DONNA SUMMER - I FEEL LOVE

"I Feel Love" és una cançó de la cantant nord-americana Donna Summer, produïda i coescrita per Giorgio Moroder i Pete Bellotte i publicada l'1 de maig de 1977. Va ser gravada per al cinquè àlbum d'estudi de Summer, "I Remember Yesterday". El concepte de l'àlbum era que cada tema evoqués una dècada musical diferent; per a "I Feel Love", l'equip pretenia crear un estat d'ànim futurista, emprant un sintetitzador Moog. 

"I Feel Love” és una combinació brillant de sintetitzador amb la sensual veu de Summer. El ritme és ferotge i absolutament apassionant amb els efectes del sintetitzador especialment agressius i carregats d'emoció. Això era diferent a tot el que Summer, Moroder i Bellotte havien fet abans. Durant la sessió de l'àlbum 'Low' de David Bowie, també gravat a Alemanya, el productor Brian Eno va entrar un dia després d'escoltar 'I Feel Love' per primera vegada i va dir: "He escoltat el so del futur. Això és tot, no busqueu més. Aquest senzill canviarà el so de la música de club durant els propers quinze anys".

"Recordo que, al principi, l’executiu de Casablanca Records Neil Bogart estava interessat, però no tant com m'hagués agradat", recorda Giorgio. De fet, 'I Feel Love' es va publicar originalment com a cara B de la balada 'Can't We Just Sit Down (And Talk It Over)'. Ningú semblava tenir una idea del que havien fet. "Per a nosaltres era només una pista i ni tan sols ens pensàvem que fos un single", recorda Bellotte. "Definitivament no vam pensar quan es va estrenar, sí, hem fet alguna cosa especial. No em va semblar revolucionari". Però la cançó va començar a enlairar-se als clubs, primer al Regne Unit, on ràpidament es va canviar a la cara A.

Aleshores, el rei de la discoteca a Nova York era Nicky Siano, de The Gallery, que recorda que el cap de promoció de Casablanca, Mark Paul Simon, va assistir a una gran festa al club l'estiu de 1977 amb un acetat del senzill encara inèdit i li va preguntar si podia punxar-lo. "Tothom sabia que els DJ no punxaven res en un club ple sense haver-ho escoltat abans", diu Nicky, que va acceptar escoltar-lo als auriculars. "Vaig respirar profundament i vaig posar el disc al meu tercer tocadiscos. Em vaig posar els auriculars esperant la bona producció habitual de Donna Summer/Giorgio. Però no ho era. Vaig escoltar una línia de sintetitzador sincopada que era més fresca que qualsevol cosa que havia sentit durant anys. No era un disc nou, era un nou estil de producció. Vaig confiar en el meu instint i la vaig fer sonar a la discoteca, plena de gom a gom. Poques vegades una multitud balla un disc amb tant entusiasme la primera vegada que l’escolta. La sala va esclatar i vam experimentar un so que canviaria les cançons de club per sempre". Quan Marc es va negar a deixar que es quedes amb l'acetat, Nicky el va fer expulsar del club. "Nick era tan important per a la indústria musical en aquell moment que va fer que Donna Summer el truqués personalment i li demanés disculpes. Ens vam rebaixar", recorda Simon. 

Amb la seva pista de fons totalment sintetitzada, "I Feel Love" va tenir una influència enorme en el desenvolupament de la música disco, electrònica i techno. Tanmateix, Summer inicialment no estava convençuda. "Giorgio em va portar aquesta cançó de crispetes de blat de moro que havia gravat", va recordar anys més tard, i va dir: 'Què dimonis és això, Giorgio?’”. 

Madonna va començar els seus concerts de Confessions Tour de 2006 amb un medley de la seva cançó "Future Lovers" amb "I feel love".

"I Feel Love" va assolir el sisè lloc de la llista Billboard Hot 100 dels EUA la setmana del 12 de novembre de 1977. Al Regne Unit, va assolir el cim de la llista de singles al juliol de 1977, una posició que va mantenir durant quatre setmanes.

