Billy Ocean "Caribbean Queen (No More Love On The Run) (Video)"

"Caribbean Queen (No More Love on the Run)" is a song by English singer Billy Ocean. Co-written and produced by Keith Diamond, it climbed to number-one on both the US Billboard Hot 100 chart and the Billboard Black Singles chart chart, and number six in the UK Singles Chart. The song won Ocean the 1985 Grammy Award for Best Male R&B Vocal Performance, making him the first British artist to win in that category.

The saxophone solo is played by Vernon Jeffrey Smith.

The song was recorded under different titles for different parts of the world—resulting in versions such as "European Queen" and "African Queen". In the US, the song was released under the title "Caribbean Queen (No More Love on The Run)". It entered the Billboard Hot 100 at number 85 on the chart dated 11 August 1984. It hit number one ten weeks later and stayed at the top of the chart for two consecutive weeks. The songs charted for 26 weeks.

In 2004, the song was re-released as a digital single for its 20th anniversary, shooting up to no. 25 on the Billboard digital singles chart and garnering radio play across the US and UK.

In 1985, Melba Moore recorded an "answer song" on her album Read My Lips entitled "King of My Heart".

The song was also featured in the Miami Vice episode "Prodigal Son" from season 2.

An instrumental version of "Caribbean Queen (No More Love on the Run)" was used during the starting lineup for CBS' telecast of the 1986 Daytona 500.


The song was played in two episodes of The King of Queens, during a flashback to Doug's failed bartending stint in the Season 7 episode "Pour Judgement" and again at his high school reunion in the Season 9 episode "Mild Bunch". Additionally, Danny is heard singing the song in the Season 8 episode "Move Doubt", although Spence later reveals that the song itself was never played on his Walkman.

Billy Idol "Cradle Of Love (Single & Video)"

"Cradle of Love" is a rock song written by Billy Idol and David Werner for Idol's 1990 fourth studio album Charmed Life. The song is the album's sixth track, and was released as its first single. The song became one of Idol's biggest hits in the United States, where it reached No. 2 on the Billboard Hot 100, but stalled at No. 34 in Idol's native UK Single Chart. It was also Idol's first, and (so far) only No. 1 hit on the Mainstream Rock Tracks chart in the U.S.

"Cradle of Love" is a rock song composed in common time and in the key of Bb major.

The song title is based on the saying "robbing the cradle."

The video, directed by David Fincher, features footage of Idol singing in large frames throughout an apartment. The director made the decision to film Idol from the waist up as he was unable to walk from a motorcycle accident that had happened in February 1990. It also features Betsy Lynn George as a teenager who tries to seduce a modest and mild-mannered businessman played by Joshua Townshend-Zellner. The film makes use of clips from The Adventures of Ford Fairlane, but as Andrew Dice Clay (who played Fairlane) had been banned from MTV, he is not shown in any of the clips. The video was a huge hit and was placed in heavy rotation on MTV. Idol and George recreated the opening of the video for the 1991 Grammys. An alternative version of the video does not feature the movie's footage, instead depicting a man playing the guitar as heard in the track.

At the 1990 MTV Video Music Awards, the video was nominated for Best Male Video and Best Special Effects and won the award for Best Video from a Film.

This video was voted #33 on VH1's 50 Sexiest Video Moments.

His live performance of the song at the 1991 Grammy Awards was released on the 1994 album Grammy's Greatest Moments Volume I.

Billy Idol "Flesh For Fantasy (Video)"

"Flesh for Fantasy" is a song by Billy Idol from his 1983 studio album Rebel Yell. It became the album's third single.

The song was written by Billy Idol and Steve Stevens, with its title being inspired by the 1943 American film Flesh and Fantasy.

Billy Idol "Eyes Without A Face (Japan 12" Single & Video)"

"Eyes Without a Face" is a song by English rock musician Billy Idol, from his second album Rebel Yell (1983). It was released in 1984, as the second single from the album. The song is softer and more ballad-like than most of the album's other singles. It reached No. 4 on the Billboard Hot 100, becoming Idol's first Top 10 hit in the USA. The song is notable for the female voice of Perri Lister (who appeared in the banned video for "Hot in the City") that sings "Les yeux sans visage" (French for "Eyes without a face") as a background chorus. The title of the song refers to the English title of French director Georges Franju's 1960 film Les yeux sans visage.

