"Escape (The Piña Colada Song)" is a song written and recorded by British-born American singer Rupert Holmes for his album Partners in Crime. As the lead single for the album, the pop song was recommended by Billboard for radio broadcasters on September 29, 1979, then added to prominent US radio playlists in October–November. Rising in popularity, the song peaked at the end of December to become the last US number one song of the 1970s.
The song speaks, in three verses and three choruses, of a man who is bored with his current marriage because it has become routine and he desires some variety. One night, he reads the personal advertisements in the newspaper and spots an ad that catches his attention: a woman who is seeking a man who, among other little things, must like piña coladas. Intrigued, he takes out an ad in reply and arranges to meet the woman "at a bar called O'Malley's", only to find upon the meeting that the woman is actually his current partner. The song ends on an upbeat note, showing that the two lovers realized they have more in common than they had suspected, and that they do not have to look any further than each other for what they seek in a relationship.
Recorded for Holmes's Partners in Crime (1979) album, the song came from an unused track for which Holmes wrote temporary or “dummy” lyrics:
This version, "The Law of The Jungle", was released as part of his Cast of Characters (2005) box set and was inspired by a want-ad he read whilst idly scanning the personals one day. As Holmes put it, "I thought, 'what would happen to me if I answered this ad?' I'd go and see if it was my own wife who was bored with me." The title of the song was originally going to be "People Need Other People", which was written years earlier for Holmes' own amusement.
The chorus originally started with "if you like Humphrey Bogart", which Holmes changed at the last minute, replacing the actor with the name of the first exotic cocktail that came to mind.[6]
Holmes regards the song with a mixture of pride and chagrin: while it has made him wealthy and famous, it drew attention away from his more serious musical works. He does not care for the drink; he once said on the Uncle Floyd Show that piña coladas taste like Kaopectate.
During the session in which the background musicians laid down their tracks, Holmes found both drummers so intoxicated that they were barely able to perform. He has stated in many interviews, and the liner notes of the 2005 box set:
After just one take, one of my drummers had fallen unconscious and the other one wasn't far from it. Nowadays it wouldn't be any big deal, but in those days if you wanted to copy a piece of a track, you had to either copy it over to another reel of expensive tape or fast-forward to an unused section of your original tape, cut it off and wind it onto another reel and sit there for days on end cutting and splicing the copy until you got what you wanted.
I found out we had about 16 bars that were really tight and sounded good, but we didn't have the kind of budget to be rescheduling a session or throwing away $250 on extra reels of tape so that I could loop that 16-bar section.
But I still had to sit there for a whole afternoon making sure I got the splice right before I got out the razor blade and made the cut. I thought I was going to end up having to buy a second reel anyway so that I had someplace to put the spliced-together song about which I was NOT happy. I remember we got a breakthrough. Somebody had come in to do a multi-media presentation a couple weeks earlier and had recently mixed down their session. Having no further need for their master 2-inch, they told their producer to leave it behind for somebody else to use again.
After splicing in the one good intro and one good outro I had, we went in the next day to record the vocal. I did it just once as a scratch track so that my lead guitarist, Dean Bailin, could familiarize himself with the song, and also ad-libbed a harmony track a third above myself on the chorus.
I left the song and came back the next day to record the proper vocal, but when I came back to lay it down, I couldn't get the same energy, excitement and enthusiasm as I had singing it that one time straight through—so we left it the way it was and that's the record you hear.
