When you look at the sleeve of the 7" single of 'You are the one' and compare it with this one from the 12" single, you'll see that a different photograph was used from the same photo session. You'd wish this was done more often, because all too often the sleeve of the 12" single is an exact replica, if only a bigger one, of the 7" single.
A-ha were never very generous with bonus tracks after their first two albums were a hit, but sometimes there were some pleasant surprises. This 12" single of 'Stay on these roads', the first single taken from their third album of the same name, features two tracks unavailable on the album, one of which wasn't released on cd until some time later.
There's probably some truth to the story that the music you hear during adolescence makes the biggest impression on you. Many of the artists that were around during the Eighties are still here now, making music, and the records they made back then are forever etched in your memory. In some cases, these memories extend to knowing the exact circumstances when you bought certain records.
After the first release of 'Take on me' flopped, the record company tried again and again to make it work. This 12" single represents the first re-release of the single, featuring a different sleeve and a different mix of the track. In the end, it took a second re-release and a new music video to make it a worldwide hit - although the music on the disc didn't change after this one.
Released as the second single from A-ha's second album 'Scoundrel days', I never thought this was the best track to be released as a single. The title track should have been the one in my opinion, but perhaps it was deemed 'too intense'. This poppy track catered to the lightweight pop image the band had at the time, even if the album they made was full of more intricate musical arrangements.
A-ha did their farewell tour last year, causing some grief among their fans, who are coming together this weekend for a fan reunion. Personally I think it's a matter of time before the three Norwegians reunite for another tour and/or album. It may take some years, but in the mean time, there's loads of old records to enjoy.
Earlier today I read the news that A-ha is disbanding. It's a sad thing: for a quarter of a century they have made some of the most incredible pop songs, and their craft became better with every album. Their latest, 'Foot of the mountain' (2009) is a great piece of retro synthpop, with some of the best melodies they've ever composed.
The last single by A-ha for a long time was 'Shapes that go together', released in 1994. The title was rather ironic, given that there was a significant amount of discord between the band members at the time of the song's release.
The boring thing about A-ha singles is that they rarely have an interesting B-side.Take this one for instance: the B-side is the 1990 hit 'I call your name'. Well, at least the A-side was interesting. 'Angel' was written as a wedding present for Lauren, the wife of A-ha's principal songwriter Paul Waaktaar-Savoy.
A-ha was going through troubled times when they released their 1993 album 'Memorial beach'. There were internal conflicts and conflicts with their record company. And on top of it all, the chart performance of the album was disappointing. The album was entirely recorded at Prince's Paisley Park studios and lacked a lot of what made previous A-ha albums so special.
After 'Move to Memphis', one more single was released to promote A-ha's 1992 compilation album 'Headlines and deadlines'. It was a remix of the 1988 single 'The blood that moves the body'. Since that single was the first A-ha single to land outside the UK top 20 in 1988, the record company probably thought it had some room for improvement.
'Move to Memphis' was a new track by A-ha, released in 1991 to coincide with the release of 'Headlines and deadlines', their first ever compilation album. The single showed a more mature-sounding A-ha than ever before, already foreshadowing what their next album would sound like. A a new version of 'Move to Memphis' would actually appear on that next album.
I wasn't very impressed with the third single off A-ha's 1990 album 'East of the sun west of the moon'. It was 'Early morning', a track that didn't stand out in any way. What's more, it didn't come with any interesting remixes, B-sides or somesuch. However, there was one interesting thing after all: in the UK, the record company released a limited edition 7" box set, which included three postcards and a tourpass. I am a sucker for extras and limited editions, so obviously I went for it.
'I call your name' was released as the second single from A-ha's fourth album 'East of the sun west of the moon'. As a single release, it was another disappointing one for the fans because it only contained two album tracks. At this point in the band's career, they were very greedy with bonus tracks and remixes.
'Crying in the rain' was written by Howard Greenfield and Carole King and originally recorded by The Everly Brothers. Their version peaked at number 6 in the UK singles chart and number 30 in the Netherlands.
The fourth and final single from A-ha's third album 'Stay on these roads' was 'You are the one'. The track was remixed by Justin Strauss to give the track some extra 'punch'. The strategy worked in some countries: in the UK, for instance, the single reached number 13. In the Netherlands the audience was less impressed: the single did not chart.
Although I was a fan of A-ha's music ever since they hit it big with 'Take on me', I grew increasingly unimpressed by their choice of singles in 1988. The album 'Stay on these roads' was decent enough, but the record company had a knack for choosing the most bland tracks as a single. Things hit rock bottom - in my opinion, of course - when 'Touchy!' was released in the summer of 1988. It was A-ha's most 'autopilot'-inspired track. The audiences still fell for it: the single peaked at number 11 in the UK and number 14 in the Netherlands.
'The blood that moves the body' was released as the second single from A-ha's third album 'Stay on these roads' in June 1988. The enigmatic lyrics of this song have been attributed to many things, including teen suicides in Japan and literary references to 'eyes of a blue dog'. World sales reportedly amounted to 400,000 copies.
