Lifeline (Spandau Ballet song)

Last updated
"Lifeline"
SpandauBalletLifeline.jpg
Single by Spandau Ballet
from the album True
B-side "Live and Let Live"
Released24 September 1982
Recorded16–20 August 1982
Studio Red Bus (London)
Genre
Length3:20(7" version)
3:33 (album version)
5:17 (12" version)
Label
Songwriter(s) Gary Kemp
Producer(s)
Spandau Ballet singles chronology
"Instinction"
(1982)		"Lifeline"
(1982)		"Communication"
(1983)

"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.

Contents

Background

"She Loved Like Diamond" was the third single from Spandau Ballet's second album, Diamond , but after its number 49 showing on the UK Singles Chart in early 1982, [2] the band feared that their future was in jeopardy. [3] They hired Buggles founder Trevor Horn to remix the Diamond track "Instinction" in order to have another single to promote the release of the LP, but Spandau guitarist/songwriter Gary Kemp was concerned about putting the most pop-sounding song on the record in the hands of a pop producer. [4] Spandau Ballet made a point of representing their peers in the London club scene that began with their first album, Journeys to Glory , [5] but after the "Instinction" remix went to number 10, [2] Kemp found that the nightclub crowd was no longer interested in their music, [6] which meant he no longer had to focus solely on what they wanted to hear. [7] In his autobiography I Know This Much: From Soho to Spandau, he wrote, "The freedom of not having to write just for Soho meant I could dive into that great big reservoir of pop, deep with melody and soul, and hopefully surface with the pearls I wanted. Where previously it had been about riffs and grooves, this time it would be about melody and chords." [8] He also averred that Spandau Ballet "felt no shame in embracing" a pop audience. [9]

The band attempted to continue their work with Horn, who was especially interested in a new song Kemp had written called "Pleasure", but after a day of rehearsals in which drummer John Keeble was unable to satisfy Horn's demands, the new producer was ready to replace him. [10] Kemp rejected the idea, and Horn decided to end his work with the band. [11] Kemp told Smash Hits magazine in 1982, "We couldn't have worked with Trevor because he was too overpowering, too dogmatic." [12] The band's manager, Steve Dagger, suggested producers Tony Swain and Steve Jolley, who had recently worked with Bananarama, so the band presented the duo with several songs Kemp had finished writing. [13] The plan was to have them produce just one single to get a sense if they were right for the group before committing to anything more, and although "Communication" was considered, the song Jolley chose for their assignment was the "up-tempo, more obvious pop sing-along" "Lifeline". [14] Spandau Ballet was credited alongside Jolley and Swain as producers of "Lifeline" [15] as well as their next album, True . [16]

Recording

The band discovered some chemistry with their new producers during the recording of "Lifeline", which took place in Paddington at Red Bus Studios in August 1982. [17] [18] Kemp found affinity with Swain, who did his own engineering; Kemp joined him at the mixing console to discuss the sounds and arrangements. [19] Lead singer Tony Hadley, who had clashed with Diamond producer Richard James Burgess, [20] felt much more comfortable with Jolley, who became the sole producer of his vocals. Because of what Hadley went through while recording Diamond, Kemp stayed out of the vocal recording sessions for "Lifeline"; he found that Jolley's love of soul music gave him insight as to how to soften Hadley's voice with methods different from what Burgess had tried and that the focus became "the story being told within the song". [19]

Critical reception

Gnome-mime-sound-openclipart.svg
Spandau Ballet – "Lifeline"
The backing vocals were noted for "an exceedingly catchy vocal hook decorating the breaks between the chorus and verse". [21]
Problems playing this file? See media help.

"Lifeline" received mixed reviews upon its release. Johnny Black of Smash Hits found fault with the lyrics and complained that Spandau Ballet "wail[ed] in a manner barely distinguishable from notable Californian leisure-lovers like the Eagles". [22] Record Mirror's Mark Cooper lumped it in with "classy, well-produced funk ballads with strong choruses and no personality" and summarized it as "hummably bland". [23] Mark Phillips for Rip It Up described it as "in its way not unpleasant, but very white and insipid and not likely to win them any new fans". [24] When the song was released on the album True , Ira Robbins of Trouser Press wrote that the album's "two impressive numbers, 'Communication' and 'Lifeline', both match stylish presentation with solid songwriting and a modicum of soulful crooning." [25] In a review of the band's concert at New York's Savoy in 1983, Kim Freeman of Billboard magazine thought that "'Lifeline' was an upbeat orchestration that came off beautifully live". [26]