DONNA SUMMER - I FEEL LOVE

"I Feel Love" is a song by American singer Donna Summer, produced and co-written by Giorgio Moroder and Pete Bellotte and released on may 1st 1977. It was recorded for Summer's fifth studio album, “I Remember Yesterday”. The album concept was to have each track evoke a different musical decade; for "I Feel Love", the team aimed to create a futuristic mood, employing a Moog synthesizer. "I Feel Love" peaked at #6 on the US Billboard Hot 100 chart the week of November 12, 1977. In the United Kingdom, peaked at the top of the UK Singles Chart in July 1977, a position it maintained for four weeks.

“‘I Feel Love’ is a brilliant combination of whipped-up synthesiser and Summer’s dreamy, driven, ecstatic vocals,” wrote Vince Aletti in his August 13 1977 column for Record World. “The pace is fierce and utterly gripping with the synthesiser effects particularly aggressive and emotionally charged. Again, this is unlike anything Summer, Moroder and Bellotte have done before.” During the session for David Bowie’s ‘Low’ album, also recorded in Germany, producer Brian Eno ran in one day after hearing ‘I Feel Love’ for the first time and said, “I have heard the sound of the future. This is it, look no further. This single is going to change the sound of club music for the next fifteen years.”

“I remember, at the very beginning, [Casablanca MD] Neil Bogart was interested, but not as much as I would have liked,” recalls Giorgio. In fact, ‘I Feel Love’ was originally released as B-side to the ballad ‘Can’t We Just Sit Down (And Talk It Over)’. Nobody seemed to have an inkling of what they had done. “To us it was just a track and we didn’t even think it was a single,” recalls Bellotte. “We definitely did not think when it was released, yes we’ve done something special. It didn’t feel revolutionary.” But the song began to take off in clubs, first in the UK, where it was quickly switched to the A-side.

At the time, the king of disco in NYC was The Gallery’s Nicky Siano, who remembers Casablanca’s head of promotion Mark Paul Simon turning up to a hot packed party at the club in Summer 1977 with an acetate of the as-yet unreleased single and asking him to play it. “Everyone knew DJs didn’t play anything at a packed club without previewing it first,” says Nicky, who agreed to listen to it on his headphones. “I took a deep breath and put the heavy disc on my third turntable. I put my ear up to the headphone expecting the usual very good Donna Summer/Giorgio production. But it was not. I heard a syncopated synth line that was fresher than anything I had heard in years. It wasn’t a new record, it was a new style of production. I trusted my instincts and mixed into it. Rarely a crowd dances to a record so enthusiastically on the first listen. The room exploded and I experienced a sound that would change club songs forever.” When Marc refused to let him keep the acetate, Nicky had him thrown out of the club. “I was so important in the music industry at that time that he had Donna Summer call me personally and apologise. We made up.”

it inevitably had a huge impact on disco, such as Blondie’s pop smash ‘Heart Of Glass’, which moved Debbie Harry to later comment, “Chris and I loved Donna and ‘I Feel Love’; at the time it was quite groundbreaking and commercial and sexy.”

Madonna began her 2006 Confessions Tour concerts with a medley of her song “Future Lovers” that ended with “I feel love”.

With its entirely synthesized backing track, "I Feel Love" was enormously influential in the development of disco, electronica and techno music. However, Summer was initially unconvinced. "Giorgio brought me this popcorn track he had recorded," she later recalled, "and said, 'What the hell is this, Giorgio?'"

 THE POLICE - MESSAGE IN A BOTTLE 

"Message in a Bottle" és una cançó de The Police escrita pel cantant i baixista de la banda, Sting. La cançó va ser llançada com el senzill principal del seu segon àlbum d'estudi "Reggatta de Blanc" de 1979. La cançó exemplifica l'estil reggae rock/new wave dels primers Police.

La cançó parla d'un noi perdut a una illa remota. Un dia troba una ampolla, hi posa un missatge i la llença al mar amb l'esperança que algú la trobi i vingui a salvar-lo. S’emociona en despertar-se un matí i trobar un munt (cent mil milions, segons el seu recompte) d'ampolles a la vora, demostrant que hi ha molts altres nàufrags com ell. La lletra es pot veure com una metàfora d'estar sol i adonar-se que hi ha molta gent com tu.