In a retrospective review of the single, AllMusic journalist Donald A. Guarisco praised the song and wrote: "The music plays against the dark tone of the lyrics with a ballad-styled melody comprised of yearning verses that slowly build emotion and a quietly wrenching chorus that relieves the emotional tension in a cathartic manner."

The video was directed by David Mallet. Set in a hellish netherworld, the video begins with a verse-long shot of Idol's face, which appears to be disembodied, illuminated by flames, and floating out of the dark towards the viewer. The second verse focuses on Idol having a violent fit while lying on his back and partially submerged in a shroud of white smoke. During the song's bridge, the scene changes to Steve Stevens soloing on guitar while Idol poses dancing in a flaming hexagon surrounded by hooded acolytes. The video's highly aggressive imagery contrasted by sets that are accented by flame, shadow, and smoke contrasts strongly with the relative slowness and restraint of the song.

The video was released in June 1984 and subsequently nominated for MTV Video Music Awards for "Best Editing" and "Best Cinematography". It was shot over an exhausting three-day period on a set with fog machines, lighting, and fire sources. Immediately after the shoot, Idol flew to perform in Arizona, where he discovered that his contact lenses had fused to his eyeballs, attributing this to the harsh video shoot and dry plane air. He was taken to a hospital where the lenses were removed, his eyes bandaged for three days, and his scraped corneas grew back.

                                          

Billy Idol "White Wedding (Single & Video)"

"White Wedding" is a song by Billy Idol that appeared on his album Billy Idol in 1982. It is often considered one of his most recognisable songs, although other Idol songs charted higher. It peaked at No. 108 on the Billboard Bubbling Under the Hot 100 on its original release, and reached No. 36 on the Billboard Hot 100 when it was re-issued in 1983. In the UK it reached No. 6 in the UK Singles Chart upon its re-release there in 1985 and 1988, when it was re-issued to promote the Vital Idol remix album.

The music video, featuring Idol attending a gothic wedding, is one of his best-known. The bride is played by Perri Lister, Idol's real-life girlfriend at the time. She is also one of the three dancers clad in black leather, who slap their buttocks in time with the clap track in the song as they shimmy downwards near the end. "That's the kind of thing they love in England", says Idol.

In one scene from the video, Idol forces the barbed-wire wedding ring onto the bride's finger and cuts her knuckle. Lister insisted that her knuckle actually be cut in order for the scene to appear more realistic. MTV initially removed this scene from the video. Also controversial were the apparent Nazi salutes made by the crowd toward the couple. Director David Mallet says he was merely "playing with the power of crowd imagery" when he had the extras reach toward the bride and did not realize how it looked until later.

The MTV-edited version of the video is included on the DVD portion of The Very Best of Billy Idol: Idolize Yourself CD/DVD package.

Bee Gees "Their Greatests Hits: The Record"

Their Greatest Hits: The Record is the career retrospective greatest hits album by the Bee Gees, released on UTV Records and Polydor in November 2001 as HDCD. The album includes 40 tracks spanning over 35 years of music. Four of the songs were new recordings of classic Gibb compositions originally recorded by other artists, including "Emotion" (Samantha Sang), "Heartbreaker" (Dionne Warwick), "Islands in the Stream" (Kenny Rogers and Dolly Parton), and "Immortality" (Celine Dion). It also features the Barry Gibb duet with Barbra Streisand, "Guilty", which originally appeared on Streisand's 1980 album of the same name. It is currently out of print and has been supplanted by another compilation, The Ultimate Bee Gees.

The album peaked at No. 5 twice in the UK, the first time upon its release in 2001 and again in January 2003 (following the death of Maurice Gibb). It has since been certified triple platinum by the BPI for sales of over 900,000 copies.

In the US, the album debuted on the Billboard 200 album chart at No. 49. It spent a total of 40 weeks on the chart and was certified platinum by the RIAA in February 2002 for sales of over one million copies there.

