Spandau Ballet ¦ To Cut A Long Story Short

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1980

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„To Cut a Long Story Short„
To Cut a Long Story Short single cover.jpg
Single by Spandau Ballet
from the album Journeys to Glory
B-side„To Cut a Long Story Short“ „Version“ version [dub mix]
Released31 October 1980
Genre
Length3:20 (single version)
6:30 (12-inch version)
Label
Songwriter(s)Gary Kemp
Producer(s)Richard James Burgess
Spandau Ballet singles chronology
To Cut a Long Story Short
(1980)
The Freeze
(1981)

To Cut a Long Story Short“ is a song by the English new wave band Spandau Ballet, released on 31 October 1980. It was their first single, and they began recording it before they were signed to a record label because of the interest they had generated with a debut concert for patrons of the exclusive weekly London nightclub the Blitz as well as a Christmas party at that establishment. After having tried other popular genres, the band had been preparing to make their debut as performers of dance music and wanted the public to associate them with the young crowd who met at the Blitz every Tuesday. They needed their guitarist/songwriter, Gary Kemp, to come up with something that they could feel confident about presenting to the top tier of the club’s regulars at their first performance.

By shaping their image around an exclusive club scene, Spandau Ballet piqued the interest of a television documentary filmmaker who then wanted to film the band in concert as part of presenting their story. A popular DJ attended the concert and requested that they record some of the songs for him to play on his show, and „To Cut a Long Story Short“ became so popular that others shows on the station aired it as well. Several record labels were in touch with them after the documentary aired in July 1980, but the band had a long list of requirements that had to be met and had difficulty deciding which label would meet all their needs. The song had gained such popularity on that one station that the labels in the running all agreed that the one the band chose to sign with would pay for the session time needed to record it right away and start working on their first album.

The fact that they had little money to spend on the music video for „To Cut a Long Story Short“ did not prevent the band from wearing historical military outfits. They kept the same look for their debut on the British music chart television programme Top of the Pops, emphasizing that their image was as much a part of their performance as their music. The single received mixed reviews at the time of its release, but when it got as high as number 5 on the UK Singles Chart, several other UK pop groups that were influenced by the Blitz crowd were signed to record labels and began charting in the US as part of the Second British Invasion as well as at home.

The record contract that Spandau Ballet signed with Chrysalis Records stipulated that covering the cost of remixing their songs for dance clubs would be included. The band was inspired by the practice of creating dub mixes and released both the 7- and 12-inch singles with such reinterpretations of the song on the B-side. The contract also gave control over all aspects of how their music was presented, which allowed them to get help from the creative regulars from the Blitz who specialized in such things as graphic design, hair and costumes. The tactics that put Spandau Ballet in the public eye with the song were more about recognizing the cultural shift that these young people represented than they were about just having a hit record.

Background

Gary Kemp of Spandau Ballet, Liverpool, October 2009
Gary Kemp wrote many Spandau Ballet songs, including „To Cut a Long Story Short“

Just as the Sex Pistols epitomized the punk era in British youth culture, the Gentry wanted to be the band to represent the Blitz Kids, the fashionable clientele who gathered every Tuesday for the weekly London nightclub the Blitz.[5] The band worked on what their guitarist/songwriter Gary Kemp referred to as „white European disco music“[6] and presented it to their manager, Steve Dagger,[7] who explained that they needed to get ready for their debut quickly because of the growing competition to be the breakout artist amongst their peers.[8] Band member Steve Norman, who started out as one of their guitarists, recalled, „Once Gary had the riff for ‚To Cut a Long Story Short‘, it felt so right.“[9] Kemp concurred that the band was confident that they were ready to make their debut the first time they played the song[10] in which the singer begins providing details regarding certain undesirable circumstances but concludes with, „To cut a long story short, I lost my mind“. On BBC Radio 4’s Mastertapes series in 2013, Kemp said, „The lyrics to those kind of songs, I mean, I suppose they owed something to Bowie’s famous cut-ups, you know, slightly esoteric, this grand landscape that we’re all living on. That was the kind of lyric, very early 80s lyric about a kind of heroic place that we all wanted to put ourselves.“[11] In his autobiography I Know This Much: From Soho to Spandau, he described the song as „garage-band stuff – short, to the point, and very English. With its portentous refrain of ‚We are [sic] beautiful and clean and so very, very young‘, it seemed the perfect manifesto – or at least lyrical sound-bite – for the Blitz generation.“[10]

The Gentry’s first Blitz-style concert was a private show for a small group of people[12] from the club[13] in November 1979,[14] and that resulted in the selection of the new band name, Spandau Ballet,[15] and an invitation to perform at the Blitz Christmas party[16] on 5 December.[14] The media became interested,[17] which resulted in photographers and film crews gathering outside the club for Blitz night every Tuesday,[18] but the band saw the music press as ignorant[19] and was not interested in speaking to them.[20] Kemp described the vibe that was the result of the band’s exclusivity: „No demo tapes were sent out, and although our name was spreading quickly around town and beyond, very few people knew what we sounded like. It made them want to hear us even more.“[21] Dagger, however, felt they needed more media coverage to keep their momentum going and arranged profiles of the band in two London newspapers and a review of one of their concerts in the New Musical Express.[22] When the producer of a Sex Pistols documentary for television was interested in filming Spandau Ballet in concert for such a programme,[23] the band seized the opportunity and performed on 13 May 1980 in front of television cameras and an audience that included journalists and record company executives.[24] The documentary aired on 13 July, and several major labels were in touch within days.[25]

Recordings

In addition to meeting with several different labels to begin to negotiate a contract, the band also scheduled a public performance on HMS Belfast on the River Thames.[26] While several labels were represented in the crowd, the A&R executive for Arista Records was unable to attend and offered to pay for the recording of a demo of some of their songs, so on 31 August the band recorded „To Cut a Long Story Short“, „The Freeze“, „Confused“ and „Reformation“.[27] „To Cut a Long Story Short“ was also one of the four songs recorded at a studio session for BBC Radio 1 DJ Peter Powell to play regularly on his show because he enjoyed attending their documentary concert, and it also happened to be the one he played most often.[28] Other Radio 1 shows also aired the session recording of the song, and their listeners were eager to get a copy of it.[29] Kemp admitted that „the song started to appear as though it were a single before we even had a record label.“[30]

Richard James Burgess in 2015
Richard James Burgess produced „To Cut a Long Story Short“

On the fortieth anniversary of the song’s release, Spandau Ballet producer Richard James Burgess recalled, „Labels were at a fever pitch trying to sign the group.“[31] Burgess, co-founding member of Landscape, had been impressed when he saw Spandau Ballet perform at the Blitz.[32] Kemp showed interest in Landscape’s current album that he mentioned he was working on and took advantage of the opportunity to listen to some rough recordings from the project.[33] Burgess received a call from Dagger a couple of days later asking if he wanted to be their producer.[34] He was „ecstatic“ that the band chose him, but because he had little production experience, he thought the label they would be signing with would want a big-name producer instead.[35] Years later, appreciating that he was kept on, he said, „I was over the moon because it was obviously a great opportunity for me.“[35]