Aquest va ser el primer senzill del segon àlbum de Police, "Reggatta De Blanc" (que significa "White Reggae" en la parla col·loquial de la banda). Al Regne Unit, el seu primer àlbum, "Outlandos d'Amour" es va publicar un any abans, però encara estava per descobrir-se. "Roxanne" i "Can't stand losing you" havien arribat a les llistes, però la banda encara no tenia el reconeixement popular. Amb "Message In A Bottle" va ser quan van despuntar a Gran Bretanya; la cançó va arribar al número 1 el 29 de setembre de 1979 i s’hi va mantenir durant tres setmanes. Aquest va ser el primer dels seus cinc senzills número u al Regne Unit. El seu següent single, "Walking on the moon" també va arribar al cim. En aquell moment, "So lonely", una cançó del seu primer àlbum que va fracassar quan es va publicar com a senzill, va ser reeditada, arribant al #6 al Març de 1980. A Amèrica, "Message In A Bottle" va ser només un èxit menor, arribant al número 74 al desembre de 1979. No va ser fins al seu tercer àlbum, "Zenyatta Mondatta", publicat el 1980, quan el grup va començar a destacar als EUA.

"Message in a Bottle" va ser una de les cançons en directe més populars per a la banda, tocada en gairebé tots els concerts després del seu llançament, sovint com a cançó inicial dels bolos. Fins que van ser incorporats al Saló de la Fama del Rock and Roll, aquesta va ser l'última cançó que The Police van tocar junts. Sting va continuar interpretant-la com a artista en solitari, incloent-la al seu set al Live Aid el 1985. El guitarrista Andy Summers va dir que era la millor cançó que ha tocat mai.

"Message in a Bottle" també és una de les favorites dels membres de la banda. A més de dir que era la seva cançó preferida en una entrevista amb Jools Holland de la BBC, Sting la va descriure com una "bona cançó", i també va dir que n'estava "molt orgullós". Copeland va dir que va ser "un dels nostres millors moments a l'estudi i sempre genial a l'escenari". Summers va descriure la cançó com a favorita personal al seu llibre “One Train Later” i va dir: "Per a mi, segueix sent la millor cançó que Sting ha creat mai i la millor cançó de The Police".

Aquest va ser el primer número 1 del Regne Unit per al segell A&M, que Herb Alpert i Jerry Moss van fundar el 1962.

L'any 2009, la vinya de Sting a Itàlia va començar a produir un vi negre anomenat "Message In A Bottle". També té una sèrie de vins anomenats "Roxanne".

THE POLICE - MESSAGE IN A BOTTLE

Released: September 7, 1979

Charted: US: #74  UK: #1

"Message in a Bottle" is a song by The Police written by the band's lead singer and bassist Sting. The song was released as the lead single from their 1979 second studio album, “Reggatta de Blanc”. The song exemplifies the reggae rock/new wave style of early Police.

This song is about a guy stranded on a remote island. One day he finds a bottle, puts a message in it and throws it out to sea in hopes that someone will find it and come save him. He's thrilled to wake up one morning and find a whole bunch (a hundred billion, by his count) of bottles on the shore, proving there are many other castaways just like him. The lyrics can be seen as a metaphor for being lonely and realizing there are lots of people just like you.

This was the first single from the second Police album, “Reggatta De Blanc” (which means "White Reggae" in Police-speak). In the UK, their first album, “Outlandos d'Amour” was released a year earlier but was still being discovered. "Roxanne" and "Can’t stand losing you" had charted, but the band was still bubbling under. "Message In A Bottle" was when they exploded in Britain; the song went to #1 on September 29, 1979 and stayed for three weeks. This was the first of their five UK number one singles. Their next single, "Walking on the moon” also went to the top. At this point, "So lonely”, a track from their first album that flopped when it was issued as a single, was re-released, reaching #6 in March 1980. In America, "Message In A Bottle" was just a minor hit, reaching #74 in December 1979. It wasn't until their third album, “Zenyatta Mondatta”, released in 1980, that the group got much attention in the US.

This was one of the most popular live songs for the band, played at just about every concert after it was released, often as the set opener. Until they were inducted into the Rock and Roll Hall of Fame, this was the last song The Police played together. Sting continued to perform it as a solo artist, including at his set at Live Aid in 1985. Guitarist Andy Summers said it was the best track he ever played on.

"Message in a Bottle" is also a personal favourite of the members of the band. In addition to saying it was his favourite song in an interview with Jools Holland of the BBC, Sting described it as a "good song", and also said that he was "very proud" of it. Copeland said it was "one of our best moments in the studio and always great on stage”. Summers described the track as a personal favourite in his book One Train Later, and said, "For me, it's still the best song Sting ever came up with and the best Police track”.

This was the first ever UK #1 for the A&M label, which Herb Alpert and Jerry Moss founded in 1962.

In 2009, Sting's vineyard in Italy started producing a red wine called "Message In A Bottle”. He also has a series of wines called "Roxanne”.

 

FLEETWOOD MAC - DREAMS

“Dreams" es va llançar com el segon senzill de Rumours. Es va convertir en el primer i únic número u de la banda al Billboard Hot 100 dels EUA, i va arribar al número 24 a la llista de singles del Regne Unit.

"Dreams" de Fleetwood Mac tracta sobre la ruptura de Stevie Nicks amb el membre de la banda Lindsey Buckingham. La cançó explora les emocions que es produeixen al final d’una relació. Com era d'esperar, les sessions de gravació de Rumors van estar plenes d'irritació i conflictes. Stevie Nicks, per exemple, estava furiósa quan Buckingham va presentar "Go Your Own Way" a la banda. La cançó va retratar la perspectiva de Buckingham sobre la ruptura entre ell i Nicks. En resposta, Nicks va escriure "Dreams". La frase "Players only love you when they're playing” (Els jugadors només t'estimen quan juguen) és un cop de puny directe al nas de Lindsey.

Nicks va explicar a les notes de la reedició de Rumors del 2013: "Tot i que amb  'Go Your Own Way' estava molt enfadada, ell va ser honest. Aleshores vaig escriure 'Dreams' perquè sóc la noia que creu en fades i àngels, i Lindsey és un tipus dur que diu les coses d'una altra manera. Lindsey diu que segueixi endavant, surti amb altres homes i vagi a viure la meva vida de merda, i jo mentre vaig cantant sobre la pluja que el neteja. Des d'angles oposats, però en realitat estàvem dient exactament el mateix".

“Erem la fada i el gnom. Jo Intentava ser filosòfica i ell simplement estava boig". (Stevie Nicks)

Nicks va escriure "Dreams" a l'estudi Record Plant de Sausalito, Califòrnia, on Fleetwood Mac va gravar Rumours. Retirada de l'estudi principal, Nicks va trobar una habitació buida amb un piano i un teclat petit. Aïllada de la resta de la banda, va escriure ràpidament la cançó. Més tard, Nicks va presentar el treball en brut a la resta del grup, que va ajudar a organitzar-la i perfeccionar-la. Stevie Nicks va recordar a The Daily Mail el 16 d'octubre de 2009: "Recordo la nit que vaig escriure 'Dreams'. Vaig entrar i vaig lliurar un casset de la cançó a Lindsey. Era una gravació on només estava jo sola cantant i tocant el piano. Tot i que estava molt enfadat amb mi en aquell moment, Lindsey la va tocar i després em va mirar i va somriure. El que passava entre nosaltres era trist. Érem una parella que no es podia veure, però com a músics ens respectàvem i vam fer cançons brillants".

El vers inicial de "Dreams" marca el to de la cançó, amb Nicks abordant la necessitat de llibertat de Buckingham. Nicks anima Buckinham a seguir els seus sentiments, però també l'adverteix de la solitud que pot comportar-ho. La tornada és la part més memorable de la cançó. La frase, "Players only love you when they're playing” (Els jugadors només t'estimen quan juguen), és una plantofada directa a Buckingham suggerint que només està interessat en ella quan li convé. Però Nicks està convençuda que Buckingham es penedirà de les seves accions algun dia. En el segon vers, Nicks expressa els seus propis sentiments i desitjos. Nicks revela que encara lluita amb el sentiment cap a ell, però també sap que ell l’ignorarà. En general, la lletra de "Dreams" és una poderosa expressió de les emocions complexes que poden acompanyar el final d'una relació.