There are two bonus songs on the Japanese release, "Melody Fair" and "My World" (the latter is also a bonus track on the UK release along with "Jumbo"). Copies sold at the American retailer Target included a bonus disc entitled 5 Live Recordings.

Most of the songs are in chronological order, except for the placements of "You Should Be Dancing", which was released before "Love So Right", and "Spicks and Specks", a song from 1966 that ends disc two, which makes it something of a bonus track.

"Emotion" and "Heartbreaker" were recorded in 1994 as part of a Bee Gees compilation album called Love Songs which was planned for release in 1995. "Islands in the Stream" was recorded in 2001 with Robin singing lead in contemporary R&B sound rather than the more traditional arrangement like that heard on One Night Only, which had Barry singing lead (Barry did not perform vocals on this revised version). "Immortality" is the original writing demo from 1996, which includes Barry singing in high falsetto as a guide to Celine Dion who would go on to record the song in 1997.

The very first UK pressings used the wrong version of "How Can You Mend a Broken Heart" with Barry singing the opening verse. A mastering fault was also present in "More Than a Woman", with the audio noticeably dipping to the right briefly during the first verse. These were corrected after several thousand copies had already been distributed.

Track listing

All compositions by Barry, Robin and Maurice Gibb, except as indicated. ** Only appears in Japan Bonus Tracks version.

Disc one

1. "New York Mining Disaster 1941" (B. Gibb/R. Gibb) – 2:12
2. "To Love Somebody" (B. Gibb/R. Gibb) – 3:02
3. "Holiday" (B. Gibb/R. Gibb) – 2:55
4. "Massachusetts" – 2:25
5. "World" – 3:16
6. "Words" – 3:17
7. "I've Gotta Get a Message to You" – 2:52
8. "I Started a Joke" – 3:09
9. "First of May" – 2:50
10. "Melody Fair" – 3:48 ** "Jumbo" – 2:08 in UK
11. "Saved by the Bell" (R. Gibb) – 3:08
12. "Don't Forget to Remember" (B. Gibb/M. Gibb) – 3:29
13. "Lonely Days" – 3:48
14. "How Can You Mend a Broken Heart" (B. Gibb/R. Gibb) – 3:59
15. "My World" (B. Gibb/R. Gibb) – 4:22 **
16. "Run to Me" – 3:13
17. "Jive Talkin'" – 3:46
18. "Nights on Broadway" – 4:36
19. "Fanny (Be Tender with My Love)" – 4:04
20. "Love So Right" – 3:37
21. "If I Can't Have You" – 3:22
22. "Love Me" (B. Gibb/R. Gibb) – 4:04
23. "You Should Be Dancing" – 4:15

US Disc one length: 68:00

UK Disc one length: 70:17

Japan Disc one length: 75:29

Disc two

1. "Stayin' Alive" – 4:47
2. "How Deep Is Your Love" – 4:03
3. "Night Fever" – 3:31
4. "More Than a Woman" – 3:17
5. "Emotion" (B. Gibb/R. Gibb) – 3:38
6. "Too Much Heaven" – 4:57
7. "Tragedy" – 5:03
8. "Love You Inside Out" – 4:11
9. "Guilty" (Barbra Streisand and Barry Gibb song) – 4:24
10. "Heartbreaker" – 4:26
11. "Islands in the Stream" (B. Gibb/R. Gibb/M. Gibb/Praskazrel Michel) – 4:22
12. "You Win Again" – 4:04
13. "One" – 4:56
14. "Secret Love" – 3:36
15. "For Whom the Bell Tolls" (Single version) – 3:58
16. "Alone" (Single version) – 4:22
17. "Immortality" (Demo version) – 4:15
18. "This Is Where I Came In" – 4:00
19. "Spicks and Specks" (B. Gibb) – 2:51

Disc two length: 75:21

Bee Gees "E.S.P."

E.S.P. is the seventeenth original album (fifteenth worldwide) by British group Bee Gees. Released in 1987, it was the band's first studio album in six years, and their first release under their new contract with Warner Bros. It marked the first time in twelve years the band had worked with producer Arif Mardin, and was their first album to be recorded digitally. The album sold well in Europe, reaching No. 5 in the UK, No. 2 in Norway and Austria, and No. 1 in Germany and Switzerland, though it barely made the top 100 in the US.