Since the song seemed destined for success,[36] Dagger and the band chose a release date of 31 October for the single and started to record it as well as their first album, and the labels competing to sign the band all agreed that the chosen one would pay for their studio time.[37] Looking back, Burgess wrote, „I have never seen that happen before or since.“[31] The group had recorded some of „To Cut A Long Story Short“ by 10 October when they signed with Chrysalis Records, and they skipped celebrating the event afterward and went straight back to the studio to continue their work.[38] The managing director of Chrysalis UK felt the song would be a success based solely on what they had completed that evening when Dagger took him to the studio.[39] Upon revisiting the recordings of the song in 2020, Norman was reminded of the „minor annoyances“ left in the recording, „such as the odd volume levels which I felt required tweaking but weren’t done as we ran out of studio time. And my slightly out of tune guitar wouldn’t get past anybody these days, so accustomed are our ears now to pitch correction software.“[40]

Kemp suggested to Burgess that they remix the song for the B-side of the 7-inch single and then remembered the reggae dubs and remixes done by King Tubby and Lee „Scratch“ Perry dating back to the sixties.[41] Burgess later described the limitations he and Kemp were dealing with at the time: „Tubby and Perry were not working with high technology in Jamaica, and our trick-bag was still light even as the eighties dawned. Drum machines, samplers, and digital audio workstations were a futuristic dream. We were limited to repeat echo, reverb, overdubs, mixing breakdown pieces, and tape editing.“[31] They thought of this remix as having been inspired by those recordings rather than as an attempt at performing an all-out reggae version of the song, and they borrowed the terminology from those record labels by using the subtitle „Version“.[42] The band made it a contractual obligation that their record label would also pay for dance mixes,[43] and the 12-inch single included a dub mix labeled „Version“ as well.[44][45] Dagger said the 12-inch dance mix was „different from most of the electronic dance music“ that the DJs usually played, adding, „The European and Japanese music sounded very ‚polite‘ compared to this. It sounded very British and slightly punky.“[46] Kemp described its brashness in his autobiography, writing, „ ‚To Cut a Long Story Short‘ was taut, succinct, rude and uncompromising, with an all-in-at-once intro that sounded as though the door of the Blitz had been kicked open. And now the youth of Britain were about to rush in.“[47] Norman told Classic Pop magazine that the song reflected „our certainty about ourselves at that time.“[48] He explained that the success they had with it „wasn’t just about the song or even us as a band. It was about that whole [Blitz Kids] movement…. There’s something about the arrogance of youth in ‚Story‘: you can hear that our attitude is ‚We’re here now, and if you don’t like it, get out of the way.‘ “[48]

Cover art

We were all in it together to cause a revolution.

– Steve Dagger on the band’s use of the Blitz Kids behind the scenes[49]

Another part of Spandau Ballet’s deal with Chrysalis was that the band would have control over every aspect of how their music was marketed, including artwork, videos and the selection of songs to be released as singles,[50] and they found most of their support team at the club.[51] Blitz regular[52] and Camberwell College of Arts graphics student Graham Smith came up with the design for the sleeve of their first single as well as the album they had begun, Journeys to Glory, and the other songs from it that were also released in the 7- and 12-inch formats: „The Freeze“, „Muscle Bound“ and „Glow“.[53] „I wanted to create an overall corporate visual package for Spandau that was cutting edge and reflected their aspirations. It had to have style.“[53] The cover for „To Cut A Long Story Short“ was a minimalist design that Smith felt mirrored the lyric „I am beautiful and clean“.[54] There was no photo of the band on it, which Kemp thought „would be too risky, given the speed at which styles were changing“.[55] Smith said, „This was obviously seen as a perverse and uncommercial move by Chrysalis“ that would still seem so thirty years on.[56] He explained that this approach „gave mystique to this new and very visual band. It added a strength to Spandau as they were clearly stating they were not packaged by the record company but doing things on their terms.“[53]

Critical reception

Mark Cooper of Record Mirror was not impressed by the media exposure that Spandau Ballet had received by the time „To Cut A Long Story Short“ was available for review. „Lots of advance publicity for this and mention of moneys, which fail to create a sense of obligation to enjoy.“[57] His major points of criticism were directed at elements of the song that underscored why he felt the band was overblown: „Their debut single features a cute synthesiser riff that pretends to be profound and is pure pop with a vocal that verges on the operatic.“[57] His conclusion also emphasizes what he saw as a tendency toward the grandiose. „Apart from a delightful series of rim shots and drumrolls in the middle, this is ordinary, a short story trying to become a novel.“[57] In an otherwise scathing review of the band’s December 1980 concert at London’s LGBT nightclub Heaven, Richard Williams of The Times credited the song with having „a hook line reminiscent of the better psychedelic records“.[58] It was chosen as one of the best tracks on Journeys to Glory in Billboard magazine’s review of the album,[59] and Alan Lewis of Sounds magazine was quite complimentary: „It is a good record using the modern technology in a warmer, more organic way… the lead vocal [is not] the usual alienated robot wimp but a big, mature full-bodied roar. This is clearly NOT the work of a bunch of out-of-work hairdressers who’ve managed to stumble through a few gigs, but a massively competent record by a band with plenty in reserve.“[60]

In retrospective reviews on AllMusic, Dave Thompson included „To Cut a Long Story Short“ on a list of Spandau Ballet songs that were „utterly convincing white boy Funk“;[61] Ned Raggett interpreted it as a „rent-boy scenario“ in singling it out as one of their better early tracks;[62] and Stewart Mason described it as minimalist „spiky synth-pop“ with a style reminiscent of early Orchestral Manoeuvres in the Dark material and featuring a „dirty, overdriven synth sound and a stomping Gary Glitter-like backbeat“. Although he described it as „largely forgotten“ today due to Spandau Ballet’s later successful change in style towards „smooth, soulful pop“, he suggested it was „a minor lost classic of the early-’80s UK synth pop scene“.[2] Ian Gittins wrote in The Guardian that the song „remains a sharp exercise in art-pop weirdness, all twitchy synths and bubbling urgency“.[3] For Dylan Jones it was „an era-defining slice of electronic myth-making, and a great dance record to boot (if it hadn’t been, the cognoscenti, those who went to the same clubs as Spandau, would have strangled it at birth – or, more pertinently, refused to dance to it).“[63]

Release and commercial performance

Early indicators of the song’s chances were encouraging.[64] The Radio 1 studio session recording was in high rotation on the station before the commercial single was available.[65] The station’s weekly „Roundtable“ record review show featured pop stars giving their opinion of the latest singles, and the week that „To Cut a Long Story Short“ was reviewed, one of the panelists was Bryan Ferry,[66] who Dagger described as „second only to David Bowie as style, musical and lifestyle inspiration to our generation.“[67] They were relieved to hear Ferry describe it as a „smart, witty single“.[67] Dagger hand-delivered the dance version of the song to the DJs in London at their clubs when it came out,[68] and „because of the hype around the band, they all played it almost immediately“.[67] He and Chrysalis worked with promoters who knew other DJs around England to send it to, and those clubs also responded favorably.[69]

„To Cut a Long Story Short“ debuted on the UK Singles Chart dated 15 November 1980 and peaked at number 5 during its 11 weeks there.[70] Lead singer Tony Hadley wrote, „No one expected a first single to shoot straight into the Top 10. In the Eighties, it was more about steady sales. Chrysalis would have been content with a Top 40 hit on the first single. It was about getting us on the map and raising the profile of the band.“[71] The British Phonographic Industry awarded the single Silver certification on 1 December for reaching the 250,000 units of shipment threshold.[72] On other pop charts it reached number 9 in Ireland,[73] number 15 in Australia,[74] number 19 in Spain[75] and number 38 in New Zealand.[76] In the US, Billboard magazine paired the song on the Disco Top 100 with „The Freeze“, and eventually they got as high as number 28.[77]

Music video

The band wore tartan military dress similar to these Highland soldiers for the music video and their first appearance on Top of the Pops.