In a retrospective review on AllMusic, Stewart Mason also criticized the lyrics but still opined that "Lifeline" was their "first truly great single". He praised the fact that "Hadley wisely dials back his occasionally pompous, stentorian delivery for a more relaxed vocal style more in keeping with the relaxed pop-R&B groove" and that the backing vocals "include an exceedingly catchy vocal hook decorating the breaks between the chorus and verse". [21]

Release and commercial performance

"Lifeline" was released on 24 September 1982 [27] and peaked at number 7 on the UK Singles Chart, [28] number 11 in Ireland, [29] number 33 in New Zealand, [30] and number 68 in Australia. [31] In the 4 June 1983 issue of Billboard , it became their first single to come close to the pop chart in the U.S. when it began its first of two weeks "bubbling under" Billboard's Hot 100; it got as high as number 108. [32] In that same issue it also began 6 weeks on the magazine's Dance/Disco Top 80 chart paired with "Communication" and eventually reached number 58. [33]

Music video

The band's performance in the music video ostensibly takes place in a building on Shad Thames. Shad Thames, London SE1 - geograph.org.uk - 1703751.jpg
The band's performance in the music video ostensibly takes place in a building on Shad Thames.

Kemp acknowledged that the clothes they wore for the "Lifeline" music video were "drab" and that the shift to pop left them "caught in a moment of not knowing what to wear". He bemoaned the fact that director Russell Mulcahy, who had worked with them on most of their previous videos, was busy working with Duran Duran and unavailable to film the clip for "Lifeline". Instead, Steve Barron directed the video, [17] filmed on 7 September [18] in a hayloft in a rural part of Britain. [17] The establishing shot that opens the video, however, shows a row of buildings along Shad Thames, and there is a recurring motif of a red beam of energy that is occasionally shown travelling along utility pole wires until the end of the song when it blasts through the window of the Java Wharf building in which the band plays. The bridge scene of three girls is the footbridge over Laverstock Road at Godolphin School in Salisbury, recruiting local children who had been walking by with their mother.

"Lifeline" was listed on the reports that MTV provided to Billboard that indicated what videos were in rotation on the cable network and made its first appearance there in the 7 May 1983 issue, which indicated that it had been added to their playlist as of 27 April. [34]

Aftermath

In his autobiography Pop Stars in My Pantry: A Memoir of Pop Mags and Clubbing in the 1980s, music journalist Paul Simper detailed Graham Smith's reactions to a couple of singles by Spandau Ballet, who initially wanted to make "white European disco music" [35] to appeal to the patrons of the Blitz, a weekly Tuesday night club the band had been attending. [5] Smith, a Blitz regular who had designed the cover art for Spandau Ballet's first two albums and their singles, encountered Simper while delivering the cover he had produced for "She Loved Like Diamond" and was already losing interest in the band, but upon receiving a copy of "Lifeline" several months later, Smith was visibly disappointed as he played a cassette of the new "mop-top-flavoured" song for Simper, who concluded, "Spandau were no longer making records for the cool kids." [36]

Formats and track listings

Personnel

Credits adapted from the liner notes for True , except as noted: [16]

Charts

Chart performance for "Lifeline"
Chart (1982–1983)Peak
position
Australia (Kent Music Report) [31] 68
Ireland (IRMA) [29] 11
New Zealand (Recorded Music NZ) [30] 33
UK Singles (OCC) [38] 7
US Bubbling Under the Hot 100 ( Billboard ) [32] [39] 108
US Dance Club Songs ( Billboard ) [33]
with "Communication"		58

Related Research Articles

<span class="mw-page-title-main">Spandau Ballet</span> English new wave 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 synth-pop 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 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>Through the Barricades</i> 1986 studio album by Spandau Ballet

Through the Barricades is the fifth studio album by English new wave band Spandau Ballet, released on 17 November 1986 by CBS Records. The band was continuing their efforts to replicate the sound of their live performance on a studio album that they had attempted unsuccessfully with their previous album, Parade. They were also wanting to address any misconceptions about their music that came from the success of their first US hit song, "True", and reshape the style of their music to that of a rock band. The title song, which details the struggles in a relationship, was chosen as the album title because of how they felt they were being perceived. Through the Barricades was also their first album with the label after leaving Chrysalis Records because of the downturn in their popularity in the US after "True".

<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 and 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 two 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">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">Chant No. 1 (I Don't Need This Pressure On)</span> 1981 single by Spandau Ballet

"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 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.

<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">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.

<span class="mw-page-title-main">Fight for Ourselves</span> 1986 single by Spandau Ballet

"Fight for Ourselves" is a song by English new wave band Spandau Ballet, released as the first single from their 1986 album Through the Barricades. In their native UK, the song reached number 15 on the UK Singles Chart, and reviews were mostly negative.

