Kemp wanted to shift the sound of Spandau Ballet into soul and incorporated band member Steve Norman's newfound interest in the saxophone into his writing; the band also updated its look to suits for the song's music video and tour. "True" was recorded with most of the other tracks from the album at Compass Point Studios in the Bahamas. The True album was then released as "Communication", its first single, was climbing the UK Singles Chart. DJs were so enthusiastic about playing the title song that the band knew it would be their next single.
In 1981, Spandau Ballet guitarist/songwriter Gary Kemp met Altered Images lead singer Clare Grogan and felt an "instant connection" in part due to their conversations about writers. For his birthday that year, she gave him a copy of the novel Lolita by Vladimir Nabokov, whom they had discussed.[3] He intended the relationship to be platonic since he already had a girlfriend, but he was also competing for her attention with two other men: actor John Gordon Sinclair, who starred with her in Gregory's Girl, and artist David Band, who had designed cover art for Altered Images;[4] he would later do so for Spandau Ballet with the single "Communication".[5]
Kemp told John Wilson in a Mastertapes interview in 2013 that, because they were unable to keep the audience they initially attracted, "[t]here was a sense of, '[w]e have to move on from here,'" a desire to expand to a broader audience. This later inspired the "True" lyric "I bought a ticket to the world". He suddenly felt free to compose pop music without concern for its danceability,[15]:11:15[lower-alpha 2] which allowed him to focus more on the melody.[2] He told Creem magazine in 1984, "For the first time, I was trying to write songs that were emotional release for me—me just writing about myself and the way I felt."[16]
Clare Grogan (pictured in 2009) of Altered Images inspired the lyrics of "True".
Kemp was primarily listening to soul artists Marvin Gaye and Al Green as he developed songs for the band's next album.[2][lower-alpha 3] His love of their music factored heavily into writing the title track, even to the point of paying tribute to Gaye on a first-name basis:[17]
The bit that goes "Listening to Marvin all night long" was a reference to me and Steve Norman, the band's saxophonist. We were massive soul boys: we loved… The Face magazine and all that glossy stuff, so this was us taking an anti-rock stance. The inky press loved blues and reggae because they were about suffering. They didn't like soul because it was aspirational, all about dancing, wearing great clothes and having sex. They saw it as vacuous. So namechecking Marvin Gaye was a defiant statement aligning us with the London soul boy culture stretching back to mod. And I'd loved Mott the Hoople singing about T. Rex in "All the Young Dudes" so was pleased to reference another artist in a song.
Kemp wanted to write a blue-eyed soul version of what Gaye and Green performed,[2][lower-alpha 4] something "with that kind of vulnerability and atmosphere of uncertainty",[3] with music like Green's "Let's Stay Together"[17][lower-alpha 5] and lyrics from his own experience,[15][lower-alpha 6]:12:48 particularly with regard to his feelings for Grogan.[3][lower-alpha 7][15][lower-alpha 8]:13:59 Kemp began the music for what became "True" in mid-1982 after watching the 1970 Beatles documentary Let It Be on television; afterwards the song "Dig a Pony" stuck in his head. In a 2017 interview with The Wall Street Journal, he described how the song opens: "John Lennon sings 'I, hi-hi, hi-hi, I dig a pony.' I loved how he took that one word—'I'—and turned it into a snaking melody." Kemp took to his Eko acoustic guitar that evening wanting to avoid the dance rhythms he was used to writing and instead structured a melody around the word "I" the way Lennon had. He reworked the opening line from Green's hit, "I'm, I'm so in love with you", as "Ah ha-hah hahh-hi / I know this / much is / true-oo."[3]
"'True' is about how difficult it is to be honest when you're trying to write a love song to someone", Kemp later admitted. "Hence: 'Why do I find it hard to write the next line?'"[17] In his 2009 autobiography I Know This Much: From Soho to Spandau, he explained that even conveying his feelings in lyrics he "felt inhibited, shy even, so I started to write about that very thing: the fear of revealing oneself, of saying in song what was true."[18] Of the infatuation that he was uncomfortable confessing, he later told The Daily Telegraph, "I didn't want to write it down—because there's nothing more embarrassing."[19]
After reworking Green's opening line, Kemp decided the song would not focus so much upon what he knew was true regarding the subject as it would on the issue of how much of the truth he was going to tell.[3][lower-alpha 9] He wanted to use the song as a way to tell Grogan how he felt[17][lower-alpha 10] by choosing phrases no one else would understand[3][lower-alpha 11] and looked through the copy of Lolita she had given him. He found the underlined phrases "pill on my tongue" and "seaside limbs",[3][lower-alpha 12] the latter of which he modified for the lyric "Take your seaside arms and write the next line / Oh, I want the truth to be known."[3][lower-alpha 13] Parsing the other selection, he thought, "'A pill dissolves, doesn't it? And the pill was trying to dissolve the nerves that I have, because I'm nervous when I'm with you or thinking about you'". He wrote the lyric "With a thrill in my head and a pill on my tongue / Dissolve the nerves that have just begun."[3] After he had finished writing the song, he felt it was more about the process of creating something "with a blue-eyed soul feel" than it was about Grogan.[3][lower-alpha 14][lower-alpha 15]
Spandau Ballet had already released two albums and several singles, but Kemp and his brother, Martin, the band's bassist, were still living with their parents.[17] Once finished with "True", Kemp sang and played it on his guitar for Martin, who liked it and thought it was ready to record.[3][lower-alpha 16] When Gary performed it for the rest of the band, he was accompanied by an old friend from his years at Dame Alice Owen's School, pianist Jess Bailey.[20] Kemp had discovered a Rhodes Chroma keyboard that gave him the sound he wanted, and Bailey adapted Gary's guitar chords so that he could play more than just single notes on the new polyphonicsynthesiser.[3]
Gary Kemp wanted Steve Norman's saxophone to become "the sound" of the True album.
Kemp wrote in his autobiography that "by far the slickest musician in the band" was Steve Norman,[21] who had played guitar on Journeys to Glory[22] but switched to percussion instruments on Diamond. They enlisted the help of Beggar & Co as the horn section on that album for tracks such as "Chant No. 1",[23] which inspired Norman to take up the saxophone.[24] Kemp called it "another voice within the band" and that he "would purposely write to elevate his saxophone into its own space"[15]:19:55 by changing keys,[21] "and that just steps it out of the track and puts it somewhere else."[15]
Kemp wrote "True" in the key of G major with a tempo of 98 BPM and a chord progression of G, Em9, CMaj9, Bm7. The song modulates to the key of E♭ major for the sax solo, after which it returns to G Major.[25] Norman told The Guardian in 2012 that his solo combined two takes; at the time the band began working on "True", he had been regularly listening to the Grover Washington Jr.–Bill Withers hit "Just the Two of Us", explaining, "The solo is a reply to that: at the key change things just lift off, giving the song a moment of elation."[17] The interest in the saxophone went beyond "True" for Kemp, who recalled how, as teenagers, he and Norman had appreciated its use on hits by Smokey Robinson and Stevie Wonder and, specifically, on Evelyn "Champagne" King's "Shame". He thought the instrument epitomized soul music and should be prominently featured on the new album.[21]
Recording
The band wanted to record at Compass Point Studios in the Bahamas because of the soul music that had been recorded there;[17] Kemp also felt that the tropical surroundings would help give the music the feeling he was trying to achieve.[17][lower-alpha 17] They also decided to get assistance in producing what would be True from Tony Swain and Steve Jolley, who had recently worked with Bananarama and Imagination.[26] The band appreciated the use of the synth-bass on the latter's hit single "Body Talk" so much that they had Swain play the instrument on the recording of "True" instead of having Martin Kemp play electric bass.[17][3][lower-alpha 18] In describing how the change lent itself to the new sound they were after, Kemp insisted, "Martin didn't mind. We all loved the synth bass's sound. It was of its time and had a disco, funk-soul feel. We were trying to rebrand ourselves in a slightly different direction."[3]
The backing vocals for the song were recorded using a Dolby noise-reduction system, but the band decided not to use the decoder that would remove the hissing from the recording because they liked the sound of the "airy, breathy fizz on top".[3] The result gave Kemp a sense of the success they would be enjoying: "When we listened to the playback in the studio, everyone suddenly started singing along, the road crew and everything. I think we knew then it was a number 1."[17]
Tony Hadley's lead vocal was recorded with Steve Jolley producing at Red Bus Studios in Paddington after returning from Nassau.[27] In his 2004 autobiography To Cut a Long Story Short, Hadley wrote, "It's quite a complicated song to sing in terms of phrasing and timing, and we soldiered on for ages before we felt we'd got it right."[27] When asked in a 2017 Professor of Rock interview about the high note he reaches while singing, "Oh, I want the truth to be said," at the point between the sax solo and the final chorus, he responded, "I don't do that big note at the end now. I just play it down."[28] The plan was to open the song with just a string synthesizer,[3][lower-alpha 19] but Swain was unhappy with how it sounded and came up with the idea of using the chorus for the beginning without the lead.[29] Kemp attributed the album version's six-and-a-half-minute length to their love for the finished product with the lead vocal finally included.[3][lower-alpha 20]
Cover art
Kemp asked Band to work with Spandau Ballet on the design for the new album.[30] Because they were both seeing their careers take off during their attempts to court Grogan, they went camping together a few times in the English Lake District as a way of escaping their success.[31] Kemp recalled, "We first started to devise a cover together for the True album when we were up in the mountains, in one of the pubs one evening. He was drawing in his sketchbook and a dove appeared, this little dove."[32] Band later added alongside it the outline of a man's head with a brimmed hat, which the band loved;[30] a variation was used for the sleeve of the "True" single. His work was described as "a marker for the look of the time, a jazz-influenced style that could also be seen in an exaggerated fashion in the New Romantic look."[32] Kemp credits him with having "the skill of coming up with simple, figurative graphics that would set a visual tone for the decade."[30] In 2012 he told The Herald:[32]
I felt David was tuning into something visually and graphically that was in the air anyway. But he was the first to do that. David set the tone for a certain look. A lot of people picked up on it. He was creating something new that was inspiring everyone.
Kemp was unaware of some of the fun poked at the song: "Our friendly in-house press girl, Julia Marcus, even told us that she and a friend had boldly graffitied the toilet at Camden Palace with the Spandau dove and the word True."[30] In his autobiography Pop Stars in My Pantry: A Memoir of Pop Mags and Clubbing in the 1980s, her friend, music journalist Paul Simper, recounted that the text written under the dove actually read, "This Much Is Poo".[33]
Release and commercial performance
When the True album was completed, the band's label, Chrysalis Records, was pleased with the results and felt it would succeed on the strength of "Gold" and the title song.[34] The first single, "Lifeline", had been recorded at Red Bus in August 1982[35][36] and released on 24 September.[37] It peaked at number 7 on the UK Singles Chart and made its last appearance there at the end of November.[8] The album was completed the following month,[38] but Kemp explained that when the next single needed to be chosen, the band's manager, Steve Dagger, "didn't want to go with a ballad next and recommended another up-tempo first. 'Communication' got the band vote. Why we didn’t go straight for 'True' or 'Gold' as the next single, I'm not sure. Maybe we felt their success would be automatic and wanted to save them for later, during the album's release."[39]
"True" was released in early February 1983, with the album following in the UK a month later,[40] debuting on the UK Albums Chart on 12 March,[41] the same week "Communication" peaked at number 12.[42] Kemp felt the success of "Communication" was hampered by the fact that "radio DJs were all playing the album track 'True' instead".[43] Hadley recalled one instance in which Simon Bates of BBC Radio 1, having just played the album version of "True" on the air before it became a single and predicting to his listeners that it would go to number one when it did, played it again immediately.[15][lower-alpha 21]:19:16 For Kemp, the decision had been made for them: "By public demand, 'True' would be our next single."[43]
Tony Hadley went from being sceptical of the song's potential to seeing how its sudden popularity made topping the UK pop chart inevitable.
