu segon àlbum d’estudi amb el mateix nom. Es va convertir en el seu èxit més gran, passant set setmanes al número 1 de la llista Billboard Hot 100 i acabant l’any 1978 com el senzill més venut de la revista. Aquesta va ser la tercera cançó consecutiva d’Andy Gibb a arribar al número 1, després de “I Just Want to Be Your Everything” i “(Love Is) Thicker Than Water”.

A diferència dels himnes disco dels Bee Gees, “Shadow Dancing” presenta un groove més subtil que la fa més dinàmica que les balades anteriors d’Andy Gibb. La producció està plena de detalls rics—una guitarra suau, un baix subtils i sons d’acordió elèctric suaus—que contribueixen al seu ritme enganxós. L’arranjament de cordes de Barry Gibb es fusiona perfectament amb la pista, afegint profunditat sense sobrecarregar el beat. Les veus es mantenen just sota la superfície, creant un so polidament hipnòtic.

“Shadow Dancing” mostra l’estil distintiu de composició dels germans Gibb, on primer creen la música i després afegeixen lletres que s’adapten a l’estat d’ànim i l’ambient de la cançó. La pista captura una atmosfera hipnòtica, semblant a la d’un club, amb Andy Gibb completament perdut en el moment amb la seva estimada. La imatge de “dues ombres ballant” reflecteix la sensació sensual i immersiva de la cançó, convertint-la en una barreja perfecta de suau groove disco i narració romàntica.

Al juliol de 1978, durant una actuació als estudis Jai-Alai Fronton de Miami, Andy Gibb va ser inesperadament sorprés a l’escenari pels seus germans Barry, Robin i Maurice. Això va significar la primera vegada que els quatre germans Gibb van actuar junts en concert.

ANDY GIBB - SHADOW DANCING 

Released: April 1978

US: #1  (7 weeks)

“Shadow Dancing” is a song by Andy Gibb, released as the lead single from his second studio album of the same name. It became his most successful hit, spending seven weeks at #1 on the Billboard Hot 100 and ending 1978 as the magazine’s top single of the year. This was Gibb’s third consecutive #1 hit, following “I Just Want to Be Your Everything” and “Love Is Thicker Than Water”.

Unlike the disco anthems of the Bee Gees, the song has a subtler groove that makes it more dynamic than Gibb’s earlier ballads. The production is full of rich details—soft guitar scratches, understated bass pops, and smooth electric piano flourishes—all contributing to its infectious rhythm. Barry Gibb’s string arrangement blends seamlessly with the track, adding depth without overpowering the beat. The vocals remain just beneath the surface, creating a hypnotic polished sound.

“Shadow Dancing” showcases the Gibb brothers’ signature songwriting style, where they crafted the music first and then added lyrics that fit the song’s mood and setting. The track captures a hypnotic, club-like atmosphere, with Andy Gibb completely lost in the moment with his love interest. The imagery of “two shadows dancing” reflects the song’s sensual and immersive feel, making it a perfect blend of smooth disco grooves and romantic storytelling.

In July 1978, during a performance at the Jai-Alai Fronton Studios in Miami, Andy Gibb was unexpectedly joined on stage by his brothers Barry, Robin, and Maurice. This marked the first time all four Gibb brothers performed live together in concert.

THE POLICE - SPIRITS IN THE MATERIAL WORLD

Llançament: 4 de desembre de 1981

Llistes: EUA: #11 | Regne Unit: #12

“Spirits in the Material World” és el tercer simgle de l’àlbum de The Police de 1981, “Ghost in the Machine”. Escrita per Sting, la cançó va assolir la posició 12 al Regne Unit i l’11 als EUA a principis de 1982.

