For a mere eight years I was well into Tori Amos. All that time she released five great albums, until the disastrous covers album 'Strange little girls' ended that great run and introduced a decade of wishy-washy albums, finally descending into that career nosedive called the - gasp - Christmas album.
When Frida went solo in 1982, nobody suspected that it signalled the end of Abba, the band she'd been part of for the last ten years. And when the first single, 'I know there's something going on', produced by Phil Collins, became a big hit, nobody knew that the rest of her solo career would be less successful. Her career as a solo artist became comparatively insignificant, although artistically it had some interesting moments nonetheless.
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.
When the duo Groovenut decided to remix Kim Wilde's 'You came', little did they know that there were actually plans to re-record and re-release this track. It was 2005, a full 17 years after the release of the original track, and the plan was simply to update the track for the new century.
When the cd-single became the preferred format in the late Eighties, vinyl was quickly pronounced dead by the record companies, not realising they were digging their own graves at the time. But before they did, there were some efforts made to sell vinyl discs, for instance with exclusive tracks.
When Kate Bush finally released a new album in 1993, four years after the previous one, I was looking forward to it like never before. The world really needed new music from Kate Bush, as the music scene in 1993 had become boring and predictable. Kate Bush was never that: her new single showed an unexpected whimsical style.
Nik Kershaw got through his first two albums okay, but when the 'difficult third album' came up, he was out of luck: although his music was still very interesting, it proved 'too difficult' for the record-buying audience. Hence, 'Radio Musicola', as the album was called, never got the attention it deserved.
As written before, there is a difference between the extended version of Tears for Fears' 1984 single 'Mothers talk' and the so-called 'Beat of the drum mix' of that track. This 12" single is the only one that contains the latter mix, although a German pressing with the sleeve shown here claims to feature it as well.
Although the British band Private Lives never hit it big, they certainly had their chances since three different singles were taken from their only album release. 'Break the chains' is probably the least wellknown of the three, but it was still released on 7" and 12".
Nobody covered Kim Wilde's 1981 hit, 'Cambodia'. Well, there were actually quite a few of them (including a Swedish death metal band, an American dance queen, a pop singer from Luxembourg and a Norwegian electro-band), but this 12" single was released by Nobody.
Although I was only seven years old when this single was released, I can say that I've loved this song from the very beginning. I bought the single years later, but that was only because I had a double LP with this track on it since early 1979. And then there was this 12" single...
The last single by Mel & Kim was released when Mel was already receiving treatment for cancer, a battle she ultimately lost on January 18, 1990. Her illness was made public at the time of the release of this single.
When I bought this 12" single there was no way to tell whether it contained an extended version of the lead track, so I just bought it. I think this version is slightly longer, but certainly not a remix of the track, which is a pity, but so be it.
Released some time before the album, 'Mothers talk' was actually the first single from Tears for Fears' second album 'Songs from the big chair'. Little did they know then that it would become such a successful album. And although the single did reasonably well in the UK (peaking at no. 14 in the chart) other countries weren't convinced until the next single, 'Shout', was released.
'Leave in silence' is still one of my all time favourite Depeche Mode tracks, and this 12" single had a little to do with that. I was very impressed with the extended remix of this single, and the 'quieter' version that was included on the B-side of this 12" single added a dimension to the beauty of the track. I remember spending some hours re-mixing these mixes on my old tape recorder, using the excellent 'pause' buttons they used to have. One mix exceeded 10 minutes, if I remember correctly.
For a long time, this 1986 re-recording of 'Don't stand so close to me' was in the history books as the only reunion of the British band The Police and it is still their most recent studio recording. Produced by Laurie Latham, this version is very different from the 1980 original.
In 1990, Kate Bush was one of the artists that participated in the project 'Two rooms', in which covers of Elton John songs were recorded. Kate Bush chose 'Rocket man', a song originally released in 1972. According to Kate: 'When I asked to be involved in this project and was given the choice of a track it was like being asked ‘would you like to fulfill a dream? would you like to be Rocket Man?’... yes, I would.'
February 29 is an extraordinary day and on such a day I think I should post at least one extraordinary record. This one fits the bill: it's one of the earlier 12" singles I bought and one of precious few that features three different songs, all remixed, and all good.
'Respectable' was only the second single of the duo Mel & Kim Appleby, but they were quickly becoming a phenomenon. The single reached number 1 in various countries including their native England, and a variety of formats was released to keep the fans buying products.
Both 12" singles I own feature the same set of remixes, of which the extended version starts in a particularly loud and slightly annoying way. As always with Stock/Aitken/Waterman productions: when you've heard one remix you pretty much have heard them all.
