490. Julio Iglesias – Begin the Beguine (1981)

The Intro

Singer-songwriter Julio Iglesias is the most commercially successful Spanish singer in the world and the best-selling male Latin artist in history. However, it took his cover of Cole Porter’s Begin the Beguine to finally take him to number 1 in the Uk singles chart.

Before

Julio José Iglesias de la Cueva was born in Madrid on 23 September 1943. His father, Julio Iglesias Sr, was one of Spain’s youngest gynaecologists and María del Rosario de la Cueva y Perignat was of Jewish descent.

Growing up, young Iglesias spent most of his time either playing professional football as a goalkeeper or studying law. But his time as the former came to an abrupt end when he was involved in a serious car accident in 1963. Unable to walk for two years, Iglesias was given a guitar in hospital from a nurse who thought it would help him concentrate on new skills he could learn with his hands. After rehabilitation, he passed his law degree.

In 1968, Iglesias won the Benidorm International Song Festival with La vida sigue igual, which was used in the 1969 film of the same name, in which he played a fictionalised version of himself. He then signed to Discos Columbia (the Spanish branch of Columbia Records) and released his first album, Yo Canto, which was a huge hit. In 1970 Iglesias represented Spain in the Eurovision Song Contest, where he came fourth with Gwendolyne.

Throughout the 1970s, Iglesias would score hits around the globe in various languages, including Un canto a Galicia (1971), A flor de piel (1974), Corazón, corazón (1975) and Quiéreme mucho (1979).

In 1979, Iglesias moved to Miami, Florida, where he signed with CBS International. The title track to the LP Hey! became his first charting track in the UK, peaking at 31. 1981 saw Iglesias release the album De Niña a Mujer, which featured his version of Begin the Beguine.

Porter had written Begin the Beguine while on a Pacific cruise in 1935 and it quickly became a part of his Broadway musical Jubilee. The song refers to the dance and music form beguine, which is similar to a slow rhumba, had originated in the islands of Guadeloupe and Martinique, and was steadily growing in popularity at the time. Begin the Beguine was considered too long to become a hit, but Artie Shaw and His Orchestra’s version became a hit in 1938.

A year later Joe Loss and Chick Henderson recorded their version, which went on to become the first record to sell a million. The song featured in Metro-Goldywn-Mayer’s musical Broadway Melody of 1940 twice and soon became a pop standard, covered by Frank Sinatra, Ella Fitzgerald and Elvis Presley.

Iglesias wrote new lyrics for his version – titled Volver a Empezar in Spanish. Only the first line, ‘When they begin the beguine’, is in English, which makes it the first mostly foreign language chart-topper since Manhattan Transfer’s Chanson D’Amour in 1977. It was the first Spanish song to become number 1 here, but Iglesias was the second Spanish act to do so, after Baccara, also in 1977.

Review

It’s astounding to think that this track managed a week at number 1 inbetween two all-time classics in Under Pressure and Don’t You Want Me. It’s very dated for 1981 and would have sounded more contemporary had it been released in the balmy summer of 1976. Over the lightest of disco backings, Iglesias sings about lost love, rather than dancing the beguine. However, the words, translated into English, are empty and bland. One doesn’t feel Iglesias has ever felt such emotion.

A strange number 1 for 1981, indeed – perhaps the older record buyer liked the easy listening stylings of the handsome middle-aged crooner, while younger listeners fancied something that reminded them of summer, just as one of the coldest winters of all time began (see ‘Meanwhile…‘.

The video is also very uninspiring, featuring a suave Iglesias crooning against a multi-coloured disco backdrop.

After

Iglesias tried to repeat the success of Begin the Beguine with Yours (Quiéreme Mucho), This cover of a criollo-bolero nearly did just as well, peaking at three in 1982. The 1943 song Amor was less successful, only climbing to 32.

A greatest hits collection, Julio, was released in 1983, and became the first foreign language LP to sell more than two million in the US. A year later came 1100 Bel Air Place, his first to be mostly recorded in English. It was a smash hit and included the popular duet To All the Girls I’ve Loved Before, which he recorded with country music legend Willie Nelson. It peaked at five in the US and 17 here. The album also featured his cover of The Hollies’ The Air That I Breathe, which featured backing vocals from The Beach Boys. The relevance of the album title? It was a former home of Iglesias, and superstar producer Quincy Jones resided there until 2005.

Iglesias continued to record with huge stars. In 1988 he released My Love with Stevie Wonder, which is to date his last UK hit, peaking at five. In 1993 he recorded Summer Wind with Frank Sinatra, and a year later, the album Crazy, which included duets with Sting, Dolly Parton and Art Garfunkel.

In 2003 he released one of his most successful albums, Divorcio, which I’m ashamed to say I can only hear being exclaimed in the same way as ‘Scorchio!’ from The Fast Show. 2006 saw Iglesias release Romantic Classics, which consisted of covers of songs he believed would become future standards, such as I Want to Know What Love Is and Careless Whisper.

