Mostrando las entradas con la etiqueta Trevor Horn. Mostrar todas las entradas
Mostrando las entradas con la etiqueta Trevor Horn. Mostrar todas las entradas

viernes, 14 de junio de 2024

Frankie Goes To Hollywood "Relax (Single & Video)"

"Relax" is the debut single by English synth-pop band Frankie Goes to Hollywood, released in the United Kingdom by ZTT Records in 1983.

The hit version, produced by Trevor Horn and featuring the band along with other musicians, entered the UK top 75 singles chart in November 1983 but did not crack the top 40 until early January 1984. Three weeks later it reached number one, on the chart dated 28 January 1984, replacing Paul McCartney's "Pipes of Peace". One of the decade's most controversial and most commercially successful records, "Relax" eventually sold a reported two million copies in the UK alone, easily ranking among the ten biggest-selling singles in the UK. It remained in the UK top 40 for 37 consecutive weeks, 35 of which overlapped with a radio airplay ban by the BBC (owing to lyrics perceived as overtly sexual).

In June 1984, bolstered by the instant massive success of the band's follow-up single "Two Tribes", the single re-entered the top ten for a further nine weeks, including two spent at No. 2 (behind "Two Tribes"). At that time, Frankie Goes to Hollywood were the only act apart from the Beatles and John Lennon to concurrently occupy the top two positions on the chart. Several 12-inch single versions (and the "Frankie Say Relax" T-shirt craze) further fed the "Relax" phenomenon. The single re-entered the UK top 75 in February 1985 and, more successfully, in October 1993, when it spent three weeks in the top ten.

In the United States, "Relax" was also comparatively slow in reaching its chart peak. Released in March 1984, albeit with a different mix and nearly a minute shorter in length, the single stalled at No. 67 on Billboard's Hot 100 in May during a seven-week run, but it ranked number one for the year on the Los Angeles "alternative rock" station KROQ, as voted for by listeners. In January 1985, a release of "Relax" that was far more similar to the UK hit version entered the Hot 100 at No. 70, and in March it reached No. 10 during its 16-week run. In January 1989, the single was certified gold by the RIAA.

In February 1985, the record was awarded Best British Single of 1984 at the Brit Awards, and Frankie Goes to Hollywood won Best British Newcomer. A version of the song features on Frankie Goes to Hollywood's debut album Welcome to the Pleasuredome, released in October 1984.

Singer Holly Johnson said the lyrics came to him as he was walking down Princess Avenue in Liverpool: "I mean they were just, you know, words that floated into my head one day when I was walking down Princess Avenue with no bus fare, trying to get to rehearsals – I mean there was no great sort of calculated, 'Oh I'll sing these words and this record'll be banned'."

ZTT Records signed Frankie Goes to Hollywood after producer-turned-ZTT cofounder Trevor Horn saw the band play on the television show The Tube, on which the group played an early version of "Relax". Horn described the original version of "Relax" as "more a jingle than a song", but he preferred to work with songs that were not professionally finished because he could then "fix them up" in his own style. Once the band was signed, ZTT co-founder Paul Morley mapped out the marketing campaign fashioned as a "strategic assault on pop". Morley opted to tackle the biggest possible themes in the band's singles ("sex, war, religion"), of which "Relax" would be the first, and emphasized the shock impact of Frankie members Holly Johnson's and Paul Rutherford's open homosexuality in the packaging and music videos.

Horn dominated the recording of "Relax" in his effort for perfectionism. Initial sessions were held at the Manor Studio. The band were overawed and intimidated by Horn's reputation, and thus were too nervous to make suggestions. Johnson said in his autobiography, "Whatever he said we went along with". When attempts to record with the full band proved unsatisfactory, Horn hired former Ian Dury backing band the Blockheads for the sessions, with Norman Watt-Roy providing the original bass line. Those sessions were later deemed to be not modern-sounding enough. Instead, Watt-Roy's playing was replaced by a sampled E note on a bass guitar, which was layered over a Linn 2 bass drum.