Cal destacar l'enorme professionalitat d'Stevie i Lindsey, ja que ambdues cançons són punyals enverinats  d'un cap a l'altre, i com que són dos dels seus èxits més populars els han estat cantant durant tota la seva carrera. No ha de ser fàcil haver de viure tota la teva vida professional amb una relació que es va trencar fa tants anys.

Aquest és l'únic èxit número 1 de Fleetwood Mac als EUA, és sorprenent tenint en compte lo conegudes que són moltes de les seves cançons en aquell país. L'Hot 100 no sempre va reflectir l'impacte de les seves cançons, moltes de les quals formen part de la cultura popular del país. 

DREAMS

“Dreams” was eventually released as the second single of Rumours. It became the band’s first and only number-one hit on the US Billboard Hot 100, and reached number 24 on the UK Singles Chart.

Fleetwood Mac’s “Dreams” is about Stevie Nicks’ breakup with band member Lindsey Buckingham. The song explores the emotions that occur with an ending relationship. As expected, the recording sessions of Rumours were filled with irritation and conflicts. Stevie Nicks, for instance, was furious when Buckingham introduced “Go Your Own Way” to the band. The song portrayed Buckingham’s perspective on the break between him and Nicks. In response, Nicks wrote “Dreams”. The line, "Players only love you when they're playing," it's a punch to Lindsey's nose.

Nicks explained in the liner notes for Rumours' 2013 reissue: "Even though 'Go Your Own Way' was a little angry, it was also honest. So then I wrote 'Dreams,' and because I'm the chiffony chick who believes in fairies and angels, and Lindsey is a hardcore guy, it comes out differently. Lindsey is saying go ahead and date other men and go live your crappy life, and [I'm] singing about the rain washing you clean. We were coming at it from opposite angles, but we were really saying the same exact thing."

“It was the fairy and the gnome. I was trying to be all philosophical. And he was just mad.” (Stevie Nicks)

Nicks wrote “Dreams” at the Record Plant studio in Sausalito, California, where Fleetwood Mac recorded Rumours. Withdrawn from the main studio, Nicks found an empty room with a piano and a small keyboard. Isolated from the rest of the band, she quickly wrote the song. Nicks later presented the raw work to the rest of the group, who helped arrange and refine it. Stevie Nicks recalled to The Daily Mail October 16, 2009: "I remember the night I wrote 'Dreams.' I walked in and handed a cassette of the song to Lindsey. It was a rough take, just me singing solo and playing piano. Even though he was mad with me at the time, Lindsey played it and then looked up at me and smiled. What was going on between us was sad. We were couples who couldn't make it through. But, as musicians, we still respected each other - and we got some brilliant songs out of it."

The opening verse of “Dreams” sets the tone for the song, with Nicks addressing Buckingham’s need for freedom. Nicks encourages Buckinham to follow his feelings, but also warns him of the loneliness that may come with it. The chorus is the most memorable part of the song. The line, “Players only love you when they’re playing”, is a direct dig at Buckingham. They suggest Buckingham is only interested in Nicks when it’s convenient to him. But Nicks is convinced Buckingham will regret his actions one day. In the second verse, Nicks expresses her own feelings and desires. Nicks reveals she still struggles with attachment to Buckingham, but also knows he won’t listen to her. Overall, the lyrics of “Dreams” are a powerful expression of the complex emotions that can accompany the end of a relationship.

We must highlight the enormous professionalism of Stevie and Lindsey, since both songs are hurtful daggers of one another, and as they are two of their most popular hits they have been singing them all their careers. It must not be easy have to live all your professional life with a relationship that broke up so many years ago.

"Dreams" became the quintessence of how the warring bandmates' ability to channel their agony into pitch-perfect harmony proved a winning formula.

This is Fleetwood Mac's only #1 hit in the US, surprising considering how familiar many of their songs are in that country. The Hot 100 didn't always reflect the impact of their songs, many of which showed remarkable endurance.

