Chant No. 1 (I Don't Need This Pressure On)

Last updated

"Chant No. 1 (I Don't Need This Pressure On)"
SpandauBalletChantNumberOne.jpg
Single by Spandau Ballet
from the album Diamond
B-side "Feel the Chant"
Released10 July 1981
Recorded1981
Studio Utopia Studios (London)
Genre
Length3:58 (7" version)
6:01 (12" version)
8:03 (Diamond box set version)
Label
Songwriter(s) Gary Kemp
Producer(s) Richard James Burgess
Spandau Ballet singles chronology
"Muscle Bound" / "Glow"
(1981)		"Chant No. 1 (I Don't Need This Pressure On)"
(1981)		"Paint Me Down"
(1981)
Audio
"Chant No. 1 (I Don't Need This Pressure On)" (album version) by Spandau Ballet on YouTube

"Chant No. 1 (I Don't Need This Pressure On)" is a song by the English new wave band Spandau Ballet, released on 10 July 1981 as the first single from their 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.

Contents

Background

While Spandau Ballet was completing their first album, Journeys to Glory , their guitarist/songwriter Gary Kemp was noticing a renewed interest in funk around Soho, which led him to come up with "Glow", [3] the double A-side companion to "Muscle Bound", the third song released from their debut. He described "Glow" as their first attempt at "American style funk – but still with white lyrics". [4] While promoting the double A-side with performances of "Muscle Bound" in the spring of 1981, the band met up with the British jazz-funk group Beggar and Co, and Kemp noticed the rapport between the two bands and had the idea to ask them to perform as the horn section on an upcoming record. [5] In his autobiography I Know This Much: From Soho to Spandau, he explained, "The conjoining of soul and rock had very little precedent then, and we knew that it would irritate the hell out of the rock press, as well as give us some extended credibility." [5]

The use of horns on "Glow" helped to inspire their next single, "Chant No. 1 (I Don't Need This Pressure On)", [4] which paid tribute to the latest Blitz Kids hangout, Le Beat Route. [6] The club focused on funk music, with one of its most popular songs being "Wheel Me Out" by Was (Not Was), which Kemp felt driven to imitate in his own composing as a means of proving that Spandau Ballet was still in the thick of Soho nightlife. [7] The finished product, "Chant No. 1", even provided some scanty directions to Le Beat Route in the form of a rap that would give Kemp a rare solo vocal. He also credited Robert Elms, who came up with the name of the band, as an inspiration for the song. [8]

Recording

"Chant No. 1" was recorded at Utopia Studios in Primrose Hill with Richard James Burgess producing. [5] Burgess had just developed the Simmons SDS-V electronic drum kit, which Spandau Ballet drummer John Keeble used on "Chant No. 1", making it one of the first recordings to use the new alternative to acoustic drums. [9] [10] Kemp described the recording of the music as "fast and easy", but Burgess had trouble getting lead singer Tony Hadley to convey the darker side of the material with a softer tone of voice than usual and eventually succeeded by having him lie down to do so. [5]

Critical reception

Gnome-mime-sound-openclipart.svg
Spandau Ballet - "Chant No. 1 (I Don't Need This Pressure On)"
The song was commended for its use of dance rock rhythms and jazz horns.
Problems playing this file? See media help.

All three versions of the song received reviews. Red Starr of Smash Hits magazine had some reservations but an overall positive response to the 7-inch single: "Actually this is easily their best effort to date, despite the Pearl and Dean cinema ad beginning and Tony Hadley's pompous foghorn vocals." [11] Starr concluded, "Good dance record and hopefully a sign of better things to come." [11] Record Mirror's Robin Smith wrote, "Even I have to admit that it's a rare classic of its genre." [12] In reviewing the 12-inch single of the song, which was paired with the instrumental version ("Feel the Chant"), Billboard magazine enthused, "What a record!", and proclaimed that the songs were "overwhelming in their inventive use of dance rock rhythms, jazz horns and a total sense of what urban nightlife is all about." [13] When "Chant No. 1" was released as part of the Diamond album in 1982 with a separate box set of additional remixes, however, Richard Cook of the New Musical Express was very critical of the album, especially with regard to the way the songs were remixed: "And 'Chant No. 1', the one Spandau tune to pay tithes direct to disco convention, has the most incisions: a grotesquely doctored trombone on the intro, the sticking groove trick Burgess seems to love, and the beat dissected around the chant much as 'Grandmaster Flash on the Wheels of Steel' confounded any rational dance step." [14]