Hadley recalled that the budget to make a promotional clip for „To Cut a Long Story Short“ was „tight, around £5,000, which wasn’t much“, so they needed to shoot on videotape and use a location nearby.[78] The opted to mime a performance at the London Dungeon, and the director, Brian Grant,[79] completed filming in one day.[80] The lead singer was nervous and appreciated having a pair of binoculars to hold on to; he had no other ideas as far as what to do with his hands other than holding onto a cigarette, but that would have been problematic since the BBC made them remove footage of extras who were smoking.[81] Shots of the band performing were interwoven with scenes in which three Blitz friends are playing cards[82] and two young women who were also club regulars were dancing.[83] Kemp felt that their first video was „an opportunity to capture some of the flavour of who we were“ and explained that the band was wearing Culloden and Edwardian Scottish military regalia,[79] which included a few tartan items.[84] Kemp also noted that Hadley’s binoculars were „meant to accentuate the battledress look and imply, I suppose, that we had the future in our sights.“[79]

The band chose similar garb for their debut appearance on Top of the Pops,[85] and Kemp marveled, „It was a look as yet unseen on this great British institution but would soon be copied on a thousand dance floors around the world.“[86] On being invited to appear on the show during the song’s first week on the charts, Kemp admitted, „If anything, it felt like a greater high than signing [to Chrysalis] – the culmination of all the work; the proof of arrival.“[86]

Twelve-inch single reissue

In 2020, to celebrate the fortieth anniversary of the release of „To Cut a Long Story Short“, the two mixes featured on the original 12-inch single were reissued both as a two-track digital single and on 180g vinyl.[44] Norman wrote that the last time he had heard the recordings was back around the time that they were released and that „the band’s energy is all over it, which is how I remembered it sounding. This re-listening experience brought a smile to my face and, to be honest, made me feel somewhat proud all over again of all we were about to achieve as a band.“[87]

Legacy

The signature riff from „To Cut a Long Story Short“ was used as a sample looping throughout the Freestylers track „In Love with You“, which was described as one of the „moments of boldness“ on their 2006 album Adventures in Freestyle in a review by Andrew Drever for The Age.[88]

Former Depeche Mode keyboardist and songwriter Vince Clarke told Rolling Stone magazine in 2000 that „To Cut a Long Story Short“ inspired him to write 1981’s „Just Can’t Get Enough“. He admitted, „Up to that point, I didn’t like dance music or disco at all.“[89] Upon hearing the Spandau Ballet song, however, he said, „It was the first time I was actually impressed by a rhythm that went ‚boom-thwack, boom-thwack, boom-thwack.‘ It was the first time I discovered dance music for myself, and to write a song around that rhythm was quite a revelation for me. ‚Just Can’t Get Enough‘ came out of that.“[89]

In 2009, former Evening Standard and music magazine journalist David Johnson gave a historical account of the rise of the band in an article titled „Spandau Ballet, the Blitz kids and the birth of the New Romantics“. He wrote, „Within weeks of Spandau’s hit [„To Cut a Long Story Short“], Britain’s clubbing grapevine put yet more clubland bands into the charts, many unveiled by sharp young managers the same age as the talent. In the Blitz slipstream, a dynasty of 35 new-look acts charted during 1981 alone“ – including Duran Duran, the Human League, Depeche Mode, Soft Cell and ABC.[90] „In the next three years a second wave of image-led acts refreshed the pop charts to become household names“, such as Bananarama, Culture Club, Wham! and Thompson Twins.[90]

Formats and track listings

Personnel

Credits adapted from the liner notes for Journeys to Glory:[92]

Charts

Chart (1980–81)Peak
position
Australia (Kent Music Report)[74]15
Ireland (IRMA)[73]9
New Zealand (Recorded Music NZ)[76]38
Spain (AFYVE)[75]19
UK Singles (OCC)[70]5
US Dance Club Songs (Billboard)[77]28

Certifications

RegionCertificationCertified units/sales
United Kingdom (BPI)[72]Silver250,000^

^ Shipments figures based on certification alone.