Norman thought the band had a "friendly rivalry" with Duran Duran: "In the studio, we used to leave each other insulting messages, jokes and caricatures."[17] After "True" was released in mid-April 1983,[44] however, they left Spandau Ballet a message to let them know that they thought the song was "fantastic".[17] Despite Kemp's feeling in the Bahamas that it would be a hit, Hadley never even thought it would be released as a single.[27] In 2014, he said that he did not think it was their best song—he preferred 1986's "Through the Barricades"—and that he was still confused by lyrics such as "Head over heels when toe to toe", concluding "But then, I suppose, we grew up on David Bowie and Roxy Music. 'Virginia Plain'—what's that about? Half of the Bowie songs, I couldn't tell you what they're about. With 'True', you have to create the imagery for yourself."[19] In his autobiography, regarding his initial scepticism, he admitted, "No one was more surprised than me when it went on to become our biggest hit".[27]
The day before Spandau Ballet learned that "True" had reached number one on the UK Singles Chart at the end of April,[45] they had heard that the single had sold over 60,000 copies in one day and that their closest competitors had only sold one-third of that.[46] They were on tour in Sheffield when Dagger heard the announcement of their chart feat, so he called their hotel to give them the news.[47] Kemp spoke to him, excitedly woke drummer John Keeble with whom he shared the hotel room to spread the news, and snuck into Hadley's room to spray him awake with champagne.[48] Remembering Keeble riding a room-service trolley down the hotel corridor in celebration, Hadley conceded that they "were all in high spirits" but that the rambunctious activities seemed "slightly flat" in light of their recent success. His surprise over selecting the song as a single had given way to certainty that it would top the charts, "It had such momentum the overwhelming feeling was, how can this not be a number 1?"[49]
Once "True" had finished its third week as the most popular song in the UK, another goal came into view: the British music chart television programme Top of the Pops would be celebrating its thousandth episode the following week, so a fourth week at number one would mean that their performance of "True" would close out the milestone show.[50] The success of "(Keep Feeling) Fascination" by the Human League seemed like it might prevent that from happening[51]
Their record sales were sailing neck and neck with ours, but so confident was Richard Branson, owner of the League's label Virgin, that he'd decided to throw a lavish post-show party at the Kensington Roof Gardens in honour of the history and importance of Top of the Pops; but of course, him being a publicity-loving beast, it would also elevate his own band's achievement. Tickets and invites were sent out, but come the Tuesday morning, Spandau Ballet were still residing at the top of the charts. The next day we went in and recorded the special edition, playing around a huge birthday cake. That night, poor Richard had to suffer the indignity of the entire Chrysalis company… as well as us, turning up to gloat and guzzle the Branson champagne.
Dagger met with Danny Glass, the head of radio promotion at Chrysalis New York, to discuss distributing the song to stations in the US, and Glass proposed starting with those focused on the Black market so that the fact that the band were all white would initially go unnoticed and not deter the potential audience there. Adult contemporary and pop stations would be next on the list.[52] The first chart the song appeared on in Billboard magazine, however, was the Hot 100, the US equivalent of the UK Singles Chart. "True" debuted there at the beginning of August and peaked at number 4 during its 18 weeks there.[53] Later in the month it debuted on the magazine's Adult Contemporary chart, where it spent 22 weeks, one of them at number 1.[54] Its eight-week run on the magazine's list of the most popular Black Singles in the US began at the end of the month and included a peak position of 76,[55] and the mid-October edition marked the start of four weeks on the Top Tracks rock chart, where it reached number 34.[56]
With the royalties from "True", I was finally able to move out of my parents' house.
In addition to its 4 weeks at number 1 on the UK Singles Chart "True" also reached the top spot on the pop charts in Canada[57] and Ireland[58] and made the top 10 in several other countries.[lower-alpha 22] It received Gold certification from the British Phonographic Industry in May 1983 for shipping a half-million units[44] and came in at number 6 on the list of the UK's best-selling songs that year.[66] In 2011, it received a BMI award as one of the most played songs in US history with 4 million airplays.[67] It received Platinum certification from BPI for 600,000 units on 22 July 2022.[44]
A new mix by Tony Swain and Gary Kemp was released in 2002 on the compilation album Reformation.[68] In April 2008, the single celebrated its 25th anniversary, and in honour of that occasion, EMI released a brand new True EP including the original single, the new mix found on Reformation, and the remastered album version, plus live recordings of "True" and "Gold" from the last show of the group's 1983 tour at Sadler's Wells.[69]
Critical reception
When Betty Page reviewed the True album for Record Mirror, she wrote, "Kemp proves himself a softie beyond all doubt with final track 'True', a smoochy 'I am just a poor boy' epic, hand firmly on heart."[70] Her colleague at the magazine, Daniela Soave, was less ambiguous in her review of the single, calling it a "genuine pearl of a song that deserves to be at number one" and summarizing, "Suffice to say 'True' makes you melt. Sentimental but not slushy, warm but not stifling, Spandau Ballet have hit the nail well and truly on the head and got it absolutely right."[71]
A few of the retrospective reviews were complimentary. In 2009, Tim Rice wrote in The Spectator that the song was "a giant of its time and remains a standard today".[72] In 2015, Peter Larsen wrote for The Orange County Register that the band's formula of mining "a vein of soulfulness tinged with nostalgia and romance" had "reached perfection" on the track, describing it as "the one Spandau Ballet song everyone knows ... It's truly a perfect song, as moving today as ever it was."[73] Ian Gittins of The Guardian gave it as an example of the band's "slick, chart-friendly shoulder-heaving soul", calling "True" a "juggernaut power ballad".[74] Stewart Mason of AllMusic mixed in negative comments in an otherwise positive review:[75]
Tony Hadley's tendency towards vocal histrionics is kept in check here, except for the elongated fade-out where his familiar keening is finally let loose; for the first three or four minutes, however, he delivers the most nuanced and emotional performance of his career. Similarly, Steve Norman's saxophone is finally, for almost the only time in the band's entire career, put to good use on his melodic and well-placed solo. "True" is complete chart fodder, of course, but it's really, really good chart fodder.
Some critics showed complete disdain for the song, including different writers for The Guardian. In dismissing Spandau Ballet as "Thatcherism on vinyl", Michael Hann described "True" as "dreadful wine-barsoul".[76]Luke Williams referred to the song as "the biggest load of musical tosh ever".[77] In The Rolling Stone Album Guide, Paul Evans complained that "Kemp, with 'Gold' and 'True', provided Hadley perfect songs for hamming it up: lush MOR that would've been clever if it had been intended ironically."[78]
Music video and tour fashion
When Spandau Ballet were filmed for the "Lifeline" music video, Kemp acknowledged that the clothes they wore were "drab" and that the shift to pop left them "caught in a moment of not knowing what to wear".[35] With an upcoming tour of Europe they felt they needed to update their style and met with an old friend from Soho, Chris Sullivan, for guidance since they felt out of touch with the latest trends.[79] They wanted uniformity and decided on suits since no one else was wearing them at the time.[35] Sullivan presented them with sketches of his ideas, and Kemp described the look they settled on and its lasting impact on their image: "He'd come up with the idea of the gambling gunslinger, a sort of Wyatt Earp meets City Boy; five WildWest-enders. And in good cowboy fashion, it was to brand us forever."[80]
The band wore a variation of this look for the "True" video and had only their instruments with them on an otherwise bare soundstage. The original video incorporated a series of scenes filmed in black and white involving a young man who evolves from anguish as he roams city streets to jubilation as he is joined by animation renderings of the man and the dove from the album cover. Dominic Anciano did the animation, which the band did not like and decided not to use.[81][lower-alpha 23] When Kemp spoke to Creem magazine in 1984, he summarized the version that only showed the band, saying, "I didn't want to dictate what [the video] should be like. I'm sure when people hear that record they've got their own idea of what it means and what it looks like. So we just performed it and lit it well—shooting light through water and broken glass—and it worked."[16] Although Kemp is not credited with playing piano on the song, he is shown doing so in the video, and brother Martin is shown playing guitar even though he had been replaced by Swain on the synth-bass for the studio recording.[3]
"True" was listed on MTV's reports to Billboard indicating what videos were in rotation on the cable network, making its first appearance there in the 9 July 1983 issue, which indicated that it had been added to their playlist as of 29 June.[82]
Aftermath
"Gold", the next single released from the True album, entered the UK Singles Chart in August 1983 to begin a nine-week run, reaching number 2.[8] But while it also made the top 10 on the pop charts in several countries[lower-alpha 24] its number 29 showing in the US[53] was the first signal to Kemp that Chrysalis America was not promoting them.[87] "Communication" only reached number 59 in the US in 1984, and "Only When You Leave", the first single from their next album, Parade, became their last Hot 100 entry when it peaked at number 34 later that year.[53] Kemp was unhappy with their performances as well[88] and blamed the low numbers on a perceived conflict between Chrysalis founders Chris Wright and Terry Ellis distracting them from promotional efforts.[89] Wright refused to license the band to a bigger label in the US, so they sought legal advice to get out of their contract.[90] The disappointing chart performance in the US led Spandau Ballet to leave Chrysalis for CBS Records, which released their Parade follow-up, Through the Barricades, in 1986.[91]
The problem, I think, with America is that you didn't have the pre-history, if you like. You didn't have "To Cut a Long Story Short", "Chant No. 1", except on a kind of club, cult-y level… on the coasts. So in mainstream America the first thing they saw were five really smart-looking young guys who every mother loved... they didn't get the gritty bit before, so [the success of 'True' there] was a blessing and it was a curse.