 FLEETWOOD MAC - GO YOUR OWN WAY

"Go your own way" va ser llançat com el primer senzill de l'àlbum a finals de 1976, tres mesos abans del llançament de "Rumours", i va ser un èxit comercial, arribant al número 10 al Billboard Hot 100 dels EUA. El llançament avançat va ser un intent de crear expectativa al voltant de l'àlbum. Amb èxit, perquè l'àlbum tenia prop d'un milió de precomandes. "Rumors" acabaria per vendre més de 10 milions de còpies a tot el món durant el primer mes del seu llançament. Amb els anys, l'àlbum també va ser un èxit massiu, encapçalant les llistes d'àlbums a tot el món. "Rumors" acabarà encapçalant les llistes d'àlbums nord-americanes durant 31 setmanes i vendrà més de 40 milions de còpies a tot el món. A més, "Go Your Own Way" ha demostrat ser un clàssic del rock atemporal. La popularitat perdurable de la cançó és una prova de la música captivadora d’aquest LP. Al Regne Unit, el senzill no va tenir tant èxit, només va arribar al número 38.

Buckingham va escriure "Go Your Own Way", una cançó sobre la seva tumultuosa relació amb Stevie Nicks. La potent cançó aprofundeix en el dolor i la frustració d'una relació fallida.

"Vaig quedar completament devastat quan ella (Nicks) va trencar la nostra relació, i al mateix temps havia de fer-li èxits. Vaig haver de fer moltes coses per ella que realment no volia fer. Però les vaig fer. (Lindsey Buckingham)

Stevie Nicks estava furiosa quan va escoltar la cançó. Ella va percebre la cançó com un atac personal i il·lícit i va instar a Buckingham a canviar algunes de les lletres. Però Buckingham es va negar a fer-ho. En resposta, Stevie Nicks va escriure la cançó "Dreams".

'Dreams' i 'Go Your Own Way' són el que jo anomeno les 'cançons bessones'. Són la mateixa cançó escrita per dues persones sobre la mateixa relació." (Stevie Nicks)

Cal destacar les diferències entre les 'cançons bessones'. "Go Your Own Way" de Buckingham segueix un patró senzill del rock, mentre que "Dreams" de Nicks té un enfocament més filosòfic.

Mick Fleetwood va dir: "El ritme de 'Go Your Own Way' va ser una estructura de tam-tam que Lindsey va demostrar colpejant capses de Kleenex o alguna cosa així. Mai no vaig aconseguir el que volia, així que el resultat final va ser la meva interpretació mutada. Es va convertir en una part important de la cançó, un enfocament completament de darrera a davant que, em fa vergonya dir-ho, va sorgir de capitalitzar la meva pròpia ineptitud. Hi va haver algun conflicte sobre la frase "crackin' up, shackin' up", amb la que Stevie se sentia tractada injustament, però Lindsey s’hi va fer molt fort. Bàsicament era; fes la teva, noia!

La banda va tenir dificultats per muntar un solo de guitarra adequat, després el productor Ken Caillat va construir el solo reunint sis preses diferents de solos de guitarra de Lindsey dels assajos. Ho va aconseguir aixecant i silenciant solos de guitarra individuals mitjançant ajustos tècnics. Caillat va trobar el solo "sense fissures" malgrat la seva naturalesa fragmentada.

GO YOUR OWN WAY

“Go your own way” was released as the album’s first single at the end of 1976, three months before the release of “Rumours”, and was a commercial success, reaching #10 on the US Billboard Hot 100. The early release was an attempt to create hype around the album. With success, because the album had close to a million pre-orders. “Rumours” would eventually sell over 10 million copies worldwide in the first month of its release. Over the years, the album was also a massive success, topping the album charts worldwide. “Rumours” would eventually top the US album charts for 32 weeks and sell over 40 million copies worldwide. Besides, “Go Your Own Way” has proven to be a timeless rock classic. The song’s enduring popularity is evidence of the captivating music and the relatable themes of the iconic tune. In the UK, the single was not as successful, only reaching #38.

Buckingham wrote “Go Your Own Way”, a song about his tumultuous relationship with Stevie Nicks. The powerful song delves into the pain and frustration of a failing relationship.

“I was completely devastated when she (Nicks) took off. And yet I had to make hits for her. I had to do a lot of things for her that I really didn’t want to do. And yet I did them. (Lindsey Buckingham)

Stevie Nicks was reportedly furious when she heard the song. She perceived the song as a personal and wrongful attack and urged Buckingham to change some of the lyrics. But Buckingham refused to do so. In response, Stevie Nicks wrote the iconic song “Dreams”.

