The Sound of 80s Love Party

~ Pubblicazione di Various Artists (visualizza tutte le versioni di questa pubblicazione: 1 disponibile)

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#TitoloArtistaValutazioneDurata
1Fade to Grey
tecnico:
John Hudson (producer, recording and mixing engineer)
produttore:
Midge Ure e Visage (new romantic band from London)
esecutore:
Billy Currie, Rusty Egan, Dave Formula, John McGeoch, Steve Strange (Welsh pop singer, Visage) e Midge Ure
arrangiatore:
Visage (new romantic band from London)
diritti fonografici (℗) detenuti da:
PolyGram Records, Inc. (not for release label use! US division of PolyGram) (nel 1980) e Universal Records (UMG subsidiary, “RECORDS” must be a part of the logo; read annotation) (nel 1980)
registrata presso:
Genetic Studios in West Berkshire, England, Regno Unito
mixata presso:
Mayfair Sound (England) in London (Greater London), England, Regno Unito
registrazione di:
Fade to Grey
autore:
Billy Currie, Chris Payne (UK keyboards/viola for Gary Numan/Visage/Dramatis) e Midge Ure
editore:
Hot Food Music Ltd., Island Music Ltd., Mood Music Ltd. (publisher) e Performance Music Ltd
Visage4.13:45
2Tainted Love
tecnico:
Paul Hardiman
produttore:
Mike Thorne (UK producer & keyboardist)
tecnico di missaggio:
Harvey Goldberg
sassofono :
David Tofani
strumenti elettronici e altri strumenti :
Dave Ball (UK electronic musician, part of Soft Cell)
voce:
Marc Almond (English pop singer and songwriter)
voce di accompagnamento:
Vicious Pink
diritti fonografici (℗) detenuti da:
Mercury Records Ltd. (London) (for copyrights use only) (nel 1981)
registrata presso:
Advision Studios in Fitzrovia, Camden (Borgo londinese di Camden), Westminster, London (Greater London), England, Regno Unito
video musicali:
Tainted Love di Soft Cell (1980s English synth‐pop duo)
parte di:
VH1’s 100 Greatest One‐Hit Wonders of the ’80s (numero: 5), Paste: The 50 Greatest One-Hit Wonders of All Time (numero: 8), New York Post: 100 Greatest Covers (2007) (numero: 10), Pitchfork: The Story of Goth in 33 Songs, VH1: 100 Greatest Songs of the 80’s (compiled in 2006) (numero: 33) e Billboard: The 500 Best Pop Songs (as of October 2023) (numero: 46)
registrazione cover di:
Tainted Love
paroliere e compositore:
Ed Cobb
editore:
Burlington Music Co., Ltd. e Embassy Music Corporation
sub-editore:
ミュージック・セールス (Music Sales, Japan, subsidiary of Shinko Music Entertainment)
Soft Cell3.952:34
3Wonderful Life
produttore:
Dave Dix (Dave Dix)
diritti fonografici (℗) detenuti da:
A&M Records, Ltd. (nel 1987)
video musicali:
Wonderful Life di Black (UK indie pop musician Colin Vearncombe)
registrazione di:
Wonderful Life
paroliere e compositore:
Colin Vearncombe
editore:
Rondor Music Ltd. (publisher)
Black4.354:47
4Don't Dream It's Over
tecnico di registrazione:
Tchad Blake e Dennis Kirk
assistente tecnico:
Glen Holguin (engineer)
produttore:
Mitchell Froom
tecnico di missaggio:
Michael Frondelli
basso :
Nick Seymour (Nicholas More Seymour)
batteria :
Paul Hester (Australian drummer for Crowded House/Split Enz)
chitarra elettrica [Gibson Les Paul Goldtop] e voce principale:
Neil Finn
chitarra elettrica [Tom Anderson “S” Style] :
Tim Pierce (US session guitarist)
congas , mbira [kalimba] e shaker :
Jorge Bermudez
organo e tastiera :
Mitchell Froom
voce di accompagnamento:
Noel Crombie, Jim Gilstrap, Andy Milton e Joe Satriani
diritti fonografici (℗) detenuti da:
Capitol Records, Inc. (not for release label use; US company behind the “Capitol Records” imprint) (nel 1986)
registrata presso:
Capitol Studios (Hollywood, CA, founded 1956) in Hollywood, Los Angeles, California, Stati Uniti e Sunset Sound Factory (1982–2017) in Hollywood, Los Angeles, California, Stati Uniti
mixata presso:
Studio 55 in Los Angeles, California, Stati Uniti
parte di:
triple j’s Hottest 100 of Australian Songs (numero: 5)
registrazione di:
Don’t Dream It’s Over
paroliere e compositore:
Neil Finn
editore:
Chrysalis Music (music publisher, ASCAP-affiliated), EMI Music Publishing Ltd. (PRS‐affiliated), Mushroom Music (Mushroom label’s publishing company), Mushroom Music Publishing e Roundhead Music (Neil Finn)
parte di:
APRA Top 100 New Zealand Songs of All Time (numero: 2)
Crowded House3.93:50
5Do You Really Want to Hurt Me
assistente tecnico:
Gordon Milne (engineer)
tecnico e produttore:
Steve Levine (producer)
tecnico di missaggio:
Steve Levine (producer) e Jon Moss
batteria e vibrafono :
Jon Moss
chitarra , pianoforte elettrico e sintetizzatore :
Roy Hay (Member of Culture Club and composer for film and television)
chitarra basso :
Mikey Craig (Culture Club bassist)
synclavier :
Keith Miller (Synthesiser Pioneer)
voce aggiuntiva:
Helen Terry (UK singer)
voce principale:
Boy George
diritti fonografici (℗) detenuti da:
Virgin Records Ltd. (not for release label use! for company relationships only) (nel 1982)
registrata presso:
Red Bus Studios in London (Greater London), England, Regno Unito (nel 1982)
video musicali:
Do You Really Want to Hurt Me di Culture Club (English pop group)
parte di:
VH1: 100 Greatest Songs of the 80’s (compiled in 2006) (numero: 58)
registrazione di:
Do You Really Want to Hurt Me
autore:
Mikey Craig (Culture Club bassist), George O’Dowd, Roy Hay (Member of Culture Club and composer for film and television) e Jon Moss
editore:
EMI Virgin Music Australia Pty Ltd, EMI Virgin Music Ltd. (do not use this as a release label!), EMI Virgin Music Publishing Australia P/L, J. Albert & Son Pty. Ltd. e Virgin Music (Publishers) Ltd.
Culture Club3.954:23
6Johnny and Mary
tecnico e tecnico di missaggio:
Alex Sadkin
produttore:
Robert Palmer (English singer‐songwriter)
diritti fonografici (℗) detenuti da:
The Island Def Jam Music Group (American holding company, not normally a release label) (nel 1980)
registrazione di:
Johnny and Mary
paroliere e compositore:
Robert Palmer (English singer‐songwriter)
editore:
Bungalow Music, Bungalow Music N.V., Island Music (Island Music Ltd.) e Warner/Chappell (Warner/Chappell Music, Inc.)
Robert Palmer4.43:58
7Maniac
produttore:
Phil Ramone e Michael Sembello
voce:
Michael Sembello (nel 1983)
diritti fonografici (℗) detenuti da:
Polygram Records, Inc. (New York) (not for release label use! US division of PolyGram) (nel 1983) e The Island Def Jam Music Group (American holding company, not normally a release label) (nel 1983)
registrazione di:
Maniac (nel 1983)
autore:
Dennis Matkosky e Michael Sembello
editore:
Copyright Control (not for release label use! this is only for copyrights and publishing relationships), Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody), Intersong Music, Intersong Music Ltd., Intersong USA, Inc. (publisher), Riva Music Ltd., Rondor Music (London) Ltd., Sony/ATV Harmony, Warner Bros. Music Co. Inc., Warner Bros. Music Corp. e WB Music Corp. (1929–2019)
parte di:
The 56th Academy Award for Best Original Song (numero: 2) e Academy Award for Best Original Song (numero: 1983 nominee)
Michael Sembello4.154:02
8I Don't Like Mondays
registrazione di:
I Don’t Like Mondays
paroliere e compositore:
Johnnie Fingers e Bob Geldof
editore:
Campbell Connelly, Mushroom Music Pty. Ltd., Sewer Fire Hits Ltd, Zomba Enterprises, Inc. e Zomba Music Publishing Ltd.
