Wonderful Tonight was included on Eric Clapton’s 1977 album Slowhand. Clapton wrote the song about Pattie Boyd, and is mentioned in her autobiographical book Wonderful Tonight: George Harrison,Eric Clapton and Me. The song was a modest hit upon its release, reaching number 30 in the UK and number 16 in the US charts.
On the 7th of September 1976, Clapton wrote “Wonderful Tonight for Pattie Boyd while waiting for her to get ready to attend Paul and Linda McCartney’s annual Buddy Holly party.

Of “Wonderful tonight” Boyd would say: “For years it tore at me. To have inspired Eric, and George before him, to write such music was so flattering. Wonderful tonight was the most poignant reminder of all that was good in our relationship and when things went wrong it was torture to hear it.

Sweet Child O’ Mine by American rock band Guns N’ Roses, was released on their debut studio album, Appetite, ‘For Destruction’ in 1987. The song reached number 6 in the UK singles chart.

Sweet Child O’ Mine is placed number 37 on Guitar World’s list of the ‘100 Greatest Guitar Solos’. Q Magazine placed it at number 6 in its list of ‘100 Great Guitar Tracks’. The introduction’s famous riff was also voted number-one riff of all-time by the readers of Total Guitar magazine.

On a recent BBC poll, the song was voted to have the ‘greatest guitar riff ever’.

Carlos Santana is a Mexican rock guitarist and became famous in the late 1960s with his band, Santana, which pioneered rock, salsa and jazz fusion. The band’s sound featured his melodic, blues-based guitar lines set against Latin rhythms – featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s.

Rolling Stone Magazine named Santana number 15 on their list of 100 Greatest Guitarists of All Time in 2003. He has won 10 Grammy Awards and 3 Latin Grammy Awards.

Carlos learned to play the guitar at the age of eight and was influenced by Ritchie Valens at a time when there were few Latinos in American rock and pop music. After moving to San Francisco in the early 1960s he spent several years working as a dish washer in a diner and busking for spare change. Santana then decided to become a full-time musician in 1966 when he formed the Santana Blues Band with fellow street musicians David Brown and Gregg Rolie. With their highly original blend of Latin-infused Rock, Jazz, Salsa and African rhythms, the band gained an immediate following on the San Francisco strip club. The band’s early success, capped off by a memorable performance at Woodstock in 1969, led to a recording contract with Colombia Records, then run by Clive Davis.

The lyrics are the words of a character of dubious nature, who is watching “every breath you take; every move you make”. I woke up in the middle of the night with that line in my head, sat down at the piano and had written it in half an hour. The tune itself is generic, an aggregate of hundreds of others, but the words are interesting. It sounds like a comforting love song. I didn’t realize at the time how sinister it is. I think I was thinking of Big Brother, surveillance and control.

Sting later said he was disconcerted by how many people think the song is more positive than it is. He insists it’s about the obsession with a lost lover, the jealousy and surveillance that follows. “One couple told me ‘Oh we love that song; it was the main song played at our wedding!’ I thought, ‘Well, good luck.” When asked why he appears angry in the music video Sting told BBC Radio 2, “I think the song is very, very sinister and ugly and people have actually misinterpreted it as being a gentle, little love song.”

According to the Back to Mono box-set book, “Every Breath You Take” is influenced by a Gene Pitney song titled “Every Breath I Take”. The song’s structure is a variation on the Classical rondo form with its AABACABA structure, a form rarely found in modern popular music.

The demo of the song was recorded in an eight track suite in North London’s Utopia studios and featured Sting singing over a Hammond organ. While recording, Summers came up with a guitar part inspired by Béla Bartók that would later become a trademark lick, and played it straight through in one take. He was asked to put guitar onto a simple backing track of bass, drums, and a single vocal, with Sting offering no directive beyond “make it your own”.