L’àlbum “Ghost in the Machine” va significar un canvi per a The Police, amb un ús destacat de teclats i saxòfons per primera vegada. La cançó d’obertura, “Spirits in the Material World”, combina teclats amb els riffs de guitarra inspirats en el reggae d’Andy Summers, anunciant una nova direcció sonora per a la banda. Aquest projecte també va ser el primer a comptar amb l’enginyer i co-productor Hugh Padgham, conegut pels sons innovadors de bateria amb Peter Gabriel i Phil Collins. Padgham va implementar una tècnica de gravació única als estudis AIR, situant els membres de la banda en sales separades: Summers al principal estudi, Sting a la sala de control amb el baix connectat directament a la taula de mescles, i Stewart Copeland al menjador amb la bateria. Això va permetre obtenir un so amb més sensació de “directe,” un enfocament que es va repetir al següent àlbum del grup.

“Spirits in the Material World” explora la tensió entre la retòrica política i la necessitat d’una comprensió espiritual més profunda. Sting la va descriure com una crítica a la corrupció política i als fracassos de les institucions humanes, acompanyada de lletres introspectives i una disposició musical inquietant però dinàmica. La cançó combina ritmes de reggae animats amb temes més profunds i reflexius, marcant l’evolució de The Police cap a un territori més sofisticat i políticament compromès.

La cançó es caracteritza per un so dominat pel sintetitzador, amb Sting component-la en un teclat Casio durant un viatge en camió, la seva primera experiència amb aquest instrument. Inicialment, Sting volia excloure completament la guitarra, prioritzant el riff en tonalitat menor del sintetitzador per crear un ambient inquietant. Això va provocar tensió amb el guitarrista Andy Summers, i finalment es va arribar a un compromís on es van gravar tots dos instruments, tot i que el sintetitzador dominava la mescla final. Durant les actuacions en directe, Summers tocava la part principal amb la guitarra, mentre que el sintetitzador proporcionava els acords de fons. El bateria Stewart Copeland va descriure aquesta cançó com una de les més difícils de tocar a causa de l’absència d’un ritme clarament marcat.

“Spirits in the Material World” s’inspira en les idees del filòsof hongarès Arthur Koestler, especialment en el seu llibre The Ghost in the Machine, que també va donar nom a l’àlbum de The Police. Koestler creia que les forces externes, com els governs i les corporacions, podien suprimir l’esperit humà i el pensament superior. El títol de la cançó utilitza la paraula “material” per referir-se tant al món físic com al materialisme, criticant-ne la seva predominança sobre la il·luminació espiritual.

El 1995, es va llançar una versió reggae de la cançó, amb Pato Banton i Sting, per a la banda sonora d’Ace Ventura: When Nature Calls, que va arribar al número 36 al Regne Unit.

THE POLICE - SPIRITS IN THE MATERIAL WORLD

Released: December 4, 1981

Charts:  US: #11   UK: #12 

“Spirits in the Material World” is the third single of The Police’s 1981 album “Ghost in the Machine”. Written by Sting, the song reached No. 12 in the UK and No. 11 in the US by early 1982. 

The “Ghost in the Machine” album marked a significant shift for The Police, featuring heavy use of keyboards and saxophone for the first time. Opening with “Spirits in the Material World,” the track blends keyboards with Andy Summers’ reggae-inspired guitar licks, signaling a new sonic direction. The band also switched to engineer/co-producer Hugh Padgham, renowned for his innovative drum sounds with Peter Gabriel and Phil Collins. Padgham introduced a unique recording technique at AIR Studios, placing the band members in separate rooms—Summers in the main studio, Sting in the control room with his bass directly plugged into the desk, and Stewart Copeland in the dining room with his drums—to achieve a “live” feel. This approach was carried over to their next album as well.

“Spirits in the Material World” delves into the tension between political rhetoric and the need for broader spiritual understanding. Sting described it as a critique of political corruption and the failures of human institutions, underscored by introspective lyrics and an eerie yet dynamic musical arrangement. The track pairs upbeat reggae rhythms with deeper, introspective themes, marking The Police’s evolution into more sophisticated and politically charged territory.

This track features a synthesizer-driven sound, with Sting composing the song on a Casio keyboard during a truck ride—his first experience with the instrument. Sting initially wanted to exclude guitar entirely, favoring the synthesizer’s minor-key riff to create a disquieting tone. This caused tension with guitarist Andy Summers, leading to a compromise where both instruments were recorded, though the synth dominated the mix. In live performances, Summers played the lead part on guitar while the synthesizer provided background chords. Drummer Stewart Copeland has described the song as his most difficult to play due to its lack of a clear downbeat.