The Boomtown Rats3:46
9Shout
produttore:
Chris Hughes (producer, aka “Merrick”)
diritti fonografici (℗) detenuti da:
Phonogram Ltd. (London) (company name, NOT a label!) (nel 1984) e Mercury Records Ltd. (not for release label use!) (nel 2014)
registrazione di:
Shout (nel 1984)
autore:
Roland Orzabal (UK musician, songwriter and producer) e Ian Stanley
editore:
10 Music Ltd., BMG Rights Management (UK) Ltd. (not for release label use! see annotation), Roland Orzabal Ltd. e Virgin Music (Publishers) Ltd.
Tears for Fears3.754:49
10Crockett's Theme
registrazione di:
Crockett’s Theme (Miami Vice)
compositore:
Jan Hammer
editore:
Involved Publishing Ltd, MCA Music Inc. (Universal Music Philippines’ legal name) e Universal/MCA Music Ltd. (not for release label use!)
Jan Hammer3.53:29
11Wouldn't It Be Good
tecnico di registrazione:
Julian Mendelsohn (Australian record producer and engineer) (nel 1983)
assistente tecnico:
Roger Howorth
produttore:
Peter Collins (producer)
tecnico di missaggio:
Julian Mendelsohn (Australian record producer and engineer)
voce principale:
Nik Kershaw (nel 1983)
arrangiatore corno :
Jerry Hey e Nik Kershaw
arrangiatore:
Nik Kershaw
diritti fonografici (℗) detenuti da:
MCA Records, Inc. (do not use as a release label! a division of UMG Recordings, Inc.) (nel 1983, nel 1984) e MCA Records Ltd. (do not use as an imprint; UK subsidiary of MCA Records) (nel 1984)
mixata presso:
Sarm East Studios (1973–2013, fka Sarm Studios from 1973–1982) in Aldgate, Tower Hamlets, London (Greater London), England, Regno Unito
parte di:
VH1’s 100 Greatest One‐Hit Wonders of the ’80s (numero: 88)
registrazione di:
Wouldn’t It Be Good (nel 1983)
paroliere e compositore:
Nik Kershaw
editore:
Arctic King, Imagem Music GmbH (subsidiary of Dutch music publishers Imagem), Imagem Music UK, Imagem Songs Ltd., Irving Music, Inc., Mamal, Rondor Music, Rondor Music (London) Ltd., Universal Music Publishing (use ONLY if no country‐specific information is available), Universal Music Publishing, Synch Division e Yamaha Music EH(CM)
parte di:
Gotcha! (1985 film soundtrack)
Nik Kershaw44:27
12The Great Commandment
diritti fonografici (℗) detenuti da:
Metronome Musik GmbH (marketing & distribution dept. spun off from Metronome Records GmbH — do not use as a release label) (nel 1987)
registrazione di:
The Great Commandment
paroliere:
Marcus Meyn
compositore:
Oliver Kreyssig, Heiko Maile e Marcus Meyn
editore:
Blue Box Publishing Promotion Karin Wirthmann e Golden Cloud Ltd.