In retrospective reviews on AllMusic, Dan LeRoy opined that it was the best song on the Diamond album, [15] and Dave Thompson included it on a list of Spandau Ballet songs that were "utterly convincing white boy Funk". [16] When the band re-recorded the song for their 2009 album Once More , Paul Lester called the original "a revolutionary white-funk record" in his review of the album for BBC Online and described the new version as "supper club vamp". [17] In 2009 Dylan Jones put the song in the context of the political climate in England at the time of its release, writing, "'Chant No.1 (I Don't Need This Pressure On)' was, in its own way, as important to the summer of 1981 as 'Ghost Town' by the Specials - a canny mix of contemporary funk and bottom-heavy agitprop, the perfect encapsulation of the new decade's obsession with fiddling while Brixton and Toxteth burned." [18] He also assigned some credit for the success of the record to their drive to stay on top of the trends in dance music: "It is one of the most important records of the early Eighties, and this is not an opinion solely justified by hindsight. Having come fully-formed from the new romantic Billy's/Blitz club scene, Spandau completely understood the currency of the dancefloor, building prime equity in nightclubs from Canvey Island to New Jersey, from Soho to SoHo. And back again." [18] In 2016 the editors of the NME ranked the song at number 38 on their list of the best tracks of 1981. [19]

Release and commercial performance

"Chant No. 1 (I Don't Need This Pressure On)" was released on 10 July 1981, [20] and Kemp recalled taking the 12-inch single to Le Beat Route as soon as they had a copy so that the DJ could start playing it. [5] There they encountered former Blitz regular and up-and-coming Culture Club vocalist Boy George, who "sat in his catty booth [and] admitted to liking it, although he drew the line at dancing." [5]

The song debuted at number 18 on the UK Singles Chart dated 18 July and jumped to number 4 during its second of 11 weeks there. [21] Because copies of the record were selling so quickly, the band thought it was going to be their first number one single and got drunk at the offices of their label, Chrysalis Records, while waiting for the announcement of the singles chart positions for its third week charting, 1 August, which had it peaking at number 3. [22] The British Phonographic Industry awarded the single Silver certification on 1 August for shipment of 250,000 units. [23] The song also reached number 30 in Australia, [24] number 9 in Ireland, [25] number 31 in the Netherlands, [26] number 36 in New Zealand [27] and number 27 in Spain. [28] In the US, the remix included on the 12-inch single of "Chant No. 1" got as high as number 17 on Billboard magazine's Disco Top 100. [29]

Music video

Spandau Ballet continued to work with "Muscle Bound" director Russell Mulcahy on "Chant No. 1", and the video was filmed at Le Beat Route [5] with the band performing the song on the dance floor instead of the stage. [30] Kemp described Hadley's character as "a strung-out lounge lizard" who drives through Soho to the club and is greeted by the owner before entering to take the mike. [31] During the bridge, shots of the club's television set showed a Muhammad Ali fight, and flashes of a picture of Lenin were intercut with its owner, DJ Steve Lewis, which Kemp suggested because he wanted Lewis to lip sync his rap solo and thought the photo would convey the DJ's political leanings. [32]