‘Dreams’ and ‘Go Your Own Way’ are what I call the ‘twin songs’. They’re the same song written by two people about the same relationship.”(Stevie Nicks)

The differences between the ‘twin songs’ are noteworthy. Buckingham’s “Go Your Own Way” follows a straightforward course, while Nicks’ “Dreams” has a more philosophical approach.

Mick Fleetwood said: "'Go Your Own Way's' rhythm was a tom-tom structure that Lindsey demoed by hitting Kleenex boxes or something. I never quite got to grips with what he wanted, so the end result was my mutated interpretation. It became a major part of the song, a completely back-to-front approach that came, I'm ashamed to say, from capitalizing on my own ineptness. There was some conflict about the 'crackin' up, shackin' up' line, which Stevie felt was unfair, but Lindsey felt strongly about. It was basically, On your bike, girl!

The band had a difficult time assembling a suitable guitar solo, then producer Ken Caillat built the solo by piecing together six different lead guitar takes. He accomplished this by pulling up and muting individual guitar solos through faders. Caillat found the solo "seamless" despite its fragmented nature.

 

BOSTON - MORE THAN A FEELING

"More Than a Feeling" és una cançó del grup de rock nord-americà Boston, llançada com a senzill principal de l'àlbum debut de la banda al setembre de 1976. Tom Scholz, fundador i líder de la banda va escriure la cançó sol. El senzill va assolir el número cinc als EUA i el número 22 al Regne Unit. La cançó parla d'un noi que es desperta, posa una mica de música i es perd en el somni somiant amb els seus dies amb Marianne. "Es va escriure sobre un esdeveniment de fantasia", va dir a Entertainment Weekly de la cançó. "Però és una cosa amb la qual gairebé tothom es pot identificar, algú perd algú que era important per a ell i la música els porta de tornada". La noia dels somnis d'aquesta cançó, Marianne, es basava en una persona real. "Era la meva cosina gran, de qui em vaig enamorar quan tenia 10 anys", va explicar Scholz. "Em vaig trobar amb ella molts anys després i em va dir que es va molestar molt quan vaig dir que era la meva cosina gran".

Aquest va ser el primer senzill de Boston i un èxit sorprenent. L'ascens del grup va ser sobtat i inesperat; quan es va llançar "More Than a Feeling", els seus representants van passar molt de temps portant-la a les emissores de ràdio. És molt difícil per a un grup desconegut que decideixin promocionar-la, però la cançó era tan polida i radiable que moltes emissores la van posar de seguida. L’èxit va ser instantani, i molt aviat aquella banda desconeguda amb un àlbum gravat majoritàriament en un soterrani va esdevenir un actor important de l'escena del rock d’aquell 1976.

El lloc web de Boston diu que la cançó tracta sobre "el poder que pot tenir una cançó antiga a la teva vida, amb Scholz explicant que "va ser una mena de balada agredolça que va funcionar".

"More Than a Feeling" is a song by the American rock band Boston, released as the lead single from the band's 1976 debut album in September 1976. Tom Scholz, the former and leader of the band wrote the whole song. The single peaked at number five on the US and #22 in the UK. The song is about a guy who wakes up with the blahs, turns on some music, and gets lost in reverie dreaming of his days with Marianne. "It was written about a fantasy event," he told Entertainment Weekly of the song. "But it's one that almost everybody can identify with, of somebody losing somebody that was important to them, and music taking them back there." The dream girl in this song, Marianne, was based on a real person. "She was my older first cousin, who I had a crush on when I was 10," Scholz explained. "I ran into her many many years later and she was very annoyed at me for mentioning that she was my older cousin”. 

This was Boston's first single, and a surprising hit. The group's rise was sudden and unexpected; when "More Than a Feeling" was released, their managers spent a lot of time pitching it to radio stations, which is a very tough sell for an unknown band, but the song is so polished and radio-friendly that many stations put it on the air. It took off, and very soon this unknown band with an album recorded mostly in a basement was a major player on the rock scene.

Boston's website says the song is about "the power an old song can have in your life, with Scholz elaborating that "it was sort of a bittersweet ballad”.