Still Woozy – Habit
Still Woozy – Habit
Tycho – Jetty
Covex (Feat. Bella Musser) – Pretty Head
On this day in music history: November 26, 1984 – “You Spin Me Round (Like A Record)” by Dead Or Alive is released in the UK (US release is on May 6, 1985). Written by Pete Burns, Steve Coy, Tim Lever and Mike Percy, it is the biggest hit for the synth-pop Hi-NRG band from Liverpool, UK. Originally formed as a five piece post punk/goth rock band in 1980 by lead singer Pete Burns, Dead Or Alive is reduced to four members in 1984, when guitarist Wayne Hussey departs to focus on his other band Sisters Of Mercy. While writing material for their second album, Pete Burns comes up the initial idea for “You Spin Me Round” after hearing Luther Vandross’ song “I Wanted Your Love”, and singer and actress Little Nell’s (“Rocky Horror Picture Show”)“See You ‘Round Like A Record”. Burns finishes working on the song with the rest of the band. When Dead Or Alive plays the demo for their record company Epic Records, they are unimpressed with it, and refuse to fund sessions to record it. The band take out a loan for £2,500 ($3927.11 in US currency today), hiring then up and coming British producers Pete Waterman, Mike Stock and Matt Aitken (aka Stock Aitken & Waterman). When Dead Or Alive takes the finished recording back to Epic, the label tells them unconditionally that they hate it, and will not provide any funds to make a music video to promote it. Again, the band have to dig into their own pockets to shoot a low budget accompanying video with then fledging directors Vaughan Arnell and Anthea Benton (The Spice Girls, George Michael). Epic releases “You Spin Me Round” as a single, but puts little to no promotional effort behind it. In spite of this, the record manages to enter the UK singles chart when it begins receiving play in dance clubs, but remains in a holding pattern for over two months outside the UK top 40. The turning point comes when the band appears on Top Of The Pops on February 14, 1985. Their performance gives the record the boost necessary to put it over the top, rocketing to number one on the UK singles chart on March 9, 1985, spending two weeks at the top. It is finally released in the US in May on the heels of its UK success (in tandem with their second album “Youthquake”), due to the early stateside buzz created by club DJ’s playing the record, and by brisk sales of the import 12". “You Spin Me Round (Like A Record)” peaks at #4 on the Billboard Club Play chart on July 13, 1985, and #11 on the Hot 100 on August 17, 1985. Regarded as one of the quintessential 80’s songs, “You Spin Me Round” is featured in the Adam Sandler comedy “The Wedding Singer” in 1998, and charts three separate times in the UK through various remixes made of the track. In 2009, rapper Flo Rida samples and interpolates the hook from “You Spin Me Round” for his number one single “Right Round”.
On this day in music history: November 26, 1983 – “Touch”, the third album by Eurythmics is released. Produced by David A. Stewart, it is recorded at The Church in London in the Summer 1983. Flush with success from hitting number one in the US and abroad with single “Sweet Dreams (Are Made Of This)” and its accompanying album of the same name, Eurythmics move quickly to begin work on the crucial follow up. Their next album is recorded and mixed in just three weeks, in a nineteenth century church that the duo has purchased and converted into a recording studio. Led by the mesmerizing first single “Here Comes The Rain Again” (#8 UK,#4 US Pop), Dave Stewart comes up with the initial idea for the song. It’s melancholy mood and unorthodox song structure are topped by a haunting string arrangement written and conducted by Michael Kamen (Aerosmith, Metallica, Eric Clapton), and performed by members of the British Philharmonic Orchestra. Recording the strings proves to be a difficult task, due to limited space in the studio. They end up having to place them in various parts of the building, then blending the musicians together during the final mix down. Annie Lennox perfectly compliments the track, writing the lyrics and turning in an impassioned and soulful vocal performance. The song is an another immediate hit and paves the way for the rest of the album’s success. It spins off two other singles including “Who’s That Girl?” (#3 UK, #21 US Pop), and “Right By Your Side” (#10 UK, #29 US Pop). The cover artwork features a striking photo of Lennox taken by photographer Peter Ashworth (Soft Cell, Tina Turner, Bananarama), shot in semi profile with the singer raising her arms, hands clasped and wearing a black mask. “Touch” is also one the first to be simultaneously released on both vinyl and on the then new Compact Disc format in the US. It also spins off a remix EP titled “Touch Dance” in the UK released in May 1984 (not issued in the US), featuring 12" remixes of four tracks along with instrumental versions of three of those songs. The album is remastered and reissued on CD in 2005 with seven additional bonus tracks, including non album B-sides and live recordings. Out of print on vinyl since 1989, it is remastered and reissued as a 180 gram LP in 2018. “Touch” spends two weeks at number one on the UK album chart on February 4, 1984, peaking at number seven on the Billboard Top 200, and is certified Platinum in the US by the RIAA.
Illenium (Feat. Call Me Karizma) – God Damnit
Elohim – Connect
XXYYXX – Home
On this day in music history: November 9, 1985 – “Miami Vice Theme” by Jan Hammer hits #1 on the Billboard Hot 100 for 1 week, also peaking at #10 on the R&B singles chart on November 23, 1985. Written and produced by Jan Hammer, it is the biggest hit for the composer and musician from the Czech Republic. Born in Prague, Jan Hammer’s interest in music begins at age four when he begins playing piano, advancing to formal lessons two years later. Initially intending to become a doctor like his father, the desire to play music has a stronger pull. Hammer eventually decides to pursue an education in music, enrolling in the Prague Academy of Musical Arts in 1968. When the Warsaw Pact invades his native country, Hammer leaves for the US to study at the Berklee College Of Music in Boston. Completing his studies, Hammer quickly makes a name for himself as a touring with legendary jazz vocalist Sarah Vaughan as well as recording with Elvin Jones and Jeremy Steig. In 1971, he becomes a founding member of the influential jazz fusion band the Mahavishnu Orchestra with guitarist John McLaughlin, drummer Billy Cobham, violinist Jerry Goodman, and bassist Rick Laird. Hammer remains with the band until late 1973, then collaborating with Jack DeJohnette, John Abercrombie and Jeff Beck. In early 1984, Hammer is approached by Michael Mann to compose music for television series he’s developing called “Miami Vice”. The police drama stars Don Johnson and Philip Michael Thomas as detectives fighting crime against the glamorous and visceral back drop of Miami, FL. The series is unlike anything before it, visually or otherwise. Hammer’s distinctive scoring provides the perfect accompaniment to the on screen action. Utilizing the most advanced musical technology of the day, including the Fairlight CMI, Synclavier II and Yamaha DX7 synthesizers, Jan Hammer’s music becomes like an additional character in the series. He composes an explosive and brash theme for the show which immediately grabs the public’s attention from the first episode. The original “Miami Vice Theme” is only a minute long, but it is expanded to just under two and a half minutes when public demand for its release becomes too great to ignore. The theme is released as a single in August of 1985, and quickly becomes a smash. Entering the Hot 100 at #59 on September 7, 1985, it climbs to the top of the chart nine weeks later. The single propels the “Miami Vice Soundtrack” to the top of the Billboard Top 200, spending eleven weeks at number one, becoming the most successful TV soundtrack album since Henry Mancini’s “Peter Gunn” in 1959. It holds the record until 2006, when it is overtaken by the soundtrack to “High School Musical”. The “Miami Vice Theme” also wins Jan Hammer two Grammy Awards for Best Pop Instrumental Performance and Best Instrumental Composition in 1986. It is the last time an instrumental tops the US singles chart until “Harlem Shake” by Baauer in 2013.
Kainalu – Finding Peace Of Mind