Horn then constructed a more electronic-based version of the song with keyboards by session musician Andy Richards and with rhythm programming assistance from J. J. Jeczalik of Art of Noise. Horn developed this version of the recording in his west London studio while the band remained in their hometown of Liverpool. Horn had made three versions of "Relax" prior to Richards and guitarist Stephen Lipson joining his ZTT Production 'Theam' in late 1983. Horn left the studio late one night asking for Lipson to erase the multitrack (of version 3) due to lack of progress, but came back into the studio some time later to hear Richards playing a variety of modal chords based around the key of E minor with Lipson playing guitar along to the unerased multitrack.

Ultimately lead vocalist Johnson was the only band member to perform on the record. The only contribution by the other members was a sample crafted from the sound of the rest of the band jumping into a swimming pool. Johnson later said that "Trevor didn't like the band's standard of playing as he couldn't sync it to his machinery". Horn later recalled of the song's intro, "Hit singles are not just good songs. They need to be moments. Holly had been blowing his saxophone on the studio roof in Notting Hill at 2am, and a bunch of guys appeared on the street, calling up to him. He came down to do the vocal, and I suggested he play it at the start of Relax."

In a 2021 interview, Horn said that "the band we signed weren't quite the band who had appeared on the original demo, though we didn't know that at the time". The demo had featured Jed O'Toole, brother of bassist Mark O'Toole, on guitar, who subsequently left to pursue a 9-to-5 career. He was replaced by Brian Nash, who was a guitar novice at the time the single was recorded, though Horn acknowledged that he developed into a good guitarist by the time Welcome to the Pleasuredome was finished. Horn completed the recording having spent £70,000 in studio time.

Morley intentionally courted scandal with the promotion of "Relax". ZTT initiated the ad campaign for "Relax" with two quarter-page ads in the British music press. The first ad featured images of Rutherford in a sailor cap and a leather vest, and Johnson with a shaved head and rubber gloves. The images were accompanied by the phrase "ALL THE NICE BOYS LOVE SEA MEN", a pun on the music hall song "Ship Ahoy! (All the Nice Girls Love a Sailor)". It declared "Frankie Goes to Hollywood are coming ... making Duran Duran lick the shit off their shoes ... Nineteen inches that must be taken always." The second ad promised "theories of bliss, a history of Liverpool from 1963 to 1983, a guide to Amsterdam bars".

When the single was first released in November 1983, the initial progress of "Relax" on the UK top 75 was sluggish. First charting at No. 67, it had progressed only to No. 35 by its seventh week on the chart, even having fallen back slightly during that time. But then on Thursday 5 January 1984, Frankie Goes to Hollywood were shown performing "Relax" on the BBC flagship television chart show, Top of the Pops. The following week it soared to No. 6. On 11 January 1984, Radio 1 disc jockey Mike Read expressed on air his distaste for both the record's suggestive sleeve (designed by Anne Yvonne Gilbert) and its lyric, which centred on the oft-repeated "Relax, don't do it/When you want to sock it to it/Relax, don't do it/ When you want to come." He announced his refusal to play the record, not knowing the BBC had just decided the song was not to be played on the BBC anyway. Holly Johnson contends that the lyric was misheard: rather than "When you want to sock it to it", the line is "When you want to suck, chew it".

In support of their disc jockey, BBC Radio banned the single from its shows a reported two days later (although certain prominent night-time BBC shows – including those of Kid Jensen and John Peel – continued to play the record, as they saw fit, during 1984). The now-banned "Relax" rose to No. 2 on the charts by 17 January, and hit the number-one spot on 24 January. By this time, the BBC Radio ban had extended to Top of the Pops as well, which simply displayed a still picture of the group during its climactic number one announcement, before airing a performance by a non-number one artist.

This went on for the five weeks that "Relax" was at number one. It then began a slow decline on the charts, falling back as far as No. 31 in May 1984 before returning to No. 2 in July whilst Frankie's follow-up single "Two Tribes" held the UK number-one spot. In the end, "Relax" remained on the top 75 for 48 consecutive weeks and returned in February 1985 for four more, giving a total of 52.