Hadley felt that the band's inability to sustain the interest of the American public resulted from a few other factors working against them, primarily that their big US hit was very different to what they had already succeeded with elsewhere.[92] Kemp had said in an interview before "Gold"'s US release that he hoped it would give Americans a more balanced view of Spandau Ballet.[16][lower-alpha 25] Although some American concert attendees knew their old songs, he hoped their upcoming US tour would show the rest who came that "True" was not the sort of song they normally did.[16][lower-alpha 26]
In retrospect, however, Hadley felt they needed to spend several months touring the US so that more audiences could hear that back catalogue and not doing so also hurt their record sales there.[91][lower-alpha 27] They played "True" at the 1985 Live Aid concert, but instead of using their brief time on stage to showcase one of their earlier hits, Dagger wanted them to play "Virgin" from their upcoming Through the Barricades album, which even Kemp admitted was not a good idea.[93] Hadley felt Dagger was inexperienced, but whenever he suggested getting a manager with more knowledge about the business, the rest of the band balked.[94]
Kemp told Creem in 1984 that he would continue to write for the larger audience Spandau Ballet had acquired with "True" but it would not be making albums that sounded like the last just because it did well.[16][lower-alpha 28] But, just as he had developed writer's block in 1981 after "Chant No. 1" became their highest-charting single,[95] having a UK number 1 put pressure on Kemp to churn out more chart-topping hits and left him feeling that the band would always judge his future output against "True".[96] When the Through the Barricades album and its singles failed to chart in the US, Kemp chided himself for exploring so many genres and not simply trying to write more hit songs that were imitations of "True".[97]
Legacy
In 1984 writer-director John Hughes featured Spandau Ballet's recording of "True" in the school dance scene in Sixteen Candles, and his selection elicited responses decades later. In 2009 LA Weekly's Art Tavana noted that when it was used in that particular moment, the song "crossed over into the permanent teenage scrapbook".[98] Also in 2009 Todd Martens of the Los Angeles Times described the emotion created by playing the song over the scene as "Totally crazy this-is-the-end-of-the-world heartache".[99] Julian Kimble of the Washington City Paper wrote in 2014 that its inclusion "made Spandau Ballet's imprint on popular culture permanent" and that the song "adopted new significance, especially among suburban teens".[100]
The 2009 episode of Modern Family titled "Great Expectations" featured Edward Norton playing fictional Spandau Ballet bassist Izzy LaFontaine and beginning a performance of the song, which is then followed by part of the original recording.[101]
"Set Adrift on Memory Bliss" by P.M. Dawn, a duo of brothers Jarrett and Attrell Cordes, prominently sampled "True" and went to number 1 on the Billboard Hot 100 in November 1991.[102] They had heard "True" in the studio where they were working on their debut album, and Attrell, known on stage as Prince Be, thought it was "so beautiful". He said, "I wanted Prince Be's version. I basically reincarnated the spirit of 'True' for me. I reshaped it as if I wrote it myself."[103] Kemp received a writing credit with Prince Be for "Set Adrift on Memory Bliss",[104] and Hadley appeared briefly in the music video. The duo's hit also went to number 1 on New Zealand's popchart[105] and made the top 10 in several countries.[lower-alpha 29] Kemp also received songwriting credit[117] when "True" was sampled on the 2007 hit "You" by Lloyd that featured Lil Wayne[118] and peaked at number 9 on the Hot 100.[119] The Professor of Rock surprised Hadley in the 2017 interview by pointing out that the Backstreet Boys' "I Want It That Way" lifts the piano section at the end of "True"'s sax solo for the melody line of its chorus.[120]
In 2015, "True" was voted by the British public as the nation's 10th-favourite 1980s number 1 in an ITV poll;[121]NPR characterised it as a "karaoke staple".[122] Other surveys were not favourable: Billboard selected "True" as one of the "Most Overplayed Songs in Movies", [123]NME included the line "I bought a ticket to the world but now I've come back again" in their list of the "50 worst pop lyrics of all time",[124] and it also made the Houston Press's list of "10 Songs We Never, Ever Want to Hear Again, Ever".[125] Sean Daly of the St. Petersburg Times named "True" the worst song of all time,[126] while Seattle Post-Intelligencer columnist Robert Jamieson selected it as the worst ever love song.[127]
Kemp did find one famous fan: "I remember when I did The Bodyguard, Kevin Costner said to me, 'You know, that song belongs to me and my wife.' And I thought, wow, I thought it belonged to my plumber and his wife… Anyway, it didn't keep [the Costners] together, did it?"[15]:22:39
Canadian-born American singer Paul Anka released a version of the song in 2005 on his album Rock Swings, with most critics noting that his cover was one of the better songs included. Michael Fremer of Analog Planet speculated that the arrangement was inspired by "Li'l Darlin'" and felt that it "gives the melancholic song a sophisticated lilt, over which Anka sells the lyrics with a powerful, assertive reading. If you didn't know the original, you'd think the tune was originally written for big band treatment."[132]Jazz Times's Christopher Loudon wrote, "When Rock Swings is good, it’s very good – most notably on introspective ballads like Spandau Ballet’s 'True'."[133] John Kappes of The Plain Dealer explained, "Some of the material works as well as you might think; Spandau Ballet's 'True' was, after all, an easy-listening track waiting to happen from the start."[134]The Village Voice's Franklin Bruno, however, felt that the album's "several attempts to negotiate impressionistic lyrics (Spandau Ballet's 'True,' Billy Idol's 'Eyes Without a Face') as though they possessed narrative content are comically misguided."[135] Upon confessing that he had heard the Anka version, Hadley chuckled, "It was a bit strange," and admitted to performing the song with a swing orchestra. He could only concede, "It kind of works. It's very unusual. I think when people wanna hear me sing it, they wanna hear me sing the straight version."[136]
* Sales figures based on certification alone. ^ Shipments figures based on certification alone. ‡ Sales+streaming figures based on certification alone.
↑ "At the end of the second album there was a feeling, you know, there were some of the kids we were hanging out with at the time who were going, 'We can't follow these guys anymore. They've been on Top of the Pops six times.' It's not really cult, is it?"[14]
↑ "And I sort of realized that I didn't have to keep chasing 'What's the latest rhythm that I need to write to? What sound are all my friends wanting to dance to in that club?'"[14]
↑ "As I wrote, there were two big influences. The first was Marvin Gaye and Al Green—two artists I played most often on my turntable."[2]
↑ "I think I wanted to write a song that was a bit like a Marvin Gaye, Al Green song, a blue-eyed soul song."[2]
↑ "Musically, I wanted to write something like Al Green's 'Let's Stay Together' with its line: 'I'm, I'm so in love with you.' But it came out as: 'Huh huh uh-huh huh.'"