The instrumental track 'Axel F', created entirely with synthesizers by Harold Faltermeyer, featured in the movie 'Beverley Hills Cop' featuring Eddie Murphy and was the theme tune for the character he played, bearing the same name.
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.
What a great title for Valentine's day: 'Oh l'amour' by Erasure. If I'm being completely honest, I have to say I didn't buy this 12" single for the title track, but rather for the bonus track on the B-side: a cover of Abba's 'Gimme! Gimme! Gimme!'.
This 12" single features the long version of 'I scare myself', a track taken from Thomas Dolby's 1984 album 'The Flat earth'. This is actually the album version of the track; it was edited on the 7" single. 'I scare myself' was written by American singer/songwriter Dan Hicks and it was the only cover version on the seven track album.
Kate Bush released the third single from her 1989 album 'The sensual world' in early 1990. Besides the 7" single, a 12" single and cd-single were also released. Both had the same track listing and featured three new tracks, all three taken from the soundtrack of a Comic Strip film called 'GLC: The carnage continues...'.
If you've seen this previous post, you'll think I've written about this 12" single before. While the sleeve is similar, the track listing is different. Also, the country of origin is different: this version was made in Germany, while the previous one was issued in the UK.
Black's 'Sweetest smile' was a big comeback for a band that had been out of my sight for three years in the summer of 1987. After a holiday in London, where I bought the 7" single, I requested the 12" single for my birthday and got it.
Bill Sharpe and Gary Numan recorded many singles together, but it all started with this one-off duet for Bill Sharpe's solo album 'Famous people'. The 7" single made a big impression on me, but the 12" single was in a league of its own.
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.
I bought the 7" single of 'On the air tonight' not long after its release, but I never even saw the 12" single before I bought this one. It was my first (and last) opportunity, and I took it. The extended version of 'On the air tonight' is not spectacular, but it does add something to the track that isn't there on the 7" version - mostly an extra instrumental part.
The extended version of Soft Cell's 'What!' is far superior to the edit of the track on the 7" single. I found that out pretty early on in my life thanks to my sister, who bought this disc at a time when my budget didn't stretch far enough for 12" singles.
You may have read the description of this 12" single of 'Pale shelter'. If you did, you already know part of the story. Here´s the second part of the story. This 12" single was released in 1983, an features a remix of 'Pale shelter'. This remix is actually the version that ended up on Tears for Fears' debut album 'The hurting'. The extended version is very beautiful, with an introverted piano intro.
When 'Every teardrop is a waterfall' was first released on YouTube, it sparked many negative comments, saying the song was plagiarised from 'Ritmo de la Noche' by The Sacados or from Peter Allen's 'I Go to Rio'. The band eventually credited Peter Allen and Adrienne Anderson's composition upon its official release.
Elkie Brooks' breakthrough second album, released in 1977, propelled her into solo stardom in the UK and Europe. Featuring the top ten hits 'Pearl's a singer' and 'Sunshine after the rain', it had a distinct American sound largely due to the work of legendary writers and producers Jerry Leiber and Mike Stoller.
Elton John released 'Philadelphia freedom' as a single in 1975. Elton, looking to honour his friend, tennis professional Billie Jean King, asked Taupin to write a song called 'Philadelphia Freedom', an homage to her tennis team. Taupin said, 'I can't write a song about tennis', and did not. Taupin maintains that the lyrics bear no relation to tennis, Philly Soul or even flag-waving patriotism. In the U.S. it was a charttopper in April 1975.
'Ace of hearts' was the fourth single taken from Chris Rea's 1984 album 'Wired to the moon'. In the UK, it was the title track of a mini album featuring five tracks. This German single features just two of them: 'Ace of hearts' and 'True love'.
I posted my 12" single of Earth Wind & Fire's 'Boogie Wonderland' just two weeks ago, a few days before I ordered this 7" single. I didn't know I didn't have the 7" single, but as I was writing that piece, I found out. It was a pleasure to correct this small omission.
Record producer John Carter was the veteran of the early Sixties beat music, most notably Carter-Lewis and the Southerners, a band Carter formed with fellow producer Ken Lewis. Lewis and Carter formed a vocal harmony band, The Ivy League, that enjoyed three top twenty hits in Britain in 1965. Carter and Gill Shakespeare wrote the song 'Beach Baby' in the summer of 1974 in their home in East Sheen, South West London, far from any beach. Carter immediately enlisted the help of lead singer Tony Burrows and another session singer, Chas Mills, to record the song for Jonathan King's UK Records record label under the name The First Class.