“Spirits in the Material World” draws inspiration from Hungarian philosopher Arthur Koestler’s ideas, particularly those in his book The Ghost in the Machine, which also lent its name to the Police’s album. Koestler believed that external forces, such as governments and corporations, could suppress human spirit and higher thinking. The song’s title uses the word “material” to refer both to the physical world and to materialism, critiquing its dominance over spiritual enlightenment.

A reggae version, featuring Pato Banton and Sting, was released in 1995 for the “Ace Ventura: When Nature Calls” soundtrack, reaching #36 in the UK. 

OLIVIA NEWTON-JOHN & ELECTRIC LIGHT ORCHESTRA - XANADU

Llançament: 13 de juny de 1980

Llistes: Regne Unit: #1 (2 setmanes)

“Xanadu” va ser la cançó principal de la pel·lícula musical del mateix nom de 1980, escrita per Jeff Lynne d’Electric Light Orchestra (ELO) i interpretada per Olivia Newton-John, amb ELO encarregant-se de la instrumentació. Tot i que la pel·lícula va ser un fracàs de taquilla, la banda sonora va tenir un èxit massiu, generant diversos èxits, com “Magic”, que va arribar al número 1 del Billboard Hot 100 als Estats Units. “Xanadu” es va convertir en l’únic senzill d’ELO que va assolir el número 1 al Regne Unit, mantenint-se al capdamunt durant dues setmanes al juliol de 1980. Als EUA, va arribar al número 8 del Billboard Hot 100 i va triomfar a Europa, encapçalant les llistes en diversos països.

Malgrat el seu èxit, Jeff Lynne va confessar que no era fan de la cançó, qualificant-la anys després com la menys preferida de les que havia escrit. Tot i això, dècades més tard va decidir revisitar-la i en va enregistrar una nova versió amb ELO per al box set “Flashback” de l’any 2000. Aquesta nova versió comptava amb Lynne com a veu principal, en lloc de Newton-John, i es va interpretar amb un estil més sobri.

El tràiler de “Xanadu” destacava Olivia Newton-John com “la noia que vas estimar a Grease”, posant èmfasi en la música i el ball més que en l’argument de la pel·lícula. Gene Kelly, llegenda del ball a Hollywood, inicialment no tenia cap intenció de ballar a “Xanadu”. En una entrevista de 1985, va revelar que ja s’havia retirat del ball feia més d’un any quan li van proposar participar en el film, però en saber que Olivia Newton-John estava decebuda per no poder ballar amb ell, va acceptar a contracor fer un número musical a la pel·lícula. Després de “Xanadu”, Kelly va afirmar que es retirava definitivament del ball.

L’any 2007, “Xanadu” es va adaptar per a un musical de Broadway.

OLIVIA NEWTON-JOHN & ELECTRIC LIGHT ORCHESTRA - XANADU

Released: June 13, 1980

UK: #1 (2 weeks)

“Xanadu” was the title track for the 1980 musical film of the same name, written by Jeff Lynne of Electric Light Orchestra and performed by Olivia Newton-John, with ELO providing the instrumentation. While the film itself was a box office failure, the soundtrack was hugely successful, producing multiple hits—including “Magic”, which topped the US Billboard Hot 100. “Xanadu” became ELO’s only UK No. 1 single, holding the top spot for two weeks in July 1980. In the US, it peaked at No. 8 on the Billboard Hot 100. The song performed well across Europe, reaching No. 1 in several countries.

Despite its success, Lynne reportedly wasn’t a fan of the song, later calling it his least favorite song he had written. However, he revisited it decades later and recorded a new version with ELO for the 2000 “Flashback”box set. This version featured Lynne on lead vocals, replacing Newton-John’s original vocal, and was performed in a more subdued style.