↑ "You're sitting at home, and there's the music in your head, and I say, That's the song I want to write. So then you use it as a springboard to go into your truth, you know."[15]
↑ "The second inspiration came from outside. When Spandau Ballet had appeared… in '81 with Altered Images, I met their lead singer, Clare Grogan. She and I had an instant connection."[3]
↑ "And it was about writing. Why do I find it so hard to write the next line, you know, when I really wanna tell you what I'm thinking but I'm not being too cryptic? And actually then I thought, well, I'll put it all in the song."[15]
↑ "I jotted down, 'I know this much is true.' Then I asked myself, 'What do I know that's true?' Instead of answering the question, I decided the song would be about how much I was going to tell you about the truth."[3]
↑ "The lyrics are full of coded messages to Clare."[17]
↑ "So maybe I was writing about this person who inspired me to write the song. I definitely didn’t want you to know who it was. But I figured I'd leave a couple of messages in there."[3]
↑ "The book was on my night table. Stuck for lines, I flipped through the pages and noticed I had underlined the phrases 'pill on my tongue' and 'seaside limbs'."[3]
↑ "'Seaside limbs' inspired my lines, 'Take your seaside arms and write the next line / Oh, I want the truth to be known.'"[3]
↑ "By the end, the song's lyrics weren't about Clare but simply a way to write a song with a blue-eyed soul feel."[3]
↑ Kemp first disclosed that Grogan was the subject of the song in his 2009 autobiography, and he told The Wall Street Journal in 2017 that they had not discussed it in any of their encounters since.[3]
↑ "Days later, when I had the words and music together, I called in my brother, Martin, from his bedroom next door. Martin plays bass in the band. I played what I had. He was pleased and thought it was ready."[3]
↑ "Talking Heads were there at the same time, sitting in the shade on the other side of the pool, while we wore shorts and flip-flops and roasted in the sun. It added to the groove."[17]
↑ "When we got around to 'True,' we decided that instead of Martin playing the electric bass, Tony [Swain] would play the synth-bass keyboard."[3]
↑ "Originally, we planned to open the song with Jess playing a string synthesizer, but the sound of strings alone wasn't enough."[3]
↑ "After Tony Hadley recorded his emotional lead vocal, we loved the final result so much we let the album version run 61⁄2 minutes. We didn't want it to stop."[3]
↑ "[B]ut it was Simon Bates, and he played 'True', and he said, 'If this is not a number one song, blah, blah, blah, and, you know what? I'm gonna play it again.'"[15]
↑ "True" reached number 3 in Spain,[59] number 4 in Australia,[60] the Netherlands[61] and New Zealand,[62] number 5 in Switzerland[63] and number 9 in Belgium[64] and West Germany.[65]
↑ "Dominic Anciano did some animation for the 'True' video, a disastrous stickman that soon found himself, courtesy of the band, lying on the cutting room floor."
↑ "Gold" reached number 2 in the Netherlands,[83] number 3 in Belgium,[84] number 4 in Ireland[85] and Spain,[59] number 8 in New Zealand[86] and number 9 in Australia.[60]
↑ "I'm glad 'Gold' is going to do well over here; it's shaking off the enigma of (the song) 'True'. It's selling us as a band. The thing that worried us about America is people didn't know Spandau Ballet, they knew 'True'. 'True' is a much stronger song if they know where it's coming from."[16]
↑ "Spandau Ballet's history is important so people know what the band are. Certain people in America do; we've noticed on tour the back catalog are quite well known by a lot of the audience. People who only know Spandau Ballet for the soft focus image on 'True'... well, we wanted to come over and show ourselves with all our hard edges, transport our history over to America."[16]
↑ "The fact was, we had proved ourselves capable of balancing a ballad like 'True' with electro-pop and funk, but we couldn't quite get the U.S. market to understand that. We needed to spend months touring, letting them hear the whole repertoire, but we never did."[91]
↑ "If I can, I'll be writing songs that appeal to that amount of people. Doesn't mean to say I'm going to stick to an equation now, 'cause we never have. The next album won't sound like True just because True sold so well."[16]
Spandau Ballet were an English pop band formed in Islington, London, in 1979. Inspired by the capital's post-punk underground dance scene, they emerged at the start of the 1980s as the house band for the Blitz Kids, playing "European Dance Music" as "The Applause" for this new club culture's audience. They became one of the most successful groups of the New Romantic era of British pop and were part of the Second British Invasion of the Billboard Top 40 in the 1980s, selling 25 million albums and having 23 hit singles worldwide. The band have had eight UK top 10 albums, including three greatest hits compilations and an album of re-recorded material. Their musical influences ranged from punk rock and soul music to the American crooners Frank Sinatra and Tony Bennett.
True is the third studio album by English pop band Spandau Ballet, released on 4 March 1983 by Chrysalis Records. The band's songwriter/guitarist Gary Kemp realised after the release of their second album that the nightclub audience they initially wanted to attract had lost interest in them in part because of the band's transition from dance music to pop. He no longer felt obligated to keep writing music for them and shifted his focus to soul and R&B influences such as Marvin Gaye and Al Green for this album. Kemp thought that bandmate Steve Norman's newfound interest in the saxophone would be well-suited to the sound he was going for, as would the decision to record most of the album at Compass Point Studios in the Bahamas.
"To Cut a Long Story Short" is the debut single by the English new wave band Spandau Ballet, released on 31 October 1980. The band began recording the song 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.
Journeys to Glory is the debut studio album by English new wave band Spandau Ballet, released on 6 March 1981 by Chrysalis Records. All of the songs on the album were produced by Richard James Burgess and written by band guitarist Gary Kemp to appeal to the patrons of a weekly Tuesday night club the band started attending called the Blitz, where they were accustomed to hearing "white European dance music". Their performances at the Blitz and other exclusive venues attracted the attention of record labels eager to sign them, and one of the songs they had been performing, "To Cut a Long Story Short", gained popularity through a recording session made at BBC Radio 1.