The ban became an embarrassment for the BBC, especially given that UK commercial radio and television stations were still playing the song. Later in 1984 the ban was lifted and "Relax" featured on both the Christmas Day edition of Top of the Pops and Radio 1's rundown of the best-selling singles of the year.

Throughout the "Relax" controversy, the band continued to publicly deny that the song's lyrics were sexual. Nevertheless, by 1984, it was clear that the public were aware of the sexual nature of the lyrics, but the scandal had fuelled sales anyway. In 1985, with the release of the Welcome to the Pleasuredome album (which included "Relax"), the band dropped any public pretence about the lyrics:
Everything I say is complete lies. Like, when people ask you what 'Relax' was about, when it first came out we used to pretend it was about motivation, and really it was about shagging.

— Mark O'Toole, Welcome to the Pleasuredome album liner notes
The track was reissued in September 1993, the first of a string of Frankie Goes to Hollywood singles to be reissued that year. It debuted at a high No. 6 on the UK Singles Chart and peaked at No. 5 the following week. It spent seven weeks on the top 75 this time, thus extending its combined total to 59, making it at the time the third longest runner of all time; it has since been surpassed by 44 other songs and sits in joint 47th place.

The first official music video for "Relax", directed by Bernard Rose and set in an S&M themed gay nightclub at Wilton’s music hall in London it featuring the bandmembers accosted by buff leathermen, a glamorous drag queen, and an obese admirer dressed up as a Roman emperor, played by actor John Dair, was allegedly banned by MTV and the BBC, prompting the recording of a second video, directed by Godley and Creme in early 1984, featuring the group performing with the help of laser beams. However, after the second video was made the song was banned completely by the BBC, meaning that neither video was ever broadcast on any BBC music programmes.

A live performance video of the song was directed by David Mallet, making the rounds at MTV. The live version was released as the B-side of the US 12" version of "Welcome to the Pleasuredome" and titled "Relax International."

Another MTV video of the studio version includes footage from the Brian De Palma film Body Double. Body Double, a popular 1984 erotic thriller film, contains a film within a film sequence in which Frankie Goes to Hollywood performs "Relax" on the set of a porn film.





jueves, 16 de febrero de 2023

Art Of Noise "Moments In Love (Single & Video)"

"Moments in Love" is a song performed by Art of Noise and written by Anne Dudley, Trevor Horn, J. J. Jeczalik, Gary Langan, and Paul Morley.

Formats and track listing
UK 7-inch single (ZTPS 02)
  1. "Moments in Love (7'' Single Version)" – 4:40
  2. "Beat Box (Diversion Ten)" – 3:58
UK 12-inch single (Moments in Love: The Art of Noise's Love Beat) (12ZTPS 02)
  1. "Moments in Love (Beaten)" – 7:00
  2. "Moments in Love (7" Single Version)" – 4:40
  3. "Beatbox (Diversion Ten)" – 3:58
  4. "Love Beat" – 5:15
US 12-inch single (0-96839)
  1. "Moments in Love (Beaten)" – 7:00
  2. "Moments in Love (7" Single Version)" – 4:40
  3. "Beatbox (Diversion Ten)" – 3:58
  4. "Love Beat" – 5:15
UK cassette (The Tortoise and the Hare) (CTIS 109)
  1. "Moments in Love" – 8:37
  2. "Moments in Love (Beaten)" – 5:33
  3. "Love Beat" – 5:15
  4. "Beat Box (Diversion Ten)" – 3:58
Tracks 1–3 are edits unique to the cassette release.








viernes, 24 de diciembre de 2021

Yes "Into The Lens (I Am A Camera) (Single & Video)"

"Into the Lens" is a song written by Trevor Horn and Geoff Downes. It was originally released in 1980 by progressive rock band Yes, of which Horn and Downes were a part, as a part of the album Drama, before being reworked as "I Am a Camera" for the 1981 album Adventures in Modern Recording by the Buggles, a duo consisting of Horn and Downes; both versions were released as singles, with the Yes single being re-titled "Into the Lens (I Am a Camera)".