Already boasting, no doubt, of shelves full of international awards, in 2013 Iglesias also was recognised by Guinness World Records as the best-selling male Latin artist, and he was also inducted into the Latin Songwriters Hall of Fame.

The Outro

Iglesias hasn’t released new material since México & Amigos in 2017, but to be fair, he is now in his 80s, and could very easily choose to retire and rest on his considerable laurels. Divorcio!

The Info

Written by

Cole Porter (Spanish version Julio Iglesias)

Producer

Ramón Arcusa

Weeks at number 1

1 (5-11 December)

Trivia

Deaths

7 December: Author Gordon Rattray Taylor
8 December: Burnley FC chairman Bob Lord
9 December: Rugby league player Brian McTigue/Scottish playwright CP Taylor
10 December: Metallurgist John D Eshelby

Meanwhile…

8 December: Following the freaky weather that brought 104 tornadoes to the country, a severe wave of cold weather, later to become known as ‘The Big Snow of 1982’ begins with severe snow storms across the UK. Temperatures plummet to the lowest in any December on record since 1874 and the heaviest snow storms since 1878. The storms continue in waves until 27 December.
Also on this day, Arthur Scargill becomes the leader of the National Union of Mineworkers.

489. Queen & David Bowie – Under Pressure (1981)

The Intro

Under Pressure, that behemoth of a pop track by rock giants Queen & David Bowie, sees both acts trying to outdo each other. Somehow, rather than come out as a sloppy egotistical mess, it became one of the greatest number 1s of the 80s, no matter how many times you might hear it.

Before

Six years previously, Queen had scored the 1975 Christmas number 1 with their most famous single, Bohemian Rhapsody. A lengthy nine weeks there earned them huge fame and meant their next two singles were hits too – in 1976, the lovely You’re My Best Friend went to seven and epic singalong Somebody to Love peaked at two. 1977 brought mixed fortunes, with Tie Your Mother Down only reaching 31. Queen’s First EP was a cash grab that went to 17. But We Are the Champions restored their fortunes, hurtling to two. The rest of the 70s featured some of their most famous songs performing well – most notably the double A-side Bicycle Race/Fat Bottomed Girls (1978) at 11, Don’t Stop Me Now (1979) at nine and Crazy Little Thing Called Love (1979) at two.

The last track I mentioned was the first release from The Game, which was their first LP of the 80s. It was also the first to see Queen introduce synthesisers into the mix for the first time. Other singles from this album included the number seven smash Another One Bites the Dust. They also released their soundtrack album for the camp film Flash Gordon (1980).

The last time we saw David Bowie around these parts wasn’t that long ago at all. Ashes to Ashes, the first track to be released from Scary Monsters (and Super Creeps), had been number 1 in 1980. The excellent Fashion followed and peaked at five, before commercial success trailed off with subsequent singles – the title track (number 20) and Up the Hill Backwards (32).

In July 1981, Queen were recording what was to become the LP Hot Space at Mountain Studios in Montreux, Switzerland. One of the tracks they were working on was drummer Roger Taylor’s Feel Like, but they weren’t happy with the results. Also at Mountain Studios was Bowie, who lived in Switzerland at the time and was recording the vocals to the title song of the film Cat People (Putting Out Fire). Two of the biggest acts of the 70s met each other and, perhaps surprisingly, perhaps not, they decided to try working together.

Queen and Bowie had lots in common, for a while. Both found fame during the glam period as rock acts that weren’t afraid to be flamboyant, or to experiment either. However, it’s fair to say that although Queen stuck mostly to the rock format, Bowie had been continually experimental as the decade progressed. But both were about to release some of the most straightforward pop material of their careers, but not before Queen continued to make Hot Space, which consisted mostly of disco.

Initially in Montreux, Bowie contributed backing vocals and a spoken word section to the track Cool Cat, but he wasn’t happy with his performance and asked to be wiped from the recording. With Hot Space recorded, they all decided to see if they could create a new song, which included the guitar element from Feel Like. Although Freddie Mercury, Brian May, John Deacon, Taylor and Bowie were all credited for what became Under Pressure, Deacon claimed in 1984 that Mercury was the driving force.

You would think Deacon would be keen to lay claim to one of the most famous bass riffs of all time, but he didn’t. In 1982 he stated that Bowie had created it. However, Bowie said on his website that it had been written before he joined the band in the studio. In recent years both May and Taylor have insisted it was Deacon, but in 2016 May appeared to clear matters up. In an article for Mirror Online, the guitarist said Deacon had been playing a riff in the studio consisting of the same note six times, ‘then one note a fourth down’. Queen and Bowie took a break and went for food and liquid refreshment at a local restaurant. Several hours later, Bowie misremembered the riff that Deacon had been playing, and insisted it was what became the backbone of Under Pressure. He even went so far as to stop Deacon playing, which made matters tense for a while. However, everyone must have come to their senses and seen that, whoever was right, Bowie’s version was a magic ingredient. May also said in the interview that normally at this point, Queen would have gone away and discussed the song’s structure. Bowie wanted to carry on, saying ‘something will happen’.