References

  1. ^ O’Neil, Dave (15 August 2016). The Summer of ’82. Black Inc. ISBN 9781925435184.
  2. ^ a b Stewart Mason. „To Cut a Long Story Short - Spandau Ballet | Song Info“. AllMusic. Retrieved 17 October 2016.
  3. ^ a b Gittins, Ian (1 October 2014). „Spandau Ballet review – return of the shoulder-heaving soul boys“. The Guardian. Retrieved 6 June 2019.
  4. ^ „Spandau Over Europe: The Conquest“. Number One. No. 28. 12 November 1983. p. 22.
  5. ^ Kemp 2009, p. 95: Every seminal moment in British youth culture had had a band or artist that represented it: skiffle – Lonnie Donegan… punk – the Sex Pistols. We knew, even then, that Blitz and all it entailed and encouraged was going to be an important chapter in the story of London youth and their street-found fashions; and so, in a basement studio on Islington’s Holloway Road, the Angel boys were busily trying to create a band who’d embody this latest twist in the tale.
  6. ^ Kemp 2009, p. 106
  7. ^ Kemp 2009, p. 95–96: we were there developing a sound for our new identity… We finished playing the four or five songs we had and faced Dagger.
  8. ^ Kemp 2009, p. 96: his words were frantic with concern. „We have to get it out there quickly. This is gonna explode sooner than we think. I met someone the other night that told me he was the Steve Strange of Salisbury! And that fucking Gary Numan song, have you heard it?“ „He can’t even get into Blitz! Anyway,“ I said, „that’s futurist bollocks, Steve, not what we’re doing.“ „All I’m saying is we need to be ready soon.“
  9. ^ Earls, John. „Making Spandau Ballet: Journeys To Glory“. Classic Pop. Anthem Publishing. Retrieved 2 August 2021.
  10. ^ a b Kemp 2009, p. 96
  11. ^ Kemp, Gary (24 June 2013). „Spandau Ballet (A-Side)“. Mastertapes. Series 2. UK. 6:09 minutes in. BBC. BBC Radio 4. Retrieved 11 September 2021.
  12. ^ Kemp 2009, pp. 98–99: If this was to work, then we needed the approval of the cognoscenti, so a private show was how Dagger saw our reveal. We needed to give the elite the privilege of seeing it first; a small crowd but the most important as far as we were concerned, and the direction of their thumbs would determine our future.
  13. ^ Kemp 2009, p. 99: We… printed up some passes that we handed out at the club to our chosen few.
  14. ^ a b Dagger, Steve. „40th Anniversary: The Blitz - The First Spandau Ballet Performance“. spandauballet.com. Retrieved 5 August 2021.
  15. ^ Kemp 2009, p. 100–101
  16. ^ Kemp 2009, p. 100: But never knowingly outdone, Steve Strange stood forward. „I’m gonna be doing a Blitz Christmas party in a few weeks. I’d love you to play at it.“
  17. ^ Kemp 2009, p. 104: Hunted by the media as good copy, we were detested by the left and right alike for elitism
  18. ^ Kemp 2009, p. 104: By now, packs of photographers and film crews hovered every Tuesday outside our spiritual home of the Blitz
  19. ^ Kemp 2009, p. 104: As far as we were concerned, the music press… was run by embittered, middle-class, white college-rockers who’d hated punk when it first arrived and then bandwagon-jumped a little too late. The only black music that they deigned to patronize was reggae; but soul, the real black music of America, and its cousin of the night, disco, were shunned for being too aspirational and not political enough.
  20. ^ Kemp 2009, p. 104–5: In any case, these writers couldn’t dance and would never have understood our groove, so we turned it into a trench and prepared ourselves for an advance…. Instead of begging A&R men and journalists to come down, we did the opposite and were perversely thrilled by them not being allowed in.
  21. ^ Kemp 2009, p. 105
  22. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet at the Scala – May 13th, 1980“. spandauballet.com. Retrieved 4 September 2021.
  23. ^ Kemp 2009, pp. 108–109: „Janet Street-Porter wants to do a documentary about us…. She produced that Pistols documentary on telly. She’s doing a new series called 20th Century Box. I think it’s similar, and they wanna do one on us, the whole thing. They wanna film a gig.“
  24. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet at The Scala – May 13th, 1980“. spandauballet.com. Retrieved 6 August 2021. Who could have wished for more?... On May 13th filming took place around London with interviews with the band… And the record companies were impressed.
  25. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet in St. Tropez – July 1980“. spandauballet.com. Retrieved 6 August 2021. We finished our run at the Papagayo on July 13th, the same day our documentary was broadcast on LWT…. There on our family telephone note pad was a list of every record company in London. Polydor, CBS, Virgin, Chrysalis, EMI, etc. They had seen the programme, and ALL wanted to sign Spandau Ballet.
  26. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet at HMS Belfast – July 26, 1980“. spandauballet.com. Retrieved 6 August 2021. In the week of our return from St.Tropez, I went to meet with all the record companies, often accompanied by Gary to talk business…. I needed a spectacular venue which could be booked quickly. He said, ‚What about HMS Belfast?‘… The next day I went down there to book it
  27. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet and the Arista Demos – August 1980“. spandauballet.com. Retrieved 6 August 2021.
  28. ^ Kemp 2009, p. 125: He loved what he saw and asked us to do a four-song studio session for him that he could play during his show…. The resulting tracks were highly potent, and the ever-ebullient Peter Powell played them endlessly, although one more than any: „To Cut a Long Story Short“.
  29. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet Sign with Chrysalis Records – October 10, 1980“. spandauballet.com. Retrieved 7 August 2021. Such was the positive response to the session from the listeners when it was broadcast that other Radio 1 shows started to play it, and quickly the session version of „To Cut A Long Story Short“ was playlisted on the station. The listeners loved it and wanted to know when they could buy it.
  30. ^ Kemp 2009, p. 125
  31. ^ a b c Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021.
  32. ^ Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021. Rusty Egan called and told me I had to come to the Blitz Club one Tuesday night. I had no idea. Walking through the door of 4 Great Queen St. changed the course of my life. The music Rusty played was a revolutionary mix of European electronic music including recontextualizations of some of my own group, Landscape’s music. Like the music, the fashion was new, street, and exciting. A couple of weeks later some people I had been chatting with at the bar suddenly got up on the dancefloor and played a set. Stunning. It was a new sound, a new look, and new classic torch songs.
  33. ^ Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021. I had been in the studio finishing up the Landscape album, From the Tearooms of Mars… I mentioned that to Gary (Kemp). He wanted to hear some, so we sat in my car perched half on the curb in front of The Blitz, while I played him a few roughs.
  34. ^ Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021. I didn’t give it much thought until a couple of days later when I got a call from Steve Dagger to see if I might be interested in producing the band.
  35. ^ a b Tobler, John (16 August 1986). „Richard James Burgess — A Producer/Hitmaker Whose ‚Breathless‘ Style Carries Sound Of ‚Hit‘ Excitement Around The World“. Billboard. New York: Billboard Publications, Inc. p. H-4. ISSN 0006-2510. I was ecstatic when they asked me to produce them, because I was a completely unknown quality, although I had done the Shock single and the Landscape album which hadn’t been released. At the same time, I was a bit wary of something going wrong because of the tendency of record companies to swing back to a major name producer, but when they didn’t do that, I was over the moon, because it was obviously a great opportunity for me.
  36. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet Sign with Chrysalis Records – October 10, 1980“. spandauballet.com. Retrieved 7 August 2021. It was a hit waiting to happen.
  37. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet Sign with Chrysalis Records – October 10, 1980“. spandauballet.com. Retrieved 7 August 2021. So simultaneously to finalizing our negotiations for our record deal, we set a release date of 31st October 1980 and started to record our album and single at Trident and then Jam Studios. Such was the clamour for the group’s signature, the record companies agreed that whoever we chose would pick up the studio bills.
  38. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet Sign with Chrysalis Records – October 10, 1980“. spandauballet.com. Retrieved 7 August 2021. Spandau Ballet signed its first record agreement with Chrysalis Records on 10th October 1980… However, there was no big party or celebration. Soon after the contracts were signed, at about 2.30 pm, the band left to go to Jam recording studios in Finsbury Park, where they were half-way through recording the first single „To Cut A Long Story Short“.