The album's first single, "You Win Again", reached No. 1 in the UK, Ireland, Switzerland, Germany, Austria and Norway.

The album cover photographs show the Gibb brothers at Castlerigg stone circle near Keswick in England's Lake District.

With the Bee Gees now back in the Warner-Elektra-Atlantic conglomerate, producer Arif Mardin was once again available to work with them.

The Gibb brothers began writing and recording songs for E.S.P. around September 1986. They worked at Maurice's home studio, informally known as Panther House, rather than at Middle Ear. Maurice set everything up and Scott Glasel was effectively the assistant engineer. Scott's recollection years later is that Barry brought in the songs as demos, featuring just his voice and guitar, and that they recorded the fuller demos based on Barry's songs. Scott also recalls Barry and Robin many times arguing heatedly over trivial things and calling off the project, only to have Maurice call Scott a few days later to let him know they were starting again.

Over the previous few years Barry and Robin had become accustomed to different recording styles. Barry preferred to write all the songs and recorded demos, and then go into the big studio with session players to record polished versions for release. Robin instead liked to use the recording sessions themselves to work out the songs. Maurice liked a hands-on approach and where he had a voice in production he either appears prominently on the finished tracks or worked out arrangements with a few session players during recording. The compromise recording method adopted for E.S.P. was for the brothers to start all the recordings themselves and then complete them with session players and a producer. If they started with an idea and a rhythm track, they built a song onto it as they recorded, something that would accommodate what all three preferred to do. The result of this process would then be a demo, with vocals by the three brothers and instrumentals by Maurice and Barry. The drumming was electronic sequencers programmed by Barry and Maurice and their engineer Scott Glasel. The Gibb instrumental tracks were done from October into 1987. The second stage appears to have been recording the main vocal tracks, and where this was done is unknown. The demo of "E.S.P." on the box set Tales from the Brothers Gibb is at this second stage. Lastly, session musicians replaced most of the instrumental parts and the brothers dubbed additional vocals. They also edited some of the tracks, inserted new sections, and sped up at least two of them.

Track listing

All tracks are written by Barry, Robin, and Maurice Gibb. Lead vocals as indicated.

1. "E.S.P." Barry and Robin 5:38
2. "You Win Again" Barry and Robin 4:02
3. "Live or Die (Hold Me Like a Child)" Barry 4:41
4. "Giving Up the Ghost" Robin and Maurice 4:26
5. "The Longest Night" Robin 5:46
6. "This Is Your Life" Barry 4:50
7. "Angela" Barry 4:57
8. "Overnight" Maurice 4:20
9. "Crazy for Your Love" Barry 4:40
10. "Backtafunk" Barry 4:22
11. "E.S.P. (Reprise)" Barry and Robin 0:34

Total length: 48:16

Alison Moyet "Invisible (Video)"

"Invisible" is a song recorded by Alison Moyet in 1984, written by Lamont Dozier (of the songwriting team Holland–Dozier–Holland), from her album Alf.

Reaching #21 on the UK Singles Chart, the song went as high as #6 in Ireland, and gave Moyet her third Irish top 10 hit of the year. The single went even higher in New Zealand, peaking at #4, her second consecutive top ten hit after "All Cried Out" reached #6. The song is also the first American release from the album and is Moyet's most successful single in that country, reaching #31 on the Billboard Hot 100 in the spring of 1985 and becoming her only US Top 40 hit, either solo or with Yazoo, thus far.

There are two versions of the music video for the song. In the first version, Moyet is seen at a party surrounded by friends, all of whom appear to have partners of various forms. She walks into another room to perform the song. Moyet is often seen singing alone outside, or in what appears to be a cupboard. There are also many cutaways to where Moyet walks through the party unnoticed (hence, she is invisible). The video ends with her drinking a glass of wine and lost in thought. The second version of the video mostly features Moyet performing the song and omits many of the party scenes. It concludes with Moyet walking out of the room and into a white light. In both videos, there are moments when the camera pans on what seems to be a silver rhombus with the letter 'i' in the middle.