Diamond is the second studio album by English new wave band Spandau Ballet, released on 12 March 1982 by Chrysalis Records. As with their debut album, Journeys to Glory, all songs were produced by Richard James Burgess and written by band guitarist Gary Kemp. The music was inspired by a variety of genres, including the renewed interest in funk around Soho, American film scores with roots in eastern Europe, the second side of David Bowie's Low album, Pink Floyd records and the mood pieces of another English new wave band, Japan.
Parade is the fourth studio album by English new wave band Spandau Ballet, released on 25 June 1984 by Chrysalis Records. The band wanted the album to sound more like how they played together live, and their guitarist/songwriter Gary Kemp came up with material that he felt would be more appropriate for the arenas in which they performed now since they were attracting larger audiences. Because they would be parading themselves around the world as part of the album's corresponding tour, he hit upon the idea of a parade as the theme of the album and included an international cast of characters taking part in a parade on the album cover.
The Singles Collection is a greatest hits album by English pop band Spandau Ballet, released on 4 November 1985 by Chrysalis Records. The album peaked at number three on the UK Albums Chart and was certified double platinum by the British Phonographic Industry (BPI) within six weeks of release. It is the band's best-selling album in the United Kingdom, though despite its success, the album was released without the band's approval as they were leaving Chrysalis Records and signed to CBS Records for their next album.
"Gold" is a song by English pop band Spandau Ballet, released on 5 August 1983 as the fourth single from their third album, True. The song was written by the band's guitarist/songwriter Gary Kemp as an homage to the film themes of composer John Barry that was especially influenced by his scores for the James Bond series. This was apparent to some music critics, but they were sharply divided in their reviews. Some appreciated the energy and drama behind it while others found it affected and overwrought. The song peaked at number 2 on the UK Singles Chart and made the top 10 in several other countries, but its number 29 showing in the US and the disappointing chart performances of the next two singles released there led to the band's decision to change record labels.
"Lifeline" is a song by English pop band Spandau Ballet, released on 24 September 1982 as the first single from what would be their third album, True (1983). The song confirmed the band's intent to transition from dance music to pop that was hinted at with their previous single, "Instinction". Some band members found an enjoyable chemistry with "Lifeline" producers Tony Swain and Steve Jolley that was lacking in recording sessions with previous producers. The new song received mixed reviews but reached number 7 on the UK Singles Chart. It was also their first single to chart in the United States, missing the Billboard Hot 100 but charting on the Bubbling Under Hot 100 at number 8. The music video for the song received airplay on the U.S. cable channel MTV.
"Only When You Leave" is a song by English new wave band Spandau Ballet, released as the first single from their fourth album Parade. It peaked at number 3 on the UK Singles Chart and made the top 10 in several other countries but only reached number 34 in the US, where it was their last song to appear on the Billboard Hot 100. Most critics were impressed with Tony Hadley's vocals and enjoyed the song. The music video used its theme of revenge as a way of paying tribute to the late film director Alfred Hitchcock.
"Through the Barricades" is a song by English new wave band Spandau Ballet, released as the second single from their 1986 studio album of the same name. The song was inspired by the murder of a member of the band's road crew in Belfast during The Troubles and emerged as the Spandau Ballet song that the band members rated the best. It reached number six on the UK Singles Chart, becoming their final top ten hit, and made the top ten elsewhere.
"Chant No. 1 " is a song by the English new wave band Spandau Ballet, released on 10 July 1981 as the first single from their upcoming second album, Diamond. The band's guitarist/songwriter, Gary Kemp, wanted to pay homage to the latest London hotspot, Le Beat Route, by emulating the funk music that was popular there and even using the club as the location for the music video, all in order to show that the band was still part of the trendy Soho scene. Except for the remix of the song from the album's box set, "Chant No. 1" received good reviews, and the 7-inch single became their third top ten hit in the United Kingdom, peaking at number 3 on the UK Singles Chart.
"Instinction" is a song by Spandau Ballet whose original version was included on their second album Diamond as produced by Richard James Burgess. The song was written by band guitarist/songwriter Gary Kemp. A remix by Trevor Horn was released on 2 April 1982 as the last single from the album and reached number 10 on the UK Singles Chart. This new version received good reviews but constituted a shift into pop music that did not interest the patrons of trendy London nightclubs that Spandau Ballet originally intended to represent. The band tried continuing their work with Horn on the songs for their next album but came to an impasse with him and moved on to a successful relationship with producers Steve Jolley and Tony Swain.
"Muscle Bound" is a song by the English new wave band Spandau Ballet, released as part of the third single from their debut album Journeys to Glory. In the UK, it was released as a double A-side with the song "Glow"; elsewhere, "Glow" was included as the B-side. "Muscle Bound" received mostly good reviews, and the combined single was their third consecutive top 20 hit in their native UK, reaching number 10 on the UK Singles Chart. The music video for "Muscle Bound" was more ambitious than their previous promotional clips and went over budget because of snowy weather that caused delays during the location shoot.
"Highly Strung" is a song by English new wave band Spandau Ballet, released as the third single from the 1984 album Parade. In their native UK, the song reached number 15 on the UK Singles Chart, and critics had a variety of responses to it. The music video used the population density of Hong Kong to demonstrate the song's emotional themes.
"The Freeze" is a song by the English new wave band Spandau Ballet, released on 12 January 1981 as the follow-up to their debut single, the number 5 UK hit "To Cut a Long Story Short". As was the case with that release, the 7-inch single of "The Freeze" featured a dub mix on its B-side, and the 12-inch single had two additional mixes of the song geared toward dance clubs. The cover art used for both formats of the single also repeated its predecessor in having a simple black-and-white classical motif. This design, however, was also seen on the sets of the music video for the song. Reviews of "The Freeze" were mixed. It reached number 17 on the UK Singles Chart.