Aftermath

The video for "Chant No. 1" was included on a tape from the music video subscription service RockAmerica, and Frankie Crocker, a disc jockey for WBLS in New York City, saw it on a video screen at The Ritz and started playing the song on his show. [33] A couple of other urban contemporary stations in the US also added it their playlists, which gave the band hope that Chrysalis would release it as a single there. [34] An executive for the label told them, "The thing is, guys, it’s black radio. It won’t cross over into pop," and Kemp thought, "What he wanted to say was it wasn't proper radio and wouldn't be heard by white kids with cash." [33] One consolation for this disappointment the band received came in the form of a message from the Clash, who contacted their office to let them know that "they thought the record was amazing." [33]

The song's success put pressure on Kemp to come up with more hits for what would be their sophomore effort, Diamond . He wrote, "Unlike second marriages, second albums are notoriously difficult. Journeys had been developed over some time and played live before we went into the recording studio, with some songs being discarded at the last minute. It was a mission statement, cohesive and tight, with none of the indulgence that often plagues follow-ups." [35] He initially thought "Chant No. 1" would inspire more music, but as it climbed the singles chart, he described the effect it had on him as "a fear and a darkness clouding my direction." [36] Spandau Ballet's next single, "Paint Me Down", only got as high as number 30 on the UK Singles Chart. [37]

In 2001, Billboard magazine credited the band with giving London-based DJ/producer/remixer Rui Da Silva the honor of becoming the first Portuguese to reach number one on the UK Singles Chart. [38] His song "Touch Me" originally had a section inspired by "Chant No. 1", but the band had too many demands to be met to allow him to include what Kemp had written and caused a delay in its release. [38] The planned release would have put the song in direct competition with the children's television theme song "Can We Fix It?" by Bob the Builder, which was the biggest-selling single of the year in the UK and spent three weeks at number one, but the delay caused by the failed negotiations instead resulted in the Da Silva hit's movement up the chart coinciding with the theme song's waning popularity. [39]

Formats and track listings

Personnel

Credits adapted from the liner notes for Diamond , except as noted: [42]

Charts

Chart performance for "Chant No. 1 (I Don't Need This Pressure On)"
Chart (1981)Peak
position
Australia (Kent Music Report) [24] 30
Ireland (IRMA) [25] 9
Netherlands (Single Top 100) [26] 31
New Zealand (Recorded Music NZ) [27] 36
Spain (AFYVE) [28] 27
UK Singles (OCC) [37] 3
US Dance Club Songs ( Billboard ) [29] 17

Certifications

Certifications for "Chant No. 1 (I Don't Need This Pressure On)"
RegionCertification Certified units/sales
United Kingdom (BPI) [23] Silver250,000^

^ Shipments figures based on certification alone.

Related Research Articles

<span class="mw-page-title-main">Spandau Ballet</span> English pop band

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.

<i>True</i> (Spandau Ballet album) 1983 studio album by Spandau Ballet

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.

<span class="mw-page-title-main">True (Spandau Ballet song)</span> 1983 single by Spandau Ballet

"True" is a song by English pop band Spandau Ballet, released in April 1983 as the title track and third single from their third studio album. It was written by the band's lead guitarist and principal songwriter Gary Kemp to express his feelings for Altered Images lead singer Clare Grogan. Kemp was influenced musically by songs of Marvin Gaye and Al Green he was listening to at the time, and lyrically by Green and the Beatles. "True" reached number one on the UK singles chart in April 1983 and made the top 10 in several other countries, including the US, where it became their first song to reach the Billboard Hot 100.

<span class="mw-page-title-main">To Cut a Long Story Short</span> 1980 single by Spandau Ballet

"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.

<i>Journeys to Glory</i> 1981 studio album by Spandau Ballet

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.

<i>Diamond</i> (Spandau Ballet album) 1982 studio album by Spandau Ballet

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.

<i>Parade</i> (Spandau Ballet album) 1984 studio album by Spandau Ballet

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.

<i>The Singles Collection</i> (Spandau Ballet album) 1985 greatest hits album by Spandau Ballet

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.