The lyrics are about being in love with someone who continues to cheat and lie, despite proclaiming their 'invisible' love for her.

The b-side was the Marvin Gaye song "Hitch Hike" on which she receives backing from Darts.

Alison Moyet "Love Resurrection (Video)"

"Love Resurrection" is a pop song written by English singer-songwriter Alison Moyet and producers Jolley & Swain for Moyet's debut studio album Alf (1984). Released as the album's first single in June 1984, it reached number 10 in the UK Singles Chart.[1] It was released in the US in summer 1985 following "Invisible" and reached number 82 on the Billboard Hot 100 that August.

In 2006, "Love Resurrection" appeared in the popular video game Grand Theft Auto: Vice City Stories. The song can be heard on a fictional pop/rock/New Wave radio station called Flash FM.

There are two versions of the music video. The first version, made for the worldwide single release, shows Moyet at a Middle Eastern encampment somewhere in the desert. As she wanders through, the camera pans across the barren landscape and zooms in on a skull figure.

The second version, made for the American market, showed a softer side to Moyet following the breakup of Yazoo. The video shows Moyet, dressed all in white, performing the song in a darkened venue with a backup band in front of a small audience.

The Smiths "How Soon Is Now?" (Video)

"How Soon Is Now?" is a song by the English rock band the Smiths, written by singer Morrissey and guitarist Johnny Marr. Originally a B-side of the 1984 single "William, It Was Really Nothing", "How Soon Is Now?" was subsequently featured on the compilation album Hatful of Hollow and on US, Canadian, Australian, and Warner UK editions of Meat Is Murder. Belatedly released as a single in the UK in 1985, it reached No. 24 on the UK Singles Chart. When re-released in 1992, it reached No. 16.

In 2007, Marr said "How Soon Is Now?" is "possibly [the Smiths'] most enduring record. It's most people's favourite, I think." Despite its prominent place in the Smiths' repertoire, it is not generally considered to be representative of the band's style. Although a club favourite, it did not chart as well as expected. Most commentators put this down to the fact that the song had been out on vinyl in a number of forms before being released as a single in its own right. The original track runs for nearly seven minutes; however, the 7" single edit cut the length down to under four minutes. The complete version is generally used on compilations.

A cover of the song by Love Spit Love was used in the soundtrack for the 1996 film The Craft and later appeared as the theme song of the television series Charmed for eight seasons.

Smiths guitarist Johnny Marr wrote "How Soon Is Now?" along with "William, It Was Really Nothing" and "Please, Please, Please, Let Me Get What I Want" during a four-day period at Earls Court in London in June 1984. His demo was originally called "Swamp". In contrast to the frequent chord changes he had employed in most Smiths' songs, Marr wanted to explore building a song around a single chord (in this case, F♯) as much as possible, which also appealed to producer John Porter.

Marr recorded the song with bandmates Andy Rourke and Mike Joyce that July at London's Jam Studios. After a night out celebrating the session for "William, It Was Really Nothing" and "Please Please Please Let Me Get What I Want", the trio had reconvened the following afternoon to record what became "How Soon Is Now?". Porter was impressed by the basic riff Marr showed him, but felt the song needed something else. Their discussion turned to the early recordings of Elvis Presley, which led to an impromptu jam session of the song "That's All Right". During the jam, Marr worked on his chord progression for "Swamp", which inspired the arrangement.

They recall the session as being accompanied by heavy marijuana use. "We used to smoke dope from when we got out of bed to when we got back to bed," recalls Porter, and Marr concurred: "You're from Manchester, you smoke weed till it comes out of your ears." Joyce said the band even replaced the studio's light bulbs with red ones for ambience.

Porter recorded the first takes with microphones set up at varying distances from the band to better create a "swampy" mood. Marr was able to keep the F♯ chord going for as long as 16 bars at a time. Despite only doing a few takes, they had filled an entire reel of tape, as one had gone on for 15 minutes.