The Yes version of the song additionally credits Steve Howe, Chris Squire, and Alan White as co-songwriters; all of the songs on Drama were credited to the entire band.

The first version of the song was a demo, recorded on a Sunday afternoon when songwriters Trevor Horn and Geoff Downes started working on the second Buggles album in 1980. When they joined Yes, it gained input from other members Steve Howe, Chris Squire and Alan White, and therefore, "Into the Lens" features a more distinctive "prog rock" sound.

When Horn and Downes resumed work on the Buggles album which would become Adventures in Modern Recording, the song was reworked as "I Am a Camera". Trevor Horn said about the two versions:
The song "I Am a Camera" was a Buggles track and we had adapted it into a Yes track. It became "Into the Lens" and, naturally, slightly more overblown. I don't mind "Into the Lens"—the melody's unadulterated while the arrangement's a lot more complicated—but I still prefer The Buggles version. I think Geoffrey's brilliant on the Buggles version.
Along with the "On TV" and "Lenny" singles, the Buggles' "I Am a Camera" was re-released by ZTT on iTunes in 2012, including three bonus tracks: the aforementioned "12" Mix" of the song, and two demos both titled "We Can Fly from Here" ("Part I" and "Part II" respectively). The latter two songs would (like the "I Am a Camera" demo) be reworked as Yes songs, and in fact become the basis of Yes' future album, 2011's Fly from Here, which would mark the second time that both Horn and Downes would work with Yes following a departure by Jon Anderson - Downes returning on keyboards for both the album and the tour, but Horn taking the role as producer and offering some backing vocals, but reserving lead vocals for Benoît David. Along with the "12" mix", the B-side, and the two demos also appear on ZTT's 2010 re-release of Adventures in Modern Recording.

The single edit of Yes' own "Into the Lens" was titled "Into the Lens (I Am a Camera)".






Yes "Tempus Fugit (Video)"

"Tempus Fugit" was another song sketched out by the Squire, Howe and White trio in late 1979. Its title is a Latin expression that translates as "time flies". 

According to Howe, its name was derived from Squire's habit of arriving late to places.



Yes "Run Through The Light (Single & Video)"

Run Through The Light is the second single off Drama, released January, 1981.

"Run Through the Light" features Howe playing a Les Paul guitar, "in the background being very melancholy", with Squire playing a piano and Horn playing bass, something which Horn did not particularly wish to do, but Squire convinced him to perform. "I didn't quite know what to play on it ... one day we spent twelve hours playing and working the final bass part". A different version of the song was recorded with Anderson.






jueves, 15 de junio de 2017

Yes "Drama"

Drama is the tenth studio album by the English rock band Yes, released on 18 August 1980 by Atlantic Records. It is their only album to feature Trevor Horn as lead vocalist, following the departure of Jon Anderson and Rick Wakeman in March 1980 after unsuccessful recording sessions for a new album in Paris and London. Horn was joined by keyboardist Geoff Downes, his partner in the new wave band The Buggles. Drama was recorded in a short amount of time as a tour was already booked prior to the change in personnel. It marked a departure in the band's musical direction with songs more accessible and aggressive, and featuring the use of modern keyboards and a vocoder.

Drama was released to a mostly positive critical reception, with most welcoming the band's new sound. The album peaked at No. 2 in the UK and No. 18 in the US, though it became their first album since 1971 not to reach Gold certification by the RIAA. "Into the Lens" was released as the album's sole single. Yes toured the album with a 1980 tour of North America and the UK, and were met with some negative reactions during the UK leg over the new line-up change. Yes disbanded at its conclusion; Horn ventured into producing, Howe and Downes co-formed Asia, and Squire and White formed Cinema with Trevor Rabin which led to a reformed Yes in 1982. The album was remastered in 2004 with previously unreleased bonus tracks. Yes performed Drama in its entirety for the first time on their 2016 European tour.