<span class="mw-page-title-main">Gold (Spandau Ballet song)</span> 1983 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Lifeline (Spandau Ballet song)</span> 1982 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Only When You Leave</span> 1984 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Through the Barricades (song)</span> 1986 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Instinction (song)</span> 1982 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Muscle Bound</span> 1981 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Highly Strung (song)</span> 1984 single by Spandau Ballet

"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.

<span class="mw-page-title-main">The Freeze (song)</span> 1981 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Glow (Spandau Ballet song)</span> 1981 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Paint Me Down</span> 1981 single by Spandau Ballet

"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.

<span class="mw-page-title-main">She Loved Like Diamond</span> 1982 single by Spandau Ballet

"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.

<span class="mw-page-title-main">Communication (Spandau Ballet song)</span> 1983 single by Spandau Ballet

"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

  1. ↑ "Spandau Ballet rings 'True' in L.A. return". Los Angeles Daily News . 25 January 2015.
  2. ↑ "Chants Craze". Smash Hits . No. 68. 9 July 1981. p. 13. Archived from the original on 1 October 2021. Retrieved 1 October 2021.
  3. ↑ Kemp 2009 , pp. 134–135
  4. 1 2 "Spandau Ballet: A Girl's Best Friend". New Sounds New Styles. No. 11. May 1982. p. 26.
  5. 1 2 3 4 5 6 7 Kemp 2009 , p. 150
  6. ↑ Kemp 2009 , p. 149: There’s a claustrophobia that emanates from ‘Chant No. 1' that had everything to do with the club that’s eulogised in it. Le Beat Route was a small and unfrequented dive that had sad Coconut Grove decor, a long central bar and a small stage at the far end in front of a square dance floor. Ollie… started a night in this tired Greek Street dive that automatically attracted the ex-Blitz crowd and more.
  7. ↑ Kemp 2009 , p. 149: Inside it was hot funk, served up by our former electrician and saviour of our HMS Belfast gig — Steve Lewis…. He centred it around the intelligent funk of Was (Not Was) and in particular their menacing 'Wheel Me Out'. It became the anthem of the hottest club in Britain and had me banging my guitar and looking for the song that would, once again, place Spandau Ballet at the heart of London club culture.
  8. ↑ "How We Met: Gary Kemp & Robert Elms". The Independent . 23 October 2011. Archived from the original on 2 October 2021. Retrieved 1 October 2021. Bob was a big part of what made me both a man and a successful artist. He was our spin doctor and he inspired songs such as "Chant No 1 (I Don't Need this Pressure On)".
  9. ↑ Tobler, John (16 August 1986). "Richard James Burgess — A Producer/Hitmaker Whose 'Breathless' Style Carries Sound Of 'Hit' Excitement Around The World". Billboard . New York: Billboard Publications, Inc. p. H-4.
  10. ↑ Dean 2011 , p. 371
  11. 1 2 Starr, Red (9–22 July 1981). "Reviews: Singles". Smash Hits . Vol. 3, no. 14. p. 40.
  12. ↑ Smith, Robin (4 July 1981). "Spandau Ballet: "Chant No. 1"". Record Mirror . Vol. 28, no. 27. p. 10. Retrieved 13 March 2022.
  13. ↑ "Billboard's Top Album Picks > EPs". Billboard . New York: Billboard Publications, Inc. 22 August 1981. p. 58. ISSN   0006-2510.
  14. ↑ Cook, Richard (20 March 1982). "Last Dance Of The New Romance: Spandau Ballet's Diamond". New Musical Express . London: IPC . Retrieved 7 October 2021.
  15. ↑ LeRoy, Dan. "Diamond – Spandau Ballet". AllMusic . Retrieved 12 October 2021.
