Released today in 1985: The Sun Always Shines On TV

1216

Warner Bros W8846

16 December
Flexi discs, launched in the early 1960s as Soundsheets, were one-sided records pressed on flimsy vinyl played on the same turntables as their rigid vinyl equivalents. (Such was their lack of mass that sometimes the weight of the stylus became too much for them, and the disc would become pinned to the turntable.) They were cheap to produce and easy to distribute due to their light weight and ability to bend without breaking, but due to their shallow grooves the sound reproduction potential was limited. Consequently, flexi discs were often used for promotional purposes, commercial releases being pressed as the usual two-sided 7”s. They were ideal if the sounds that were being distributed were fairly lo-fi, for example a recording of a conversation rather than a piece of music. As a result, bands often used them to record special messages for fans, giving them away free to fan club members for example. Flexi discs were of an era when hearing your favourite star speak was a rare event, and making a recording of him or her speaking was difficult to arrange.

The music press also used them regularly, although during the 1980s flexi discs gave way briefly to cassettes and were then replaced altogether by CD. All three formats could easily be taped to the front of a magazine and were an inexpensive way of allowing readers to hear the music written about inside. Flexi discs were the most convenient of the three given that they weighed much the same as a sheet of the magazine’s paper, and could be rolled up (for short periods of time) just as easily as the magazine, making transportation simple. The only reasons cassettes and CDs superseded them was the amount of music these two formats could hold, and the sound quality. Flexi discs survived into the 1990s but became obsolete when the hardware to play them became scarce.

But in 1986, the flexi disc was still the medium of choice for the British music press, and in March No.1 magazine gave away a copy of the A-Ha track, The Sun Always Shines On TV. It was not the version of the song that had featured on the commercial 7” single released in 1985; instead, an “Exclusive US Dance Mix” was included. This was the 12” version of the song, edited down to fit comfortably on the giveaway, which No.1 described as a “flexi picture disc”. The members of the group provided a short, spoken introduction to the track. It was intended that readers would store the flexi disc inside “The No.1 A-Ha Flexi Book”, which had been a gift with the previous week’s issue. This included extracts from a recent interview with the band for the magazine’s regular ‘Person-2-Person’ column, and photos.

NEW SINGLES on sale from Dec. 16
1985
A-HA The Sun Always Shines On TV (Warner Bros W8846)

Released today in 1987: The Living Daylights

Warner Bros W8305

Warner Bros W8305

There were five additions to the James Bond series of movies in the 1980s (‘Never Say Never Again’ doesn’t count) and as custom dictated, a well-known act from the pop music industry was commissioned to perform a theme song for each.

‘For Your Eyes Only’
✇ opened: 24 June 1981
♫ released: 15 June 1981

In 1980 Esther Rantzen produced a documentary film called ‘The Big Time’ which chronicled an unknown singer’s attempt to break into the British music industry. The subject was Sheena Easton and during the programme she met fellow Scot who had already ‘made it’, Lulu. Lulu’s manager Marion Massey told Easton that she was unlikely to make the “big time”, but was proved wrong as by the end of the year Easton was very much a star and was approached to sing the theme to the following year’s Bond film. The irony of Massey’s original assessment of Easton’s chances was highlighted when her single, For Your Eyes Only, made #8 – established artist Lulu’s The Man With The Golden Gun, from the 1974 Bond movie of the same name, flopped. All the Bond themes have been released as singles in the UK, with Lulu’s single one of only three that have failed to chart. (The others were Bond regular John Barry’s On Her Majesty’s Secret Service in 1969, and, somewhat surprisingly, Moonraker by Shirley Bassey ten years later.)

‘Octopussy’
✇ opened: 6 June 1983
♫ (All Time High) released: 3 June 1983

It wasn’t the first time that the theme song for a Bond movie didn’t match the title of the film. The most famous one is probably Carly Simon’s Nobody Does It Better, but that song did at least reference the film’s title, ‘The Spy Who Love Me’, in its lyrics. Tim Rice, the lyricist for this movie’s theme, must have wondered how on earth he was going to slip the word ‘Octopussy’ into a song. So he didn’t bother. To create some association with the film, the marketing team at Metro-Goldwyn-Mayer used the titular phrase of Rita Coolidge’s single on movie posters and publicity material, describing it as James Bond’s “all time high”. It’s doubtful this did create a link between the song and the movie as the single only made #75.

‘A View To A Kill’
✇ opened: 13 June 1985
♫ released: 7 May 1985

Although the theme song singles were usually released before the film in the UK, there was a big gap between the release of Duran Duran’s A View To A Kill and the opening of ‘A View To A Kill’. This was because the world premiere for the movie was in San Francisco on 22 May1985, a full three weeks before its British general release. (In most cases, the British premiere had also been the world premiere.) To date, Duran’s song is the most successful Bond theme. It made #2 in the UK, the highest placing for Bond theme in the British singles chart (Adele matched this peak with Skyfall in 2012). It did even better in the US, topping the Billboard Hot 100 – still the only Bond theme to do so. Trivia: this year’s Eurovision winner Måns Zelmerlöw performed a live version of the song at Melodifestivalen (Sweden’s version of ‘A Song For Europe’) in 2010.