At the end of their 1978–79 tour to support their ninth studio album Tormato (1978), the group, Jon Anderson, Chris Squire, Steve Howe, Rick Wakeman, and Alan White, took a break from touring and recording. They reconvened in November 1979 to start work for a new album. After the various problems they faced while recording Tormato, Yes decided to work in Paris with Roy Thomas Baker to oversee its production and musical direction. Anderson and Wakeman were enthusiastic in putting together new material, writing more songs together than they had before. However, Squire, Howe and White felt their songs were too light and folk-oriented and proceeded to develop more aggressive and direct compositions. The growing internal differences, described by Anderson as a "loss of respect for each other", led to Squire, Howe, White and Baker to not come to sessions on time, which discouraged Anderson and Wakeman, the latter at times refusing to leave his hotel room to rehearse. Both members took to leave the studio and drink Calvados in a bar; in Wakeman's words: "It can make you quite depressed. Jon and I got really quite depressed and started crying on each other's shoulders and Jon said 'This is not the band that I love, this is not the band that I wanted to keep on going', [and I replied] 'I'm with you Jon'". The sessions were ultimately called off after White cracked a bone in his right ankle while roller skating early in the morning with Richard Branson in a nightclub, rendering him unable to perform for about six weeks. Following a break over Christmas, the band reconvened in London for rehearsals in an attempt to salvage the situation. They failed, causing Anderson and Wakeman to depart in March 1980.

Squire, Howe, and White continued to write and rehearse as a three-piece in Townhouse Studios. At the same time, bassist and singer Trevor Horn and keyboardist Geoff Downes of the new wave band The Buggles were enjoying worldwide success with their 1979 hit single "Video Killed the Radio Star" and acquired Brian Lane as their new manager, since he was also responsible for Yes. With the two groups working from the same office, Lane asked Horn and Downes, both fans of Yes, to contribute a song for the trio. Downes and Horn were invited to Squire's Virginia Water mansion New Pipers where Horn presented the song by singing while playing guitar to him. Squire remarked that his voice was similar to Anderson's and invited both musicians to Yes rehearsals, which Downes characterised as "a bit directionless, because they were rehearsing as a three piece [...] you can only go so far as a rhythm section". Together, the five of them developed the Buggles song, which became "We Can Fly from Here". Meanwhile, the Buggles weren't informed of Anderson's departure, and were confused by his absence; Squire didn't answer them and they only found out about the situation by the point that they were being pushed to record the song. Feeling Horn and Downes were suitable replacements, Squire convinced Howe and White to let them join. Lane announced the idea to Ahmet Ertegun, then president of Atlantic Records, the band's label, who flew to London to assess the situation and see if the new formation was commercially viable. Ertegun approved, thus giving the green-light for a new album.

Drama was recorded in approximately three months at Townhouse Studios with each band member credited for its production and Hugh Padgham, Gary Langan, and Julian Mendelsohn as recording engineers. The sessions began with Eddy Offord, Yes' former engineer and producer from 1970 to 1974, but several issues resulted in his departure as the album was being made; Downes said Offord "left in strange circumstances. It was a fraught and manic time", but he remained credited as producer of the backing tracks. The music was put together in several locations; Howe recorded some of his guitars at RAK Studios and Chalk Farm and other parts of the album were recorded at Sarm East Studios. Howe recorded all his parts in 2 weeks, saying "I had total freedom. I went away and recorded 90 percent of the guitars on my own in a London studio and went back and presented it to the band. At first, people said 'Your guitars sound too bright and treble-y.' I said 'No, shut up and use them' [laughs]". Horn spoke about his efforts to get the album finished: "I got married and two hours later, I was back in the studio. [We decided that] for our honeymoon, we were going to spend two weeks in Miami Beach ... it ended up as three days in Bournemouth and Steve came along, we had a good time actually". Horn and Howe went on to do the album's mixdown by themselves.

The album opens with the ten-minute "Machine Messiah" which, according to Horn, was written in one day. It features some guitar riffs from Howe that reporter and critic Chris Welch described as "unexpectedly heavy metal". White called the song his "baby", putting together much of its structure and rhythm. Squire found some of its passages difficult to play on his bass and thought it was more suited for keyboards, but was encouraged by White to master his parts. Downes rates the track highly, citing its various sections and mood changes. When he was composing his keyboard parts for the song, Downes included an arpeggiated segment from the Toccata fifth movement of Symphony for Organ No. 5 by Charles-Marie Widor, a piece that he was familiar with from his youth.

"White Car" was recorded in one afternoon. Downes only played a Fairlight CMI synthesiser on the recording, to test its sampling capabilities: "I tried to simulate an orchestra using these samples, but it was very early days of digital sampling. The bandwidth was very narrow, but that's what gave it all that characteristic 'crunch factor'. We then added the vocoder and Trevor's vocal to the mix". Horn's lyrics were about seeing pop figure Gary Numan driving his Stingray, which was given to him by his record company.

"Does It Really Happen?" originated from the 1979 Paris sessions, with White coming up with its drum pattern. A version featuring Anderson singing a different set of lyrics was recorded, but it was shelved until it was developed further when Horn and Downes joined and made additions to the song. Horn and Squire wrote new lyrics.

"Into the Lens" was originally completed by Horn and Downes before they joined the group, but Squire took a liking to it and wished to re-arrange it as a Yes track. The track features Downes using a vocoder, further highlighting the band's new sound. A version recorded by Horn and Downes only was later released on the second Buggles album, Adventures in Modern Recording (1981), with the title "I Am a Camera".

"Run Through the Light" features Howe playing a Les Paul guitar, "in the background being very melancholy" with Squire playing a piano and Horn playing bass, something which Horn did not particularly wish to do, but Squire convinced him to perform. "I didn't quite know what to play on it ... one day we spent twelve hours playing and working the final bass part". A different version of the song was recorded with Anderson.

"Tempus Fugit" was another song sketched out by the Squire, Howe and White trio in late 1979. Its title is a Latin expression that translates as "time flies". According to Howe, its name was derived from Squire's habit of arriving late to places.

Yes worked on further material during the recording sessions, but remained incomplete. This included "We Can Fly from Here" and "Go Through This", which were performed on the 1980 tour and later released on the live compilation album The Word is Live (2005). "We Can Fly from Here" was expanded into a 20-minute suite on Yes's studio album Fly from Here (2011). A third track, "Crossfire", was later included on In a Word: Yes (1969–).

The album's sleeve was designed by Roger Dean, his first design for a Yes album since Relayer in 1974. When Dean was commissioned to work on the project, he knew of the album's title before working on it and adopted "an intuitive approach" to complete it. His previous work was known for its fantasy and mysticism, but this time he made a conscious effort not to do so with things "that you couldn't see in the world today. Maybe they're being shuffled around a bit, but it's not in any degree fantastic". He expressed a particular interest in illustrating a storm adorned sky, with "the light playing across the landscape, so there were some bits that jumped out and very stark and bright, and other bits that are very dark – black on dark grey". Dean summarised that "there was a lot going on" on the final cover, incorporating various elements and "stirred it up ... they came out in a way I guess that training and good luck worked together". In 2013, Dean spoke fondly of his design, ranking it as one of his favourite paintings.

Drama was released on 18 August 1980. It reached No. 2 in the UK and No. 18 in the US, the band's lowest charting studio release since The Yes Album (1971), which peaked at No. 40. "Into the Lens" was released as the album's sole single in 1980. The band shot music videos for "Into the Lens" and "Tempus Fugit", both of them mimed live performances with minimal visual effects.

The album has been reissued several times; the first was in 1994 by Atlantic Records. In 2004, Rhino Records issued a remastered edition with several previously unreleased tracks, including some from the band's sessions from Paris in late 1979.

Track listing
All songs by Geoff Downes, Trevor Horn, Steve Howe, Chris Squire and Alan White, except where noted.
Side one
  1. "Machine Messiah" 10:22
  2. "White Car" 1:21
  3. "Does It Really Happen?" 6:27
Side two
  1. "Into the Lens" 8:30
  2. "Run Through the Light" 4:41
  3. "Tempus Fugit" 5:11