  39. ^ Dagger, Steve. „40th Anniversary: Spandau Ballet Sign with Chrysalis Records – October 10, 1980“. spandauballet.com. Retrieved 7 August 2021. The evening we signed, I went to the recording studios with Doug D’Arcy, the MD of Chrysalis UK. He heard the un-finished „To Cut A Long Story Short“ and was visibly excited and pronounced it a massive hit.
  40. ^ „40th Anniversary: To Cut A Long Story Short - Jam Studios - Steve Norman“. spandauballet.com. Retrieved 2 August 2021.
  41. ^ Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021. Most 45 rpm singles had another song on side two. Gary thought we might try a remix for the flipside. The track had strong up-tempo dance elements. We bounced influences and preferences around and Gary reflected on the Jamaican dub reggae mixes: the pioneering sixties and seventies work of King Tubby and Lee „Scratch“ Perry.
  42. ^ Burgess, Richard James. „40th Anniversary: To Cut A Long Story Short - Forty Years On by Richard Burgess“. spandauballet.com. Retrieved 2 August 2021. There was no attempt to emulate the reggae forefathers, but we tipped our hat to their inspiration by subtitling the B side „Version“.
  43. ^ Kemp 2009, p. 127: On a sunny October morning the five old school friends from Islington, plus a brother…put their names on a contract. It was Martin’s nineteenth birthday, and we had our own label, a promise of full artistic control, and the additional promise from them to pay for 12-inch mixes and videos.
  44. ^ a b „ ‚To Cut A Long Story Short‘ 40th Anniversary Vinyl and Digital Release“. spandauballet.com. 30 October 2020. Retrieved 1 August 2021. 27th November sees a reissue of the 12” single in its original die cut sleeve on 180g vinyl featuring the groundbreaking extended and dub mixes of the track
  45. ^ a b To Cut a Long Story Short (12-inch Single liner notes). Spandau Ballet. Chrysalis Records. 1980. CHS 12 2473.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  46. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 8 August 2021.
  47. ^ Kemp 2009, p. 128
  48. ^ a b Earls, John. „Making Spandau Ballet: Journeys To Glory“. Classic Pop. Anthem Publishing. Retrieved 2 August 2021.
  49. ^ Johnson, David. „Spandau Ballet, the Blitz kids and the birth of the New Romantics“. The Guardian. Archived from the original on 11 August 2021. Retrieved 11 August 2021.
  50. ^ Kemp 2009, p. 122: „What we want is the promise that we can have control over all those mediums: artwork, video, choice over whatever tracks are singles.“
  51. ^ Johnson, David. „Spandau Ballet, the Blitz kids and the birth of the New Romantics“. The Guardian. Archived from the original on 11 August 2021. Retrieved 11 August 2021. Second, the Angel Boys‘ entourage of otherwise unemployed Blitz Kids suddenly found careers… by dressing, photographing, staging and promoting the band.
  52. ^ Kemp 2009, p. 94
  53. ^ a b c „1981 ➤ Why naked heroes from antiquity stood in for Spandau on their first record sleeves“. Shapersofthe80s.com. 24 January 2011. Retrieved 9 August 2021.
  54. ^ „1981 ➤ Why naked heroes from antiquity stood in for Spandau on their first record sleeves“. Shapersofthe80s.com. 24 January 2011. Retrieved 9 August 2021. The white spartan package was pure and reflected some of Gary’s lyrics and statements at the time, such as ‚I am beautiful and clean‘.
  55. ^ Kemp 2009, p. 135
  56. ^ „1981 ➤ Why naked heroes from antiquity stood in for Spandau on their first record sleeves“. Shapersofthe80s.com. 24 January 2011. Retrieved 9 August 2021. This move would still be considered questionable in marketing terms today.
  57. ^ a b c Cooper, Mark (8 November 1980). „Singles: Synths ’n‘ Slush“. Record Mirror. Vol. 27, no. 46. p. 14.
  58. ^ Williams, Richard. „Spandau Ballet: Heaven, London“. The Times. Retrieved 1 August 2021.
  59. ^ „Top Album Picks“. Billboard. New York: Billboard Publications, Inc. 14 March 1981. p. 70. ISSN 0006-2510.
  60. ^ Gimarc 1997, p. 75
  61. ^ Thompson, Dave. „The Singles Collection - Spandau Ballet“. AllMusic. Retrieved 1 August 2021.
  62. ^ Raggett, Ned. „Gold: The Best of Spandau Ballet - Spandau Ballet“. AllMusic. Retrieved 1 August 2021.
  63. ^ Jones, Dylan. „Dylan Jones: ‚Spandau Ballet have often been ignored, but the music was not only timely, it was groundbreaking‘ . The Independent. Archived from the original on 1 August 2021. Retrieved 1 August 2021.
  64. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021. All the signs for the single were very good.
  65. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021. it was being played on high rotation on Radio 1, Peter Powell’s session recording being replaced seamlessly by ‚the real thing‘.
  66. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021. On the day of release, it featured on the highly rated and very influential ‚Roundtable‘ record review show on Radio 1 on Friday afternoon. DJ Roscoe chaired a panel of pop stars, DJs, and celebs which changed every week and reviewed the new releases. It was a good thing to be chosen for review, but what would they say? And to make it more of a drama, Bryan Ferry was one of the guests.
  67. ^ a b c Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021.
  68. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021. As soon as the „white labels“ arrived I took them round to the sympathetic DJs in London personally while they were playing their sets that night.
  69. ^ Dagger, Steve. „40th Anniversary: White Light and a Club Dance Floor Smash“. spandauballet.com. Retrieved 2 August 2021. We needed a club promo company…. a meeting was arranged at Chrysalis with Ian and Nick Titchener of Rush Release…. Ian phoned me, ‚It’s massive, it’s going to be HUGE. Top 5 record!‘. He was right. All of the obvious clubs played it and loved it, but so did the mainstream discos and Meccas.
  70. ^ a b „Spandau Ballet: Artist Chart History“. Official Charts Company.
  71. ^ Hadley 2004, p. 77
  72. ^ a b „British single certifications – Spandau Ballet – To Cut a Long Story Short“. British Phonographic Industry. Retrieved 29 September 2021.Select singles in the Format field. Select Silver in the Certification field. Type To Cut a Long Story Short in the „Search BPI Awards“ field and then press Enter.
  73. ^ a b The Irish Charts – Search Results – To Cut a Long Story Short“. Irish Singles Chart.
  74. ^ a b Kent 1993, p. 286
  75. ^ a b Fernando Salaverri (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN 84−8048−639−2.
  76. ^ a b Spandau Ballet – To Cut a Long Story Short“. Top 40 Singles.
  77. ^ a b „Spandau Ballet Chart History (Dance Club Songs)“. Billboard. Retrieved 26 August 2021.
  78. ^ Hadley 2004, p. 76
  79. ^ a b c Kemp 2009, p. 136
  80. ^ Hadley 2004, p. 76: The London Dungeon was the setting for the „To Cut a Long Story Short“ video…. We did the whole thing in a day. It was a simple shoot, the band miming to the track.
  81. ^ Hadley 2004, p. 76: I was incredibly nervous…. I was clutching a pair of binoculars, I’ve no idea why. I was just grateful to have something to hold; I didn’t know what else to do with my hands. I could have done with a cigarette. We did include a couple of shots of people smoking, which the BBC made us cut.
  82. ^ Kemp 2009, p. 136: Chris, Christos and Ollie are card-playing extras in a dank, conspiratorial corner.
  83. ^ Kemp 2009, p. 136: Two Blitz girls we knew who were exceptional dancers agreed to appear
  84. ^ Hadley 2004, p. 76: There was a lot of tartan in the band at that point. Steve Norman was in a kilt. Gary Kemp was wearing tartan trousers. Martin Kemp had a skein of tartan slung across one shoulder.
  85. ^ Kemp 2009, p. 131: We took to the stage in a mixture of sashes, kilts, tartan and Edwardian military.
  86. ^ a b Kemp 2009, p. 131
  87. ^ Norman, Steve (4 November 2020). „40th Anniversary: To Cut A Long Story Short - Jam Studios - Steve Norman“. spandauballet.com. Retrieved 1 August 2021.
  88. ^ Drever, Andrew (3 November 2006). „Adventures in Freestyle“. The Age. Archived from the original on 16 August 2021. Retrieved 16 August 2021.
  89. ^ a b „69: Depeche Mode – ‚Just Can’t Get Enough‘ „. Rolling Stone. No. 855. 7 December 2000. p. 97.
  90. ^ a b Johnson, David. „Spandau Ballet, the Blitz kids and the birth of the New Romantics“. The Guardian. Archived from the original on 11 August 2021. Retrieved 11 August 2021.
  91. ^ To Cut a Long Story Short (7-inch Single liner notes). Spandau Ballet. Chrysalis Records. 1980. CHS 2473.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  92. ^ Journeys to Glory (record sleeve). Spandau Ballet. London: Chrysalis Records. 1981. CHR 1331.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)