Review

Bowie was right. Something did indeed happen. Under Pressure is one of the finest number ones of the 80s and one of that holy list of songs that I will never, ever grow tire of. If anything, the lyrics take on added relevance with every passing year. However, how much better would it have been if they’d taken more time on the song? I’m looking at you in particular, Mercury.

It’s strange to see how Queen’s lead singer would be so willing to let this song be mixed and released without him working more on his lyrics. Vocally, he and Bowie are an excellent match for each other, complimenting each other so well and then seemingly battling it out at the song’s finale. But why did he and the rest of Queen settle on his scatting in lieu of more actual words? Bowie later said he felt they could have spent longer on Under Pressure lyrically, and that’s a polite way of putting it.

However, Mercury does just about pull it off – after all, this is a man with such a commanding presence, he had the whole of Wembley Stadium yodelling along with him at Live Aid four years later. And of course, underpinning the whole song is Deacon’s entrancing, ultra-catchy bass riff. The intro is spellbinding, and when the riff and Mercury’s understated scat leads into his and Bowie’s ‘Pressure!’, the hairs on the back of your neck can still stand to attention.

Bowie and Queen’s anthem to the stress of modern life can be seen as a prediction of the 21st century, which explains just why the song has aged so well. The former’s handiwork is clear, and almost retro by his standards, as we get a little of the unusual wordplay little seen seen by the glam icon since his Berlin period – now don’t get me wrong ‘Pressure, pushing down on me, pushing down on you, no man ask for… puts people on streets’ is not exactly comparable with the cut-up lyrical technique of some of his finest late-70s material, but it’s clear this is him and not Mercury at work.

What makes it all the more frustrating is that Mercury’s few lyrics on Under Pressure work really well with Bowie’s. When he sings ‘Chipping around, kick my brains ’round the floor/These are the days it never rains but it pours’ are an effective compliment to Bowie’s preceding lyrics about the terror of seeing friends struggling under the weight of the world. But then he just scats again. And again. And when he says ‘OK!’, is it a sarcastic quip that everything is far from OK, or just pure laziness? Either way, it’s a bit mind-boggling that everyone was happy to let it stay in the song.

But with Under Pressure, the whole is definitely far greater than the sum of its parts. And back to that finale. From Mercury’s hushed ‘Turned away from it all like a blind man’ is pure brilliance. The way the two superstar singers battle for the last word is awe-inspiring and pop music at its best. Mercury as the questioning optimist, desperately hoping that love will win out. It makes for a brilliant ending. And yet Bowie somehow tops him, reviving the cynicism of his ‘Thin White Duke’ era with the cold cynicism of ‘Cause love’s such an old-fashioned word’. And then, even better, they both seem to predict where Thatcherism will go next, by noting that love means caring for others – the ‘People on streets’ could be the miners that go on strike three years later. Is this song a warning that, as Thatcher later said, there really is no thing as society, because pressure has stopped people loving anyone but themselves? It’s a hell of a lot to contemplate as the finger clicks fade into silence.

After

With neither Queen or Bowie available to star in a video for Under Pressure, it made sense to task David Mallett with the responsibility. The prolific director had created some of Bowie’s most memorable videos, including Ashes to Ashes, as well as Queen’s Bicycle Race. For this single, Mallett compiled stock image of footage that loosely represented pressure, including traffic jams, riots and – controversially – footage of explosions in Northern Ireland, which Top of the Pops insisted on having removed before showing the video.

Under Pressure spent two weeks at number 1 in 1981. In 1982 it became part of Queen’s LP Hot Space. The band would perform the song live many times, but Bowie didn’t until he joined the line-up for the Freddie Mercury Tribute Concert in 1992, where he joined the remaining members of the band along with Annie Lennox fulfilling Mercury’s role. It later became part of his own sets, featuring bassist Gail Ann Dorsey singing Mercury’s parts.

The Outro

In 1990, the song had a revival thanks to the rapper Vanilla Ice. Although he originally claimed not to have sampled the bass and piano on his number 1 Ice Ice Baby (which he clearly had), and then refused to award a songwriting credit or royalties to Queen and Bowie, he later relented. He also later claimed to have purchased publishing rights, which was also bullshit.

In 1999 a remixed version of Under Pressure, known as The Rah Mix, made it to 14 in the singles chart.

The Info

Written and produced by

Queen & David Bowie

Weeks at number 1

2 (21 November-4 December)

Trivia

Births

26 November: Singer Natasha Bedingfield
27 November: Actor Gary Lucy
29 November: Photographer Tom Hurndall
1 December: Actress Kathryn Drysdale

Deaths

3 December: Historian Charles Harvard Gibbs-Smith
4 December: Writer Enid Welsford

Meanwhile…

  • 23 November: The 1981 United Kingdom tornado outbreak became the largest recorded tornado outbreak in European history when 104 reached England and Wales
  • 25 November: A report into the Brixton Riots, which hit inner-city London earlier this year, blamed social and economic problems in inner-city areas across England.
  • 26 November: Shirley Williams won the Crosby by-election for the SDP, overturning a Conservative majority of nearly 20,000 votes.