The trailer for “Xanadu” prominently featured Olivia Newton-John, billed as “the girl you loved in Grease,” while emphasizing the film’s music and dancing rather than its plot. Gene Kelly, a Hollywood dance legend, originally had no intention of dancing in “Xanadu”. In a 1985 interview, he revealed that he had already retired from dancing over a year before the film. However, after hearing that Olivia Newton-John was disappointed at not getting to dance with him, he reluctantly agreed to perform a number in the film. After “Xanadu”, Kelly stated that he was officially through with dancing. In 2007, “Xanadu” was adapted into a Broadway musical.

PETER GABRIEL - BIG TIME

Released: November 1986

Charts:  US: #8    UK: #13 

“Big Time” is a song by Peter Gabriel from his 1986 album “So”. It became his second top-ten hit on the Billboard Hot 100, reaching No. 8. Gabriel described the song as a satire on the human desire for success. The lyrics follow a small-town man who becomes larger than life, with the ending featuring heavily processed vocals that deepen to emphasize his growing stature before abruptly cutting off.

“Big Time” features a distinctive bass sound created by Tony Levin and drummer Jerry Marotta, where Levin handled the fingerings while Marotta struck the strings with drumsticks. Inspired by this technique, Levin later developed funk fingers—small drumstick ends attached to his fingertips for live performances. Co-producer Daniel Lanois emphasized the importance of using digital instruments with intention and enthusiasm. He cited “Big Time” as an example of this approach done right, highlighting how the song’s Fairlight bass riff created a unique, robotic drive that wouldn’t have been achievable with a traditional played bass.

The drum parts were challenging to record, with Stewart Copeland’s lighter, poppier take ultimately chosen. His timing issues required meticulous sampling and editing by engineer Kevin Killen. The song also features The Memphis Horns, though on tour, their parts were played via an Akai sampler by keyboardist David Sancious, sometimes requiring Gabriel to extend his stage banter while floppy disks were swapped.

The “Big Time” music video featured a visual style similar to “Sledgehammer,” utilizing stop-motion claymation by David Daniels and strata-cut animation. Directed by Stephen R. Johnson and produced by Prudence Fenton, the video was shot at Peter Wallach Studios, with artist Wayne White also contributing to its creation.

SIMPLE MINDS - THEME FOR GREAT CITIES

Released: September 4, 1981

Album: Sister Feelings Call

Originally a 1981 demo by Mick MacNeil, “Theme For Great Cities” became an iconic instrumental track for Simple Minds, later embraced by the Balearic club scene through numerous dance remixes. It was one of three demos given to Jim Kerr, alongside tracks that evolved into “Sons and Fascination” and “Seeing Out the Angel”. Initially called “The Third Track” and later recorded as Dexy’s. Though originally considered for lyrics, Kerr decided it worked best as an instrumental, later calling it one of his best decisions.

The final mix was completed at Regent’s Park Studios, and despite initial uncertainty about leaving it wordless, Jim saw its power in instrumental form, influenced by Eno, Kraftwerk, Bowie, and Magazine. He named it “Theme For Great Cities” to evoke a futuristic, cinematic feel, possibly inspired by Philip K. Dick’s sci-fi stories.

“Theme For Great Cities” captures the band’s fascination with urban landscapes, movement, and futurism. Inspired by Glasgow’s decline and the great capitals of the world, Jim Kerr saw cities as places of self-discovery but also as symbols of technology overpowering humanity. The track, from “Sister Feelings Call” embodies an imagined future, with its electronic rhythms and synth-driven atmosphere evoking a Blade Runner-style cityscape. 

“Sister Feelings Call” was conceived as a companion album to “Sons And Fascination”, featuring weaker, half-finished, or more ethereal tracks that the band didn’t want to discard. Originally, it was planned as a limited-edition bonus album, shrink-wrapped with “Sons And Fascination” for one month, before being sold separately in limited quantities and then deleted, but in reality, it became a budget release, initially bundled with “Sons And Fascination” and later sold separately remaining in circulation longer than intended. All “Sister Feelings Call” tracks were included on the “Sons And Fascination” cassette, and while a separate tape version appeared in 1986, no standalone CD was ever released. The first “Sons And Fascination” CD tried to include all “Sister Feelings Call” tracks but could only fit all but two.