Bibliography

  • Gimarc, George (1997). Post Punk Diary, 1980–1982. St. Martin’s Press. ISBN 978−0−312−16968−8.
  • Hadley, Tony (2004). To Cut a Long Story Short. Sidgwick & Jackson. ISBN 978−0−283−07386−1.
  • Kemp, Gary (2009). I Know This Much: From Soho to Spandau. London: Fourth Estate. ISBN 978−0−00−732330−2.
  • Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.W.: Australian Chart Book. ISBN 0−646−11917−6.

External links

Artist(s)

Veröffentlichungen von Spandau Ballet die im OTRS erhältlich sind/waren:

40 Years: The Greatest Hits ¦ Through The Barricades ¦ To Cut A Long Story Short ¦ Parade ¦ Gold: The Best Of Spandau Ballet ¦ True

Spandau Ballet auf Wikipedia (oder andere Quellen):

Spandau Ballet

Spandau Ballet (2009)
Allgemeine Informationen
HerkunftLondon, England
Genre(s)New Wave
Gründung1979, 2009
Auflösung1990
Websitewww.spandauballet.com
Gründungsmitglieder
Tony Hadley
John Keeble
Gitarre, Text und Musik
Gary Kemp
Martin Kemp
Steve Norman

Spandau Ballet war eine New-Romantic-Band sowie Pop- und Dance-Band. Sie wurde in den späten 1970er Jahren gegründet und stammt aus dem Londoner Stadtbezirk Islington. Ihre größten Erfolge feierte sie zwischen Herbst 1980 und Frühjahr 1987, darunter waren Hits wie To Cut a Long Story Short, Chant No. 1 (I Don’t Need This Pressure On), True, Gold, Through the Barricades und Fight for Ourselves.

Mitte 1990 löste sich die Gruppe auf. Fast 20 Jahre später kehrte die Originalbesetzung im Herbst 2009 wieder mit einem neuen Album und Live-Auftritten zurück.

Bandgeschichte

Anfänge

Die Schulfreunde Gary Kemp und Steve Norman besuchten die Dame Alice Owen’s School im Londoner Stadtteil Islington. Sie teilten das Interesse an Musik und wollten eine Band gründen. Die Band gründete sich 1976 und nannte sich zunächst The Roots, mit Kemp und Norman an der Gitarre. Norman übernahm später Saxofon und Percussion. Später stieß der Mitschüler John Keeble dazu, der Norman kennengelernt hatte, als er sein Schlagzeug im Musikraum der Schule lagerte. Die Drei trafen sich regelmäßig in den Mittagspausen zum Proben. Nach Keeble stieß der Bassist Michael Ellison zur Band. Tony Hadley, ein Bekannter von Norman, übernahm den Gesang und komplettierte das Quintett. Man spielte überwiegend Coverversionen etwa von den Rolling Stones oder den Kinks.

Nach einigen Monaten wurde Michael Ellison am Bass durch Richard Miller ersetzt, bis zuletzt Gary Kemps Bruder Martin Kemp einige Jahre später zur Band stieß und die Rolle des Bassisten übernahm. Zu dieser Zeit hatten die Gruppe bereits einige Live-Erfahrung gesammelt. Steve Dagger, ein gemeinsamer Freund der Bandmitglieder, wurde von Gary Kemp und Norman gebeten, das Management zu übernehmen. Dagger wurde schnell zum integralen Bestandteil des beginnenden und dauerhaften Erfolgs. Die Band benannte sich 1976[1] zunächst in The Makers, später in The Cut und dann in The Gentry um.[2]

Erfolge als Spandau Ballet

1979 änderten sie den Namen schließlich in Spandau Ballet. Der Journalist Robert Elms, der mit der Band befreundet war und für das britische Modemagazin The Face schrieb, sah diesen Namen an der Wand einer Toilette in einem Berliner Nachtklub im Zusammenhang mit dem Kriegsverbrechergefängnis Spandau in Berlin-Spandau, was die Musiker zu ihrem Bandnamen inspirierte. (Eine andere Erklärung für den Namen ist die Übernahme eines sarkastischen militärischen Ausdruckes aus dem Ersten Weltkrieg. Alliierte Soldaten nannten die Bewegungen von Leichen, die im Stacheldraht von Schützengrabensystemen hängend von deutschen Spandau-MGs getroffen wurden, „Spandau-Ballett“.[3]). Hinter der Umbenennung verbarg sich aber kein politischer Ansatz, im Gegenteil, die Gruppe gab sich zu Beginn ihrer Karriere betont unpolitisch. Der Musikstil wechselte ins Elektronische, als die Bandmitglieder häufig die Londoner Clubszene um das „Sally’s“ und das „Blitz“ besuchten, wo sie mit der Musik von Kraftwerk und Telex in Kontakt kamen. Im „Blitz“ wurde die Modebewegung der New Romantics geboren, die sich selbst zunächst Blitz-Kids nannten.

Spandau Ballet war eine der ersten Bands dieser Musik- und Modebewegung. Die Band, die durch die Kontakte mit den angesagten Clubs bereits zu Beginn ihrer Laufbahn dort auftreten konnte, erspielte sich schnell eine große lokale Fangemeinde. Die ersten Auftritte der Band, beginnend am 17. November 1979 auf einer Privatfeier und organisiert vom eigentlichen Initiator der Band, dem Manager und Clubbesitzer Steve Dagger,[1] wurden durch Mundpropaganda gezielt in Clubs lanciert, ohne die Musikpresse oder interessierte Plattenfirmen einzuladen und um die „Rockisten“ zu verärgern, wie der Auftritt im Scala Kino im März 1980. (Ende 1979 hatte die Band von Chris Blackwell, dem Chef von Island Records, einen Plattenvertrag angeboten bekommen, den die Musiker jedoch ablehnten, weil sie eine eigene Plattenfirma ins Leben rufen wollten<[1]). Dagger versendete auch keine Demobänder der Band und beeinflusste die Kritiken der Musikpresse durch gezielte Informationen. So schickte er Robert Elms mit einer Kritik zum NME und Barry Cain zum Record Mirror. Nach der Ausstrahlung der halbstündigen Dokumentation 20th Century Box für den Privatkanal London Weekend bemühten sich mehrere Major-Plattenlabel nach nur acht Auftritten der Band um einen Vertrag. Für Spandau Ballet kamen nur CBS und Chrysalis in die engere Wahl. Chrysalis bot eine Beteiligung von 14 % statt der üblichen 8 % und bekam den Zuschlag.[4] Vertraglich war dabei der Vertrieb des bandeigenen Labels Reformation durch Chrysalis Records geregelt.[1]

Mit der Unterzeichnung des Plattenvertrages im April 1980 kam sehr schnell der Erfolg. Die erste Single To Cut a Long Story Short schaffte es im November 1980 in nur zwei Wochen nach der Veröffentlichung in die britischen Charts und erreichte Platz 5, ebenso ihre erste LP Journeys to Glory (1981), die bereits zehn Tage nach den Studioaufnahmen veröffentlicht wurde. Die Alben Journeys to Glory und Diamond (1982) wurden vom Elektroniktüftler Richard James Burgess produziert, der auch am Sound der Band Visage beteiligt war, die ebenfalls zu den New Romantics zählen. Burgess prägte auch den Begriff „New Romantics“.[5]