‘The Living Daylights’
✇ opened: 30 June 1987
♫ released: 22 June 1987

The soundtrack for ‘The Living Daylights’ was the eleventh to be scored by John Barry. A-Ha were chosen to perform the title theme, but their collaboration (if it can be called that) with Barry was troubled. The band was reluctant to give him a songwriter’s credit, believing they had a finished song already that needed no further work. The limit of Barry’s contribution was apparently the string arrangements. At the film’s London premiere (which A-Ha did not attend) Barry mentioned to reporters that he had found them difficult to work with. Indeed, they hadn’t been able to agree which version of the song to release. A-Ha were happy with their first attempt, which appeared on their own album Stay On These Roads, but it was Barry’s preferred mix that was actually used on the soundtrack. The single made #5.

‘Licence To Kill’
✇ opened: 13 June 1989
♫ released: 30 May 1989

The longest-ever Bond theme at over five minutes, performed by veteran soul singer Gladys Knight (without The Pips); it reached #6. The soundtrack to ‘Licence To Kill’ was supervised by Michael Kamen as John Barry was unavailable due to recovery from throat surgery.

NEW SINGLES on sale from Jun. 22
1981
BAUHAUS Passion Of The Lovers (Beggars Banquet BEG59)
1987
A-HA The Living Daylights (Warner Bros W8305)
BANANARAMA I Heard A Rumour (London NANA13)
The CURE (Robert Smith) Catch (Fiction FICS26)
THEN JERICO (Mark Shaw) The Motive (London LON145)
TOYAH Moonlight Dancing (EG EGO35)

Released today in 1986: Hunting High And Low

Warner Bros W6663

Warner Bros W6663

A-Ha used the phrase ‘hunting high and low’ not only for the name of featured song on the single shown above, but also for the title track of their debut album and the slogan for their first world tour.

The single

The song was chosen to be the last single taken from the album in late spring 1986. A special mix of the track was used, featuring an orchestra. The orchestra was portrayed in what would become another memorable promotional clip filmed to promote the release. Images of the group and members of the orchestra were depicted in silhouette as if captured in a rotating shadow lantern. The imagery was then continued when this footage was intercut with film of a silhouetted Morten Harket morphing into various animated creatures that were either hunters or the hunted.

The album

Designers Jeffrey Kent Ayeroff and Jeri McManus (who were also responsible for Madonna’s Like A Virgin sleeve, which had a similar colour palette) used a photograph by Just Loomis for the album cover artwork, and they were nominated for “Best Album Package”, the award for cover art and packaging, at the 28th Annual Grammy Awards held on 25 February 1986. First issued in Norway and the US on 10 June 1985, the album was already certified by the RIAA as having sold half a million copies in America by the time it appeared in the UK in late October 1985. Sales here quickly caught up with the States. It had earned a silver disc from the BPI by Christmas that year, indicating around 60,000 copies shipped, but it was during 1986 that the bulk of its sales were made. It went gold the following month (over 100k sales) shortly before it reached #2 on 18 January, a position it would hold on to from then until the end of February. (It never made it to the top.) By that time, sales were estimated to have exceeded 300 thousand copies (a platinum disc was awarded), and that figure would be doubled by September. It ended 1986 as the seventh best-selling album of the year in the UK, fifth best if the two Now That’s What I Call Music compilations that were issued during the year are disallowed.

The tour

The Hunting High And Low world tour began at The Concert Hall in Perth, Australia, the day after the single of the same name was released in the UK. The set-list for shows in the tour included all the tracks from the Hunting High And Low album plus some other tracks that had recently been recorded for their forthcoming second album. The running order was amended slightly as the tour progressed as new songs for this album were written, but in Australia it ran as follows:

1. Train Of Thought (from Hunting High And Low, also issued as a single worldwide)
2. Love Is Reason (from Hunting High And Low, also issued as a single in Norway in March 1985. It was also used as the B-side to the second issue of Take On Me in the UK and other territories)
3. Living A Boy’s Adventure Tale (from Hunting High And Low)
4. Cry Wolf (recorded for Scoundrel Days album, a forthcoming international single)
5. The Blue Sky (from Hunting High And Low, a demo version of the song was used on the Hunting High And Low single.)
6. Manhattan Skyline (recorded for Scoundrel Days album, a forthcoming international single)
7. The Sun Always Shines On TV (from Hunting High And Low and a single worldwide.)
8. Driftwood (the B-side to the single directly above)
9. Here I Stand And Face The Rain (from Hunting High And Low)
10. We’re Looking For The Whales (from Scoundrel Days. The performance of the song on 19 January 1987 at Fairfield Hall in London was recorded and used as the B-side to forthcoming single Manhattan Skyline)
11. And You Tell Me (from Hunting High And Low, also the original B-side of Take On Me; a demo version of the song was used as the B-side to the Train Of Thought single)
12. Hunting High And Low
13. Dream Myself Alive (from Hunting High And Low)
14. Scoundrel Days (title track of the forthcoming second album)
Encore. Take On Me (from Hunting High And Low and international single)