"Glow" is a song by the English new wave band Spandau Ballet, released on 27 March 1981 as part of their third single, which, in the UK, was a double A-side with the song "Muscle Bound". The combined single was their third consecutive top 20 hit in their native UK, reaching number 10 on the UK Singles Chart. Elsewhere, "Muscle Bound" was the A-side. "Glow" was written while their debut album, Journeys to Glory, was in the finishing stages and not included on it, but a few different versions of the song were on the 2010 reissue of the album.
"Paint Me Down" is a song by the English new wave band Spandau Ballet, released on 2 November 1981 as the second single from what would be their second album, Diamond. Their guitarist/songwriter Gary Kemp copied some of the elements of their previous hit, "Chant No. 1 ", and the conflict between producer Richard James Burgess and lead singer Tony Hadley that began with that song continued as they recorded the vocals for "Paint Me Down". A controversial music video for the song was rejected by the British music chart television programme Top of the Pops, and its number 30 peak position on the UK Singles Chart was not enough to justify airing the studio performance they had filmed for the show either.
"She Loved Like Diamond" is a song by the English new wave band Spandau Ballet, released on 11 January 1982 as the third single from what would be their second album, Diamond. The music video and cover art for the single focused on the sexual themes in the lyrics and the allure of the title character. In writing the song, their guitarist/songwriter Gary Kemp was influenced by American Jewish music with an eastern European flavour that he had heard in movie themes and musicals. Most reviews singled out lead singer Tony Hadley's performance as the main problem with the recording, which only mustered a number 49 peak position on the UK Singles Chart. The poor showing prompted the idea to release another song from the album, but the band realized that getting a new single to succeed would require a remix of the disappointing work of their current producer and decided to discontinue their association with him in doing so.
"Communication" is a song by English pop band Spandau Ballet, released on 4 February 1983 as the second single from what would be their third album, True. The song was recorded at Compass Point Studios in Nassau, Bahamas along with most of the material from that album and received several good reviews. It reached number 12 on the UK Singles Chart and made the pop charts in other countries as well. The music video for the song was made to look like a film with lead singer Tony Hadley as the main character and received airplay on the U.S. cable channel MTV.
References
↑ "BRIT Certified". BPI. Search "Spandau Ballet". "True" is then listed with its original release date.
↑ 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.
↑ Kemp 2009, pp.183–184: At the end of mixing "True", Tony Swain felt dissatisfied with its introduction — an instrumental bass-line ramble that meandered up to the first verse. He had the ingenious idea of copying a chorus minus Tony's vocal and pasting that on to the front instead.
↑ "Painting a bigger picture: David Band remembered". The Herald. 20 April 2012. Retrieved 25 March 2022. We liked hiking. So our passion was to go to the mountains. I went to the Lake District with him a few times and we camped up there together. We were living through this great heightened period in the eighties of celebrity and success and yet David and I would like to bury ourselves away and become two small creatures climbing in the mountains, and I think that was very bonding.
↑ Simper, Paul (2017). Pop Stars in My Pantry: A Memoir of Pop Mags and Clubbing in the 1980s. Unbound. p.277. ISBN9781783523887. Retrieved 28 February 2022. Indeed, I felt moved (pissed) enough to mark their reaching Number 1 by drawing a little 'True' dove on a toilet seat in the recently opened Camden Palace with the phrase 'This Much Is Poo' inscribed beneath it, with the help of their press officer Julia Marcus.
↑ Kemp 2009, p.185:The new album was exciting the record company. We'd flown in the heads of various European affiliate labels for a studio playback and the general consensus was that True the album — for that is what we'd decided to call it — was going to be a huge record. All ears were falling upon 'Gold' and the title track
↑ Kemp 2009, p.181:… our biggest tour yet—Spandau Ballet Over Europe, a tour for which we needed a look. And after the fashion confusion of ‘Lifeline’ we decided to go back to the source of so many sartorial Soho statements. The difficulty for us was we were now immersed only in Spandau Ballet. We were away from the familiar streets, and no longer the young Soho funslingers we once were. There was only one person to turn to…Chris Sullivan.
↑ Kemp 2009, p.224:America was not going to plan. "Gold" had been a hit, although not as big as "True"... While we were selling large amounts in Europe and the rest of the world, Chrysalis America were not pulling their weight.
↑ Kemp 2009, p.224:'Communication' and 'Only When You Leave' had fallen away early.
↑ Kemp 2009, p.224:The spat between Wright and Ellis, the two company owners, was worsening and it seemed to us we were being affected like the children of a disintegrating marriage.
↑ Hadley 2004, pp.131–132:It wasn't typical of our music as a whole - if anything, it was atypical - and there was a danger it could pigeonhole us in the eyes of the American market as five blokes in suits singing a ballad.
↑ Hadley 2004, p.132:A couple of times I suggested we bring in a more experienced manager. It wasn't about ditching Steve Dagger. I just thought it made sense to have someone working with us who knew more about the business than we did. We were all - Steve included - as inexperienced as each other, learning (or not) as we went along. It wouldn’t have hurt to have someone with more commercial know-how on our side. No one else saw it that way. They were wary of bringing in outsiders.
↑ Kemp 2009, p.208: With "True" I'd created my own competition, setting a personal benchmark almost impossible to reach again. A hit song of that nature takes on a legend of its own: people's lives become personally involved in it; they fall in love and get married to it; and a hungry band wants more of it. That kind of iconic status needs time. But whatever I brought to the rehearsal table would only be judged by "True".
↑ Kemp 2009, p.258:He was haunted by the lack of interest shown by them towards the Barricades album, which was ironic, given America was the reason we'd joined them in the first place. 'It's my fault, Steve,' I told him one day. 'I keep changing our style. I should have just written 'True' over and over again."
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