Mit dem im Frühjahr 1983 von Tony Swain und Steve Jolley produzierten Album True und der gleichnamigen Single, die beide die Chartspitze in Großbritannien erreichten, stellte sich dann auch der langersehnte Erfolg jenseits des Atlantiks und in Asien ein. Swain und Jolley veränderten den Sound der Band von den für New-Romantic-Bands obligatorischen Synthesizern hin zum souligen Pop, der von Hadleys Stimme dominiert war. Es folgte das, wie die seit 1981 entstandenen Alben, „in einem gefälligem Disco-Stil“ gehaltene Top-10-Album Parade (1984); über belanglose Dance-Music deutlich hinausgehend schließlich die LP Through the Barricades (1986).[1] Allein in Großbritannien konnten sie zehn Singles in die Top-Ten der Charts bringen, neben den genannten auch Musclebound/Glow, Chant No. 1 (Don’t Need This Pressure On), Instinction, Lifeline, Gold, Only When You Leave, I’ll Fly for You und Through the Barricades.

Ende 1984 war die Band an den Aufnahmen der Band-Aid-Single Do They Know It’s Christmas? beteiligt und nahm 1985 am Live-Aid-Projekt von Bob Geldof teil. Sie traten dort im Londoner Wembley-Stadion auf. Ende 1985 war die erfolgreiche LP The Singles Collection mit sämtlichen Single-Hits der Gruppe erschienen.

Nach Erscheinen der routinierte Pop- und Dance-Songs enthaltenden Platte Heart Like a Sky im Spätsommer 1989 begann der Erfolg zu bröckeln. Sie floppte für ihre Verhältnisse, auch wenn sich die LP und die Single-Auskopplungen Raw und Be Free With Your Love in den oberen Charts landeten.<[1] Nach internen Zerwürfnissen, die teils auch vor Gericht ausgetragen wurden, ging man im Jahr darauf getrennte Wege.

Getrennte Wege und Reunion

Tony Hadley veröffentlichte im Frühjahr 1992 seine erste Soloplatte, und die Kemp-Brüder widmeten sich ab 1990 ihrer Schauspielkarriere. Für ihr Mitwirken als Hauptdarsteller in dem englischen Film The Krays von Peter Medak über die Kray-Zwillinge ernteten sie 1991 sehr gute Kritiken.

Gary Kemp spielte 1992 im Film Bodyguard eine Nebenrolle, Martin Kemp war in der britischen Seifenoper EastEnders zu sehen.

Gegen Ende der 1980er-Jahre, als die New Romantic-Welle verebbt war, erinnerte sich Gary Kemp an seine Kindheit im Londoner East End und an die Arbeiterklasse, der er entstammte. Er beteiligte sich am Projekt „Red Wedge“, das von Paul Weller ins Leben gerufen worden war und Jugendliche dazu bringen wollte, sich für (sozialdemokratische) Politik zu interessieren und zu engagieren.

Im März 2009 verkündete die Originalbesetzung von Spandau Ballet ihr Comeback und stand nach knapp 20 Jahren am 13. Oktober 2009 in Dublin erstmals wieder gemeinsam auf der Bühne. Für das im Herbst 2009 erschienene Album Once More wurden viele alte Hits mit neuem Arrangement aufgenommen. Die Welttournee führte die Band im März 2010 auch nach München, Berlin und Düsseldorf.

Am 31. Juli 2014 gab die Band auf ihrer Website bekannt, zusammen mit dem britischen Musikproduzenten Trevor Horn an einem neuen Album zu arbeiten.

Im Juli 2017 gab Hadley per Twitter seinen Ausstieg aus der Band bekannt.[6]

Diskografie

Studioalben

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[7]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
 DE CH UK US
1981Journeys to GloryUK5
Gold
Gold

(29 Wo.)UK
Erstveröffentlichung: 6. März 1981
1982DiamondUK15
Gold
Gold

(17 Wo.)UK
Erstveröffentlichung: 5. März 1982
1983TrueDE8
Gold
Gold

(42 Wo.)DE
UK1
Platin
Platin

(90 Wo.)UK
US21
(4 Wo.)US
Erstveröffentlichung: 4. März 1983
1984ParadeDE7
(19 Wo.)DE
CH9
(9 Wo.)CH
UK2
Platin
Platin

(39 Wo.)UK
US50
(16 Wo.)US
Erstveröffentlichung: 25. Mai 1984
1986Through the BarricadesDE9
(23 Wo.)DE
CH25
(1 Wo.)CH
UK7
Platin
Platin

(19 Wo.)UK
Erstveröffentlichung: 21. November 1986
1989Heart Like a SkyDE29
(11 Wo.)DE
UK31
(3 Wo.)UK
Erstveröffentlichung: 23. September 1989
2009Once MoreDE30
(3 Wo.)DE
UK7
Gold
Gold

(5 Wo.)UK
Erstveröffentlichung: 19. Oktober 2009

grau schraffiert: keine Chartdaten aus diesem Jahr verfügbar

Livealben

  • 2005: Live from the N. E. C. (2 CDs)

Kompilationen

JahrTitelHöchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[7]
(Jahr, Titel, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
 DE CH UK US
1985The Singles CollectionUK3
Doppelplatin
×2
Doppelplatin

(54 Wo.)UK
Erstveröffentlichung: 4. November 1985
1991The Best of Spandau BalletUK44
Silber
Silber

(3 Wo.)UK
Erstveröffentlichung: 16. September 1991
2000Gold – The Best of Spandau BalletUK7
Platin
Platin

(30 Wo.)UK
Erstveröffentlichung: 4. September 2000
2014The Story –
The Very Best of Spandau Ballet
UK8
Gold
Gold

(14 Wo.)UK
Erstveröffentlichung: 10. Oktober 2014
202040 Years – The Greatest HitsUK15
(4 Wo.)UK
Erstveröffentlichung: 27. November 2020

Weitere Kompilationen

  • 1986: The Twelve Inch Mixes
  • 1989: The Best Of
  • 1994: Greatest Hits
  • 1996: The Best of Spandau Ballet
  • 1997: The Collection
  • 2002: Reformation
  • 2003: The Collection II
  • 2005: The Essential
  • 2012: The Albums 1980–84 (Box mit 4 CDs)

Singles

JahrTitel
Album
Höchstplatzierung, Gesamtwochen, AuszeichnungChartplatzierungenChartplatzierungen[7]
(Jahr, Titel, Album, Plat­zie­rungen, Wo­chen, Aus­zeich­nungen, Anmer­kungen)
Anmerkungen
 DE CH UK US
1980To Cut a Long Story Short
Journeys to Glory
UK5
Silber
Silber

(11 Wo.)UK
Erstveröffentlichung: 3. November 1980
1981The Freeze
Journeys to Glory
UK17
(8 Wo.)UK
Erstveröffentlichung: 12. Januar 1981
Musclebound
Journeys to Glory
UK10
(10 Wo.)UK
Erstveröffentlichung: 23. März 1981
Chant No. 1 (I Don’t Need This Pressure On)
Diamond
UK3
Silber
Silber