The tour itinerary was as follows:

Country First date Final date
Australia 3 June 1986 24 June 1986
Japan 2 July 1986 24 July 1986
USA and Canada 8 August 1986 24 October 1986
Continental Europe:
Austria 1 November 1986
Switzerland 3 November 1986
France 6 November 1986 12 November 1986
Germany 14 November 1986 22 November 1986
Belgium 23 November 1986
Holland 25 November 1986
Denmark 27 November 1986
Sweden 28 November 1986 29 November 1986
UK and Ireland 4 December 1986 27 January 1987
Norway 30 January 1987 10 February 1987

NEW SINGLES on sale from Jun. 2
1986
A-HA Hunting High And Low (Warner Bros W6663)
EURYTHMICS When Tomorrow Comes (RCA DA7)
FAT BOYS Sex Machine (Atlantic A8674)
The MISSION (Wayne Hussey) Serpent’s Kiss (Chapter 22 CHAP67)

Released today in 1985: Take On Me

Warner Bros W9006

Warner Bros W9006

In 1982, Pål Waaktaar-Gamst and Magne Furuholmen were members of a band in their native Norway; the former was writing much of their material at the time. One track was rehearsed under the working title ‘The Juicy Fruit Song’ but was not recorded; when the band broke up, Waaktaar-Gamst and Furuholmen continued to work together and towards the end of the year met singer Morten Harket who was impressed with a re-worked version of The Juicy Fruit Song’, now titled ‘Lesson One’. In January 1983, all three moved to London in search of a record deal. Progress was slow, but eventually they arrived at the studios of producer John Ratcliff and demos were recorded, including ‘Lesson One’ which was the song that would become Take On Me. On the strength of these recordings, Ratcliff’s manager secured a record deal for A-Ha with Warner Bros.

The first issue of the single from 1984.

The first issue of the single from 1984.

Tony Mansfield was brought in to produce the first commercial recording of Take On Me, using electronic instrumentation. This version was released as their debut single in 1984; it was a Top 10 hit in Norway but did little business anywhere else. However, the band’s management persuaded prolific and successful British producer Alan Tarney to make a new recording of the song and his version of Take On Me was released in the UK on Good Friday in 1985. With little promotion from the record company, it flopped for the second time in the UK. However, Warner Bros in America decided to make the single a priority and paid for a state-of-the-art promotional video clip to be made to replace the one made in 1984.

The original video, featuring the band miming to the backing track on a bare sound stage, used a blue background that made it appear that some chroma key compositing had been planned but the money had run out before the intended background images could be added. Instead, a female gymnast performed some cartwheels to liven things up. The new video, directed by Steve Barron for Limelight Productions and created over nearly five months in the spring/summer of 1985, was cutting edge. Combining live-action and pencil-sketch animation, it was quite unlike anything else on MTV at the time. A technique called ‘rotoscoping’ was used to add the hand-drawn art to around 3000 frames of the video, which took 16 weeks to complete. These unusual visuals, together with the clip’s strong storyline, made it an instant classic. Within weeks of its first airing, Take On Me was on its way to #1 on the American chart.

Third issue sleeve.

Third issue sleeve.

Warner Bros in the UK decided to give the single another go here too. From 16 September 1985, the existing single was repackaged in a colour sleeve featuring on the reverse stills from the video clip. A limited edition booklet sleeve included information about the band members and more images from the storyboard for the video. But it wasn’t all about the imagery though: Take On Me is, quite simply, a great song. Radio airplay was quick to pick up this time, and Harket’s startling vocal (with a range of over two octaves) was just as memorable as the video.
Stills from the video in the limited edition packaging of the third issue.

Stills from the video in the limited edition packaging of the third issue.


Picture disc released on 18 April 2015.

Picture disc released on 18 April 2015.

Take On Me remains perennially popular. Last year it became available as a single-track digital download and has sold more than a million and a half copies in that format in the US alone. Later this month, to commemorate the 30th anniversary of the release of the hit version of the song, a special picture disc is being made available as part of Record Store Day. These special editions are pressed in small quantities so sales will make only a small contribution to increasing the worldwide total of over seven million to date.

NEW SINGLES on sale from Apr. 5
1982
Kim WILDE View From A Bridge (RAK RAK342)
1985
A-HA Take On Me [Reissue] (Warner Bros W9006)
MARILYN Baby U Left Me (In The Cold) (Love MAZ4)
1988
S-EXPRESS (Mark Moore) Theme From S-Express (Rhythm King LEFT21)

May 2024
M T W T F S S
 12345
6789101112
13141516171819
20212223242526
2728293031