Marr and Porter decided to add a tremolo effect to the guitar part. He was inspired by Bo Diddley's distinctive syncopated shuffle guitar style, Hamilton Bohannon's "Disco Stomp" and the two guitars in the instrumental break of Can's "I Want More". The effect was created by running the original guitar track through the studio desk into three separate Fender Twin Reverb amplifiers, each with the tremolo control set to a different oscillation speed. Marr and Porter would adjust each by hand while the music played to keep it in rhythm; when they failed, engineer Mark Wallis would rewind the tape and start them again. Some of these segments were no longer than ten seconds.

To make sure the beat was the same throughout the song, Porter took a noise gate and set it to be triggered by a drum machine, using percussion instruments Joyce typically did not, set to 16th notes. This created what he called "a swirling signal" that balanced the analog tremolo effect and made sure the whole song stayed on the same beat. The guitar tracks were then "bounced" down to three of the master recording's 24 available tracks, and the 15-minute version was cut down to 8 minutes. This was longer than any previous Smiths song had been. But, Porter told Tony Fletcher, "we looked at each other and said, 'It sounds fucking great; let's keep it like that.'"

The rhythm has been compared to Diddley's "Mona", later covered by The Rolling Stones. After a break, Marr and Porter added a few overdubs, including a slide guitar part that "gave [the song] real tension", according to the guitarist. It was created using an early harmonizer that was also able to cache 1.2 seconds of delay, a very large amount for the time. Artists had been using it as a sampler; Porter claims that he recorded the delay rather than the original to give it some "weirdness". He also claims that he played one of the slide guitars; Marr disputes this but let him take credit anyway because of his leadership in recording the song.

Marr's other lead guitar part was the harmonic lick after each verse. This is almost a direct quote of a synthetic vibraphone part heard on rapper Lovebug Starski's "You've Gotta Believe," from the previous year. The guitarist meant it as a direct response to some critics who had pigeonholed the Smiths as 1960s revivalists.


That night Porter sent singer Morrissey a rough mix of the song in the mail. The following morning Morrissey arrived and laid down his vocals, culling lyrics from various works in progress in his notebook. According to Porter, the singer completed his vocals in two takes.

The Monkees "Then & Now... The Best of The Monkees"

Then & Now... the Best of The Monkees is a compilation album of songs by the 1960s American pop group The Monkees, released by Arista Records in 1986.

With the 1986 revival of "Monkeemania," Arista Records issued a new Monkees "best of" collection, including three new recordings featuring vocals by Micky Dolenz and Peter Tork: "That Was Then, This Is Now," "Anytime, Anyplace, Anywhere" and a remake of the Paul Revere and the Raiders hit, "Kicks." Neither Michael Nesmith nor Davy Jones participated in the new recordings. Nesmith also did not join the 1986 tour with the reassembled Monkees (aside from joining them for an encore in one show), while Jones did. However, Jones would leave the stage when the new songs were performed.

"That Was Then, This Is Now" was issued as a single and charted at #20 in the US during that year. Its followup, a remix of "Daydream Believer" (featuring a more modern drum sound), hit #79. At the end of the print run of Then and Now..., Arista inadvertently replaced the original version of "Daydream Believer" with this updated remix on the records and cassettes. The second vinyl version is denoted by an "RE-1" etched into the LP's inner groove.

The track listings for the LP and CD releases differed greatly, with the LP version featuring 14 tracks and the CD version expanded to 25. At the time of its release, the CD version was the most comprehensive career-spanning Monkees compilation to date in the US.

Originally, Arista had decided to release a 2-LP set with only classic material. After the decision was made to include new material, the 2-LP set got released as a mail-order collection from Silver Eagle Records. This album contains the same front and back images as the later release, but the title is simply The Best of the Monkees (missing the Then & Now) and there are no liner notes. This rare version of the album has 24 tracks, closer to the lineup on the Then & Now CD but with a slightly different order and song selection. "Mary, Mary," "Good Clean Fun," and "Tear Drop City" are all unique to this variation, while "Look Out (Here Comes Tomorrow)" wouldn't be added until the Then & Now CD release. 

While the album is out of print, the three exclusive songs were later made available in the iTunes Store.