Camouflage54:06
13Somebody's Watching Me
tecnico di registrazione:
Arne Frager, Joe Q. Hall (engineer), Booker T. Jones III e Scott Skidmore
programmazione degli strumenti:
Rockwell (R & B – “Somebody’s Watching Me”) (nel 1983)
produttore:
Curtis Anthony Nolen e Rockwell (R & B – “Somebody’s Watching Me”)
batteria , drum machine , organo , sintetizzatore e vocoder :
Rockwell (R & B – “Somebody’s Watching Me”) (nel 1983)
voce:
Michael Jackson (“King of Pop”)
voce di accompagnamento:
Jermaine Jackson (soul/pop singer, of Jackson 5) (nel 1983) e Michael Jackson (“King of Pop”) (nel 1983)
arrangiatore:
Curtis Anthony Nolen e Rockwell (R & B – “Somebody’s Watching Me”)
arrangiatore voci:
Curtis Anthony Nolen
diritti fonografici (℗) detenuti da:
Motown Record Corporation (company credits only; do NOT use as release label) (nel 1983) e UMG Recordings, Inc. (operational headquarters of Universal Music Group, based in Santa Monica, USA; read annotations) (nel 2021)
arrangiata per e è stato produttore per:
Super Three Productions
registrata presso:
Mars Recording Studio (Hollywood) in Hollywood, Los Angeles, California, Stati Uniti (nel 1983)
mixata presso:
Motown Studios - Hitsville West (recording and mastering studios in West Hollywood, CA) in West Hollywood, California, Stati Uniti
video musicali:
Somebody’s Watching Me di Rockwell (R & B – “Somebody’s Watching Me”)
parte di:
Billboard Hot 100: 2025-11-15 (numero: 24)
registrazione di:
Somebody’s Watching Me
paroliere e compositore:
Rockwell (R & B – “Somebody’s Watching Me”)
editore:
EMI Music (do not use as release label! this is a music publisher) e Jobete Music (appears also as: Jobete Msc.)
Rockwell4.54:52
14Tarzan Boy
registrata a:
Italia
produttore:
Maurizio Bassi
arrangiatore:
Maurizio Bassi
registrazione di:
Tarzan Boy
paroliere:
Naimy Hackett
compositore:
Maurizio Bassi
editore:
EMI Music Publishing (do not use as a release label!) e Screen Gems–EMI Music, Inc. (USA, affiliated with BMI)
Baltimora3.73:49
15The Look of Love
tecnico:
Gary Langan
produttore:
Trevor Horn
chitarra basso :
Mark Lickley
tastiera :
Mark White (ABC/Vice Versa)
voce principale:
Martin Fry
arrangiatore archi :
Anne Dudley (English score composer)
diritti fonografici (℗) detenuti da:
Mercury Records Ltd. (not for release label use!) (nel 1982), Mercury Records Ltd. (London) (for copyrights use only) (nel 1982), Phonogram Ltd. (not for release label use!) (nel 1982) e Phonogram Ltd. (London) (company name, NOT a label!) (nel 1982)
mixata presso:
Sarm Studios (1973–2013, fka Sarm Studios from 1973–1982) in Aldgate, Tower Hamlets, London (Greater London), England, Regno Unito (nel 1982)
parte di:
TV Cream: Real 100 Best Singles Ever (numero: 4), The Downloader’s Music Source Book (numero: 73) e VH1: 100 Greatest Songs of the 80’s (compiled in 2006) (numero: 43)
registrazione parziale di:
The Look of Love
autore:
Martin Fry, David Palmer (drummer (ABC/The The)), Stephen Singleton e Mark White (ABC/Vice Versa)
editore:
10 Music Ltd., Copyright Control (not for release label use! this is only for copyrights and publishing relationships), Neutron Music, Neutron Music Ltd., Virgin Music (Publishers) Ltd. e Virgin Music, Inc. (US arm of Virgin’s publishing company)
parte di:
Mantrap (ABC long-form film)
ABC3.93:29
16Up Where We Belong
produttore:
Stewart Levine (record producer and saxophonist)
batteria :
Leon Ndugu Chancler
chitarra :
Louie Shelton
percussione :
Paulinho da Costa (Brazilian percussionist)
tastiera :
Robbie Buchanan (Canadian producer) e Bobby Lyle
voce principale:
Joe Cocker e Jennifer Warnes
diritti fonografici (℗) detenuti da:
Island Records, Inc. (US, Island holding) (nel 1982) e The Island Def Jam Music Group (American holding company, not normally a release label) (nel 1982)
registrazione di:
Up Where We Belong (An Officer and a Gentleman)
paroliere:
Will Jennings
compositore:
Jack Nitzsche (American musician and score composer) e Buffy Sainte‐Marie
editore:
Copyright Control (not for release label use! this is only for copyrights and publishing relationships), Ensign Music Corporation, Famous Chappell e Famous Music Corporation (renamed since 2007‐05 as Sony/ATV Harmony/Melody)
parte di:
The 55th Academy Award for Best Original Song (numero: 1) e Academy Award for Best Original Song (numero: 1982 winner)
Joe Cocker & Jennifer Warnes3.53:51
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