(11 Wo.)UK
Erstveröffentlichung: 6. Juli 1981
Paint Me Down
Diamond
UK30
(5 Wo.)UK
Erstveröffentlichung: 2. November 1981
1982She Loved Like Diamond
Diamond
UK49
(4 Wo.)UK
Erstveröffentlichung: 11. Januar 1982
Instinction
Diamond
UK10
(10 Wo.)UK
Erstveröffentlichung: 29. März 1982
Lifeline
True
UK7
(9 Wo.)UK
Erstveröffentlichung: 20. September 1982
1983Communication
True
UK12
(10 Wo.)UK
US59
(7 Wo.)US
Erstveröffentlichung: 31. Januar 1983
True
True
DE9
(17 Wo.)DE
CH5
(7 Wo.)CH
UK1
Gold
Gold

(15 Wo.)UK
US4
(18 Wo.)US
Erstveröffentlichung: 11. April 1983
Gold
True
DE16
(16 Wo.)DE
UK2
Platin
Platin

(9 Wo.)UK
US29
(12 Wo.)US
Erstveröffentlichung: 1. August 1983
Pleasure
True
DE61
(6 Wo.)DE
Erstveröffentlichung: November 1983
1984Only When You Leave
Parade
DE26
(12 Wo.)DE
CH20
(7 Wo.)CH
UK3
(13 Wo.)UK
US34
(12 Wo.)US
Erstveröffentlichung: 18. Mai 1984
I’ll Fly for You
Parade
UK9
(12 Wo.)UK
Erstveröffentlichung: 13. August 1984
Highly Strung
Parade
UK15
(8 Wo.)UK
Erstveröffentlichung: 8. Oktober 1984
Round and Round
Parade
UK18
(8 Wo.)UK
Erstveröffentlichung: 26. November 1984
1986Fight for Ourselves
Through the Barricades
DE32
(10 Wo.)DE
CH23
(5 Wo.)CH
UK15
(7 Wo.)UK
Erstveröffentlichung: 14. Juli 1986
Through the Barricades
Through the Barricades
DE14
(13 Wo.)DE
UK6
Silber
Silber

(10 Wo.)UK
Erstveröffentlichung: 27. Oktober 1986
1987How Many Lies?
Through the Barricades
UK34
(4 Wo.)UK
Erstveröffentlichung: 2. Februar 1987
1988Raw
Heart Like a Sky
UK47
(3 Wo.)UK
Erstveröffentlichung: 22. August 1988
1989Be Free with Your Love
Heart Like a Sky
DE52
(13 Wo.)DE
UK42
(4 Wo.)UK
Erstveröffentlichung: 14. August 1989
Empty Spaces
Heart Like a Sky
UK94
(2 Wo.)UK
Erstveröffentlichung: 13. November 1989
1990Crashed into Love
Heart Like a Sky
UK96
(2 Wo.)UK
Erstveröffentlichung: 12. Februar 1990
2009Once More
Once More
UK82
(1 Wo.)UK
Erstveröffentlichung: 19. Oktober 2009

Weitere Singles

  • 1985: The Smash Hits Interview (Flexi)
  • 1987: To Cut a Long Story Short
  • 2000: Gold (The Sun Mixes)
  • 2014: This Is the Love (VÖ: 3. Oktober)
  • 2015: Gold (Live 1983)

Videoalben

  • 1981: The Video Collection
  • 1987: Over Britain – Live in London!
  • 1990: Live
  • 1991: The Best of Spandau Ballet
  • 2004: Live from the N. E. C.
  • 2009: The Reformation Tour 2009: Live at the O2 (UK:GoldGold)
  • 2014: Soul Boys of the Western World

Auszeichnungen für Musikverkäufe

Goldene Schallplatte

  • Australien Australien
    • 1984: für das Album Parade
  • Kanada Kanada
    • 1983: für die Single True
  • Italien Italien
    • 2015: für das Album Once More
    • 2019: für die Single Through the Barricades
  • Japan Japan
    • 1985: für das Album Parade
  • Neuseeland Neuseeland
    • 1984: für das Album Parade
  • Niederlande Niederlande
    • 1986: für das Album Through the Barricades
  • Spanien Spanien
    • 1983: für das Album True
    • 1987: für das Album Through the Barricades
    • 1990: für das Album Heart Like a Sky
    • 2001: für das Album Gold – The Best of Spandau Ballet

Platin-Schallplatte

  • Kanada Kanada
    • 1983: für das Album Spandau Ballet
  • Neuseeland Neuseeland
    • 1983: für das Album True
    • 1986: für das Album The Singles Collection
  • Niederlande Niederlande
    • 1983: für das Album True
    • 1984: für das Album Parade

Anmerkung: Auszeichnungen in Ländern aus den Charttabellen bzw. Chartboxen sind in ebendiesen zu finden.

Land/RegionAus­zeich­nung­en für Mu­sik­ver­käu­fe
(Land/Region, Auszeichnungen, Verkäufe, Quellen)
Silver record icon.svg SilberGold record icon.svg GoldPlatinum record icon.svg PlatinVer­käu­feQuel­len
 Australien (ARIA)0! SGold record icon.svg Gold10! P35.000worldradiohistory.com (PDF-Datei, S. 3)
 Deutschland (BVMI)0! SGold record icon.svg Gold10! P250.000musikindustrie.de
 Italien (FIMI)0! SGold record icon.svg 2× Gold20! P50.000fimi.it
 Japan (RIAJ)0! SGold record icon.svg Gold10! P100.000worldradiohistory.com (PDF-Datei, S. 5)
 Kanada (MC)0! SGold record icon.svg Gold1Platinum record icon.svg Platin1150.000musiccanada.com
 Neuseeland (RMNZ)0! SGold record icon.svg Gold1Platinum record icon.svg 2× Platin237.500nztop40.co.nz
 Niederlande (NVPI)0! SGold record icon.svg Gold1Platinum record icon.svg 2× Platin2250.000nvpi.nl
 Spanien (Promusicae)0! SGold record icon.svg 4× Gold40! P200.000Sólo éxitos: año a año, 1959–2002
 Vereinigtes Königreich (BPI)Silver record icon.svg 4× Silber4Gold record icon.svg 6× Gold6Platinum record icon.svg 7× Platin74.135.000bpi.co.uk
InsgesamtSilver record icon.svg 4× Silber4Gold record icon.svg 18× Gold18Platinum record icon.svg 12× Platin12

Literatur

Weblinks

Einzelnachweise

  1. a b c d e f Wieland Harms: The Unplugged Guitar Book 2. Gerig, 1996, ISBN 3−87252−250−7, S. 77.
  2. New Page 1. Abgerufen am 25. September 2021.
  3. Warlord Games (2016). Bolt Action: Armies of Germany: 2nd Edition. Bloomsbury. p. 33. ISBN 147281780X.
  4. Spandau Ballet, the Blitz kids and the birth of the New Romantics. In: www.guardian.co.uk. 4. Oktober 2009, abgerufen am 1. Oktober 2010 (englisch).
  5. FASHION / The British supermarket of style. In: www.independent.co.uk. Abgerufen am 1. Oktober 2010 (englisch).
  6. Heul! Tony Hadley verlässt Spandau Ballet. 3. Juli 2017, abgerufen am 25. September 2021 (deutsch).
  7. a b c Chartquellen: DE CH UK US

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