  16. ↑ Thompson, Dave. "The Singles Collection - Spandau Ballet". AllMusic . Retrieved 12 October 2021.
  17. ↑ Lester, Paul (22 October 2009). "Spandau Ballet Once More Review". BBC Online . Retrieved 5 January 2022.
  18. 1 2 Jones, Dylan (26 December 2009). "Dylan Jones: 'Spandau Ballet have often been ignored, but the music was not only timely, it was groundbreaking'". The Independent . Archived from the original on 1 August 2021. Retrieved 1 August 2021.
  19. ↑ "1981 Best Albums and Tracks of the Year - NME". NME. 10 October 2016. Retrieved 12 October 2021.
  20. ↑ Gimarc 1997 , p. 177
  21. ↑ "Chant No. 1 (I Don't Need This Pressure On) – full Official Chart History". Official Charts Company . Retrieved 14 October 2021.
  22. ↑ Hadley 2004 , p. 93
  23. 1 2 "British single certifications – Spandau Ballet – I Don't Need This Pressure (Chant No 1)". British Phonographic Industry . Retrieved 29 September 2021.
  24. 1 2 Kent 1993 , p. 286
  25. 1 2 "The Irish Charts – Search Results – Chant No.1". Irish Singles Chart.
  26. 1 2 "Spandau Ballet – Chant No. 1 (I Don't Need This Pressure On)" (in Dutch). Single Top 100. Retrieved 21 September 2021.
  27. 1 2 "Spandau Ballet – Chant No. 1 (I Don't Need This Pressure On)". Top 40 Singles.
  28. 1 2 Fernando Salaverri (September 2005). Sólo éxitos: año a año, 1959–2002 (1st ed.). Spain: Fundación Autor-SGAE. ISBN   84-8048-639-2.
  29. 1 2 "Spandau Ballet Chart History (Dance Club Songs)". Billboard. Retrieved 2 October 2021.
  30. ↑ de Whalley, Chas (28 November 1981). "Spandau Ballet: A Day In The Life Of Gary Kemp". Record Mirror . p. 12. Archived from the original on 2 October 2021. Retrieved 1 October 2021. We filmed ourselves playing on the dancefloor too and not on the stage which is where people always expect the group to be.
  31. ↑ Kemp 2009 , pp. 150–151: Tony, playing a strung-out lounge lizard, arrives at Le Beat Route and the camera takes his point of view as it passes a welcoming Ollie and descends the stairs to a dancing throng.
  32. ↑ Kemp 2009 , p. 151: I wanted Steve Lewis to mime to my rap … I also suggested that Lewis have his picture of Lenin in the shot. A communist DJ couldn't pass without notice.
  33. 1 2 3 Kemp 2009 , p. 151
  34. ↑ Kemp 2009 , p. 151: Frankie led the charge, and within a week or so KTU and KISS, both black stations, started to play the record. Dagger and I flew to New York to meet with the record company and talk about releasing it. On our first trip they said they wouldn’t release anything unless it was on the radio.
  35. ↑ Kemp 2009 , pp. 152–153
  36. ↑ Kemp 2009 , p. 153
  37. 1 2 "Spandau Ballet: Artist Chart History". Official Charts Company.
  38. 1 2 "Da Silva Proves He's Got the Right 'Touch'". Billboard . Vol. 113, no. 6. Nielsen Business Media. 10 February 2001. p. 39. ISSN   0006-2510.
  39. ↑ "Da Silva Proves He's Got the Right 'Touch'". Billboard . Vol. 113, no. 6. Nielsen Business Media. 10 February 2001. p. 39. ISSN   0006-2510. The rescheduled release date coincided with Bob the Builder's track—the UK's biggest-selling single of 2000—losing steam. This allowed "Touch Me" to debut at the top without any contribution from Spandau Ballet.
  40. 1 2 Chant No. 1 (I Don't Need This Pressure On) (7-inch single liner notes). Spandau Ballet. Chrysalis Records. 1981. CHS 2528.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  41. ↑ Chant No. 1 (I Don't Need This Pressure On) (12-inch single liner notes). Spandau Ballet. Chrysalis Records. 1981. CHS 12 2528.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  42. ↑ Spandau Ballet (1982). Diamond (record sleeve). London: Chrysalis Records. CDL 1353.

Bibliography

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.