Bang! (1985 Frankie Goes to Hollywood album)
Bang! is a compilation album by Frankie Goes to Hollywood given a Japan-only release during 1985. It is the first compilation album by the group, the first to gather together various remixes that were difficult to find at the time; the album has subsequently become a collectors item in its own right. For collectors, the inclusion of the Hibakusha mix of "Two Tribes" was a real; this mix was released on the rare third 12", catalogue number X ZIP 1. All songs written by Peter Gill/Holly Johnson/Brian Nash/Mark O'Toole. "War" – 8:37 "Relax" – 7:20 "Black Night White Light" – 4:08 "Welcome to the Pleasuredome" – 8:08 "Two Tribes" – 6:38 "The Power of Love" – 5:30 "War" can be found on the EP from 2001. "Black Night White Light" and "The Power Of Love" are the common album versions from Welcome to the Pleasuredome. "Two Tribes" and "Relax" saw their first CD releases on this album, but can now be found on the CD EP. "Welcome to the Pleasuredome" remains exclusive for this release
Twelve Inches is a compilation album by Frankie Goes to Hollywood, featuring many remixes that had only been available in their original twelve-inch format. The track listing for the German CD differs from the one released in other territories; the tracks have been remastered louder as compared to the originals. CD 1 "Relax" – 16:24 "Two Tribes" – 6:37 "Welcome to the Pleasuredome" – 12:14 "Rage Hard" – 4:59 " Of Your Little Mind" – 4:15 "Watching the Wildlife" – 10:15 "Warriors of the Wasteland" – 6:32 "War" – 8:34 "Rage Hard" – 7:01CD 2 "Welcome to the Pleasuredome" – 5:12 "Warriors of the Wasteland" – 9:56 "Two Tribes" – 5:09 "Disneyland" – 3:07 "Rage Hard" – 8:42 "Watching the Wildlife" – 9:08 "Warriors of the Wasteland" – 8:10 "Power of Love'93" – 5:10 "Relax" – 10:17 CD 1 "Warriors of the Wasteland" – 6:32 "Relax" – 7:22 "Two Tribes" – 5:09 "Welcome to the Pleasuredome" – 12:14 "Rage Hard" – 4:59 "Warriors of the Wasteland" – 9:56 "Watching the Wildlife" – 10:15 "War" – 8:34 "Disneyland" – 3:07The track labelled "Relax" is "Relax".
CD 2 "Warriors of the Wasteland" – 8:10 "Two Tribes" – 6:11 "Welcome to the Pleasuredome" – 5:12 "Rage Hard" – 7:01 "Power of Love'93" – 5:10 "Relax" – 16:24 "Watching the Wildlife" – 9:08 "Rage Hard" – 8:42 "Two Tribes" – 8:37"Two Tribes" is unavailable on any other official release. 2001: "Relax" Twelve Inches at Discogs
"Suffragette City" is a song by David Bowie. From The Rise and Fall of Ziggy Stardust and the Spiders from Mars album in 1972, it was issued as a single in 1976 to promote the Changesonebowie compilation in the UK, with the US single edit of "Stay" on the B-side; the single failed to chart. Recorded on 4 February 1972, towards the end of the Ziggy Stardust sessions, "Suffragette City" features a piano riff influenced by Little Richard, a lyrical reference to the book and film A Clockwork Orange and the sing-along hook "wham bam, thank you, ma'am!". Before recording it himself, Bowie offered it to the band Mott the Hoople if they would forgo their plan to break up; the group recorded Bowie's "All the Young Dudes" instead. "Suffragette City" – 3:25 "Stay" – 3:21 Producers: Ken Scott on "Suffragette City" David BowieMusicians:David Bowie: Vocals, Guitar Mick Ronson: Guitar, piano, ARP 2600 synthesizer Trevor Bolder: Bass Mick Woodmansey: Drums It was released as the B-side of the singles "Starman" in April 1972 and "Young Americans" in February 1975.
A picture disc release appeared in the RCA Life Time picture disc set. It appeared on the following compilations: The Best of David Bowie Changesonebowie Changesbowie Bowie: The Singles 1969-1993 The Singles Collection RarestOneBowie The Best of David Bowie 1969/1974 Best of Bowie It was released in the music rhythm game Rock Band. Bowie recorded the song for the BBC radio programme "Sounds of the 70s: John Peel" on 16 May 1972, this performance was broadcast on 23 May 1972. In 2000, this recording was released on the Bowie at the Beeb album. A live version recorded at Santa Monica Civic Auditorium on 20 October 1972, during a Ziggy Stardust Tour concert, has been released on Santa Monica'72 and Live Santa Monica'72; the version played at the famous concert at the Hammersmith Odeon, London on 3 July 1973 was released on Ziggy Stardust - The Motion Picture. A live recording from the first leg of the Diamond Dogs Tour was released on David Live; this version was released in the Sound + Vision box set.
A live recording from the second leg of the same tour was released in 2017 on Cracked Actor. A live performance recorded on 23 March 1976 during the Isolar Tour was included on Live Nassau Coliseum'76, released as part of the 2010 reissues of the Station to Station album, on the 2016 collection Who Can I Be Now?, as a stand–alone album in 2017. A live version recