Through the Barricades | ||||
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Studio album by | ||||
Released | 17 November 1986 | |||
Recorded | 1986 | |||
Studio |
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Genre | ||||
Length | 40:00 | |||
Label | CBS | |||
Producer |
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Spandau Ballet chronology | ||||
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Singles from Through the Barricades | ||||
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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".
Through the Barricades reached number seven on the UK Albums Chart and achieved platinum certification for sales of 300,000 units there. Several reviews were critical, faulting either the production or the songwriting. The band was disappointed in the chart performance of the singles. The title song fared best, reaching number six in the UK, but was the only one of the three to make the top ten. The label neglected to release any singles in the US for several months after it had done so elsewhere, and the band found themselves in the same place of not feeling like they were getting the exposure there that they wanted. The fact that members of the band were approached during the making of the album to pursue acting was seen as the start of the band's breakup, which came after the release of their next album, Heart Like a Sky , in 1989.
Spandau Ballet's 1983 single "True" became their first song to make the Billboard Hot 100 in the US, where it peaked at number four [4] while also spending a week at number one on the magazine's Adult Contemporary chart. [5] However, before their next single, "Gold", was released there later that year, the band's lead guitarist and songwriter Gary Kemp acknowledged that the softer style of "True" could give people a very limited understanding of their music. He hoped their upcoming US tour to support the True album would disabuse that part of their audience of the notion that the rest of their songs sounded the same. [6] [lower-alpha 1] The band addressed this concern again in 1985 when they toured there with the British-American supergroup The Power Station as a way of, as Billboard described it, "gaining more rock credibility". [7]
At the time they were already taking action against their label, Chrysalis Records. In his autobiography I Know This Much: From Soho to Spandau, Kemp wrote, "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." [8] Their next two US singles, "Communication" and "Only When You Leave", also did not chart as well there as they did elsewhere, [8] [lower-alpha 2] which left Kemp sure Chrysalis was to blame. [8] [lower-alpha 3] The band sued the label in 1985 for not supporting and promoting their work. [9] In the settlement Chrysalis lost their rights to any new recordings by Spandau Ballet, who then signed to CBS Records in 1986. [10]
For their CBS debut, the band "wanted a bigger, meatier sound, one more suitable to the arenas we were now playing." [11] This desire to expand their sound began during the True tour when the band noticed that their chemistry on stage had improved. They decided back then to have their next album capture that feeling of performing live. [12] [lower-alpha 4] They continued working with True album co-producers Tony Swain and Steve Jolley on its follow-up, Parade , but Kemp felt that album failed to achieve the new sound they were after. In an interview with Number One magazine in 1986, he reasoned, "I think we were a bit afraid of making a big jump after True. The trouble was that Parade the record wasn't like we did it live. People went home and were disappointed by the record." [13]
We're a rock band now.
– Gary Kemp in 1986 [13]
The band spent time in Dublin, [14] [lower-alpha 5] and Kemp began writing the songs for their next album there over the course of six months in 1985. [15] [lower-alpha 6] During that time, they socialized with the members of Def Leppard, who were also living there. [16] [lower-alpha 7] Kemp credited them for influencing the arena rock sound on the album. [17] : 2:41 [lower-alpha 8] He also credited Live Aid because he felt it made fans want to see live performances, explaining, "People are sick of sitting at home watching pretty people in videos. They want to get out of their homes and be part of it." [15]
I think it's our best album because we were playing so well on it.
– Gary Kemp in 2017 [18]
Spandau Ballet decided to try co-producing with someone else once they changed labels [11] [lower-alpha 9] and chose Gary Langan, a recording engineer they met while working with Trevor Horn. [11] [lower-alpha 10] Kemp had high praise for Langan's work with his own band, Art of Noise, as well as ABC and Billy Idol. [18] [lower-alpha 11] Spandau Ballet decided they would test him out in the role of co-producer of one song for their Parade follow-up to see if they worked well together before committing to an entire album with him in that capacity. [11] [lower-alpha 12] They recorded that song, "Fight for Ourselves", in the winter of 1986 [19] [lower-alpha 13] at Musicland Studios [20] in Munich and decided to keep Langan on as co-producer for the entire album. [19] In a 2017 documentary discussing the remastering of the album, which came to be called Through the Barricades, Langan told the band, "When I heard the demos, I think my first impression was that you'd grown up," and summarized the demos as "an adult step in writing and moving forward." [17] : 2:22 When Kemp and Langan spoke with superdeluxeedition.com about the 2017 reissue, Langan discussed how perfect the offer to do the project was for him at the time in that both he and Kemp wanted to leave behind the style of music they had been doing. He described Kemp's vision for the album as "robust." [18] [lower-alpha 14] Kemp added, "I think we were entering an era, where it was more about 'the album' than about singles, so much, for us." [18]
Kemp was confident that Through the Barricades achieved the sound of live performance they were wanting. At the time of its release, he explained to Number One, [15]
We've captured a lot of that live feel and raw energy on the new album. There are still a lot of misconceptions about us as a band. That's why we called it Through the Barricades. People still think we're all just posers and we can't play our instruments. They're not convinced until they see us play live.
After the introductory track, the first song on the album is "Cross the Line", which Kemp described as "much more arena rock for Spandau." He credits their time with Def Leppard as having been his main influence in writing it. [17] : 2:41
Kemp wrote "Virgin" (originally titled "We Are Virgin") in response to seeing the "harmful" influence that television had on the children of the band's lead singer Tony Hadley. [21] [lower-alpha 15] The band's manager, Steve Dagger, suggested performing it at Live Aid, and the band agreed, thinking such a great amount of exposure to a new song was a good idea. In retrospect, however, Kemp felt they should have only performed their hit songs and thought Dagger would agree that choosing to play "Virgin" instead was a mistake. [18] [lower-alpha 16]
Belfast native Thomas "Kidso" Reilly, who had worked for Spandau Ballet selling merchandise during their 1983 UK tour, became a casualty of The Troubles later that year when he was gunned down by a British soldier. [22] [23] When the band played in Belfast during their 1984 tour, Kemp got a first-hand look at the political climate there and was inspired to write "Through the Barricades", using what he had seen as the backdrop for a love song. [24] Hadley found that the band's emotional attachment to the song made it more difficult for him to record the vocals. [25] [lower-alpha 17] Kemp later acknowledged that Hadley gave his best performance ever. [26]
In the 2017 documentary, Kemp explained that during the mixing of the album they came up with the idea to use a "cinematic element" of the song as an introductory track for the album. Hadley provided the footsteps heard on the track. Kemp described it as "[v]ery sort of Floyd." [17] [lower-alpha 18] : 11:26
Through the Barricades was released on 17 November 1986 and received gold certification from the British Phonographic Industry on 25 November for reaching the 100,000 units of shipment threshold. [27] It entered the UK Albums Chart on 29 November to begin a chart run of 19 weeks, the first of which was spent in its peak position at number 7. [28] It also got as high as number 1 in Italy, [29] number 3 in the Netherlands, [30] number 6 on the European Albums chart [31] and in Iceland, [32] number 8 in Norway, [33] number 9 in Germany, [34] number 25 in Sweden [35] and Switzerland, [36] number 26 in Australia, [37] number 27 in Finland, [38] number 48 in New Zealand, [39] number 79 in Japan, [40] and number 84 in Canada. [41] In the US the album was released on 20 March 1987. [42] On 6 May of that year it received platinum certification in the UK for reaching shipment of 300,000 units. [27]
The 2017 reissue was initially planned as a 30th anniversary edition, but because the master tapes had been recorded using a digital machine that had not been manufactured since the 1980s, it was difficult to find one to use to transfer the recordings. Because of the delay, they missed the deadline they needed to release the reissue the previous year. [18] [lower-alpha 19]
Review scores | |
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Source | Rating |
AllMusic | [43] |
The Rolling Stone Album Guide | [44] |
At the time of its release Through the Barricades received mixed reviews from the North American trade magazines, some of which still thought the band's focus was on dance music and never acknowledged their transition to rock. RPM insisted that "Fight for Ourselves" "can definitely ignite dance floors". [45] Cashbox only wrote, "Spandau teams with Art of Noise studio wiz Langan for a sonic tour de force of melodic, stimulating dance music." [46] Billboard , however, was critical of the change, noting that "problems arise … when band ventures into harder-rockin' territory--a heavier touch from Art of Noise member Langan might have helped pull it off." [47]
The UK music magazines also had a mixed response. Number One 's Karen Swayne wrote that both the title song and the album showed that Kemp "still has a way with a catchy chorus and a sure commercial instinct". [48] Vici MacDonald of Smash Hits gave two ratings in her review: "(Music: 7 out of 10; Lyrics: 2 out of 10)". She thought the lyrics were "terrible" but found the music "extremely spirited". [49] Record Mirror 's Roger Morton also felt the need to provide two ratings: "4 out of 5 for presentation; 1 out of 5 for daring". He opined that the songs were "ultimately neutered by the self-conscious classiness of it all". [50]
Retrospective reviews were mostly critical. Paul Evans wrote a brief summary review of most of the Spandau Ballet album discography in The Rolling Stone Album Guide and gave Through the Barricades one and a half stars out of five, citing that the band "took a bizarre turn toward arena rock and power ballads." [44] In a review for AllMusic, Dan LeRoy wrote, "Rocking up Spandau Ballet's smooth white-boy soul, Through the Barricades manages to avoid utter disaster via the tuneful creations of songwriter/guitarist Gary Kemp." LeRoy argued "the production and mix prove the undoing of this effort. Most of the tunes demand guitar and drum bombast; instead, the riff-rocking 'Cross the Line' and 'Fight for Ourselves', in particular, are undercut by the polite-sounding rhythm section." He praised the title-track, which he said "became a deserved hit." [43]
"Fight for Ourselves" was released as a 7-inch single in the UK on 14 July 1986 [51] and peaked at number 15, making it their first lead single from any album not to make the top 10 there. [52] While it did chart higher in Ireland, Italy and Spain and on the European Hot 100, its peak positions in other countries were mostly lower than that of the UK. [lower-alpha 20] Lead singer Tony Hadley wrote in his 2004 autobiography To Cut a Long Story Short that the mostly unimpressive numbers "hardly squared with our hopes of global success". [62] Critics were mostly negative in their reviews. Although one described it as a "knockout", [63] others summed it up as "crummy" [64] and "absurdly paranoiac". [65]
"Through the Barricades" was released in the UK on 27 October 1986 [66] and peaked at number 6 on the UK Singles Chart. [52] Although the band thought it would be successful, they were disappointed that it did not chart higher there. [67] [lower-alpha 21] It made the top 10 in several other countries [lower-alpha 22] and received Silver certification from the British Phonographic Industry on 2 April 2021 for reaching the 200,000 units of shipment threshold. [27] In the US, Cashbox magazine reviewed the song in its Single Releases column in its 20 June 1987 issue and recommended the single to retailers and radio stations. [76] Opinions again varied overall, however, with one reviewer calling it the "best song" on the album [43] and another concluding that "even the title song's beautifully crafted, doubtlessly sincere lament for Northern Ireland ends up sounding bogus". [50]
"How Many Lies" was released in the UK on 2 February 1987 [77] and peaked at number 34 on the UK Singles Chart. [52] It charted higher in most of the handful of countries in which it found success. [lower-alpha 23] In the US, Billboard [84] and Cash Box [85] magazines noted in their respective 21 March 1987 reviews of the song for US retailers and radio stations that "How Many Lies" was the first single released there from the Through the Barricades album. This song also elicited a variety of comments, with one critic labeling it "a masterpiece", [86] another "The Pits". [87]
Dagger was especially bothered by how little promotion the album received from CBS in America. Kemp found their disinterest "ironic, given America was the reason we'd joined them in the first place". He told Dagger he blamed himself for not having repeatedly written reworkings of "True" to maintain their success. [88] [lower-alpha 24]
In his autobiography Kemp speculated as to when the first signs that the band would break up began. [89] [lower-alpha 25] He thought it was their time recording the album in France at Miraval [89] [lower-alpha 26] when he was reunited with Dominic Anciano, with whom the band had worked on videos, and Ray Burdis, a classmate Kemp and his brother Martin, the band's bassist, knew from their time at the Anna Scher Theatre School. Anciano was there to hear the songs the band was interested in making into music videos. Burdis came to discuss his desire to have the Kemp brothers portray twin gangsters Ronnie and Reggie Kray in what would be the 1990 film The Krays . [90] Their choice to participate in the film meant they were away from the studio as the band worked on their next album, Heart Like a Sky , which caused a rift between band members. [88] [lower-alpha 27] Kemp wrote, "For the rest of the band, the movie must have felt as though we were being unfaithful towards them. For my part, I felt they were being unfair, given all the commitment to the band I'd shown over the years." [88]
All tracks are written by Gary Kemp
No. | Title | Length |
---|---|---|
1. | "Barricades ‒ Introduction" | 1:17 |
2. | "Cross the Line" | 4:07 |
3. | "Man in Chains" | 5:40 |
4. | "How Many Lies?" | 5:21 |
5. | "Virgin" | 4:23 |
6. | "Fight for Ourselves" | 4:22 |
7. | "Swept" | 4:53 |
8. | "Snakes and Lovers" | 4:36 |
9. | "Through the Barricades" | 5:58 |
No. | Title | Length |
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10. | "Fight For Ourselves" (Extended Remix) | 7:27 |
11. | "Fight... The Heartache" | 4:12 |
12. | "Through The Barricades" (Extended Version) | 7:09 |
13. | "Cross The Line" (Extended Version) | 6:17 |
14. | "How Many Lies?" (Instrumental) | 5:24 |
15. | "Fight The Heartache" (Alternate Version) | 3:17 |
16. | "Through The Barricades" (Original One Track Gary Kemp Vocal Guide Demo) | 4:52 |
Spandau Ballet
Additional musicians
| Technical
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Weekly charts
| Year-end charts
|
Region | Certification | Certified units/sales |
---|---|---|
Netherlands (NVPI) [95] | Gold | 50,000^ |
Spain (PROMUSICAE) [96] | Gold | 50,000^ |
United Kingdom (BPI) [27] | Platinum | 300,000^ |
^ Shipments figures based on certification alone. |
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.
Gary James Kemp is an English songwriter, musician and actor, best known as the lead guitarist, backing vocalist, and principal songwriter for the new wave band Spandau Ballet.
Gary Michael Langan is an English engineer, record producer, mixer and musician.
"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.
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.
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.
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 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.
"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.
"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.
"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.
"How Many Lies" is a song by English new wave band Spandau Ballet, released as the third single from their 1986 album Through the Barricades. It charted in several countries but received mixed reviews.
"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.
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