References

  1. ↑ Evans, Richard (August 6, 2024). "1983.1". Listening to the Music the Machines Make: Inventing Electronic Pop 1978-1983. Omnibus Press. p. 410. ISBN   978-1-915841-45-2.
  2. 1 2 "Spandau Ballet | full Official Chart History". Official Charts Company . Retrieved 18 February 2022.
  3. ↑ Hadley 2004 , p. 100: In early ’82 we released another track from the album, ‘She Loved Like Diamond’, in the hope that would turn things round… The single stiffed anyway… It was a disaster. We were in Belgium when the news came through and it sent us into panic mode. It didn’t take a genius to work out that if things carried on like this it could soon be game over for Spandau Ballet.
  4. ↑ Kemp 2009 , pp. 162–163
  5. 1 2 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.
  6. ↑ Kemp, Gary (11 Jul 2018). "Richard Strange Interviews Gary Kemp – HiBrow". YouTube. Hibrow TV. Archived from the original on 27 September 2021. Retrieved 6 February 2022. 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?
  7. ↑ Kemp, Gary (11 Jul 2018). "Richard Strange Interviews Gary Kemp – HiBrow". YouTube. Hibrow TV. Archived from the original on 27 September 2021. Retrieved 18 February 2022. 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?'
  8. ↑ Kemp 2009 , p. 169
  9. ↑ Kemp 2009 , p. 180
  10. ↑ Kemp 2009 , pp. 170–171
  11. ↑ Kemp 2009 , p. 172
  12. ↑ Birch, Ian (30 September – 13 October 1982). "The Brothers". Smash Hits . Vol. 4, no. 20. p. 48.
  13. ↑ Kemp 2009 , pp. 174–175
  14. ↑ Kemp 2009 , p. 175
  15. 1 2 3 4 5 Lifeline (7-inch single liner notes). Spandau Ballet. Chrysalis Records. 1982. CHS 2642.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  16. 1 2 True (record sleeve). Spandau Ballet. London: Chrysalis Records. 1983. CDL 1403.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  17. 1 2 3 Kemp 2009 , p. 181
  18. 1 2 "Spandau Ballet - True. Listening Party Tweet Collection. #TimsTwitterListeningParty #ttlp202". timstwitterlisteningparty.com. Retrieved 2022-04-06.
  19. 1 2 Kemp 2009 , p. 182
  20. ↑ Hadley 2004 , p. 95
  21. 1 2 Mason, Stewart. "Lifeline – Spandau Ballet". AllMusic . Retrieved 17 February 2022.
  22. ↑ Black, Johnny (30 September – 13 October 1982). "Spandau Ballet: "Lifeline"". Smash Hits . Vol. 4, no. 20. p. 23.
  23. ↑ Cooper, Mark (25 September 1982). "Spandau Ballet: "Lifeline"". Record Mirror . Vol. 29, no. 39. p. 22.
  24. ↑ "45s". Rip It Up . 1 December 1982. p. 26. Retrieved 8 April 2022.
  25. ↑ Robbins, Ira (August 1983). "Spandau Ballet: True (Chrysalis)". Trouser Press . Retrieved 16 February 2022.
  26. ↑ Freeman, Kim (December 24, 1983). "Talent & Venues >Talent in Action >Spandau Ballet" (PDF). Billboard . p. 68.
  27. ↑ "Imaginative Spandau" (PDF). Record Mirror . 18 September 1982. p. 10. Retrieved 5 April 2022.
  28. ↑ "Lifeline – full Official Chart History". Official Charts Company . Retrieved 25 February 2022.
  29. 1 2 "The Irish Charts – Search Results – Lifeline". Irish Singles Chart.
  30. 1 2 "Spandau Ballet – Lifeline". Top 40 Singles.
  31. 1 2 Kent 1993 , p. 286
  32. 1 2 Whitburn 2009 , p. 916
  33. 1 2 "Spandau Ballet Chart History (Dance Club Songs)". Billboard. Retrieved 25 February 2022.
  34. ↑ "Video Music Programming" (PDF). Billboard . Vol. 95, no. 19. 7 May 1983. p. 30. ISSN   0006-2510.
  35. ↑ Kemp 2009 , p. 106
  36. ↑ Simper, Paul (2017). Pop Stars in My Pantry: A Memoir of Pop Mags and Clubbing in the 1980s. London: Unbound. p. 77. ISBN   978-1-783-52388-7 – via Google Books.
  37. ↑ Lifeline (12-inch single liner notes). Spandau Ballet. Chrysalis Records. 1982. CHS 12 2642.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  38. ↑ "Spandau Ballet: Artist Chart History". Official Charts Company.
  39. ↑ "Bubbling Under The Hot 100" (PDF). Billboard. Vol. 95, no. 24. 11 June 1983. p. 89. ISSN   0006-2510 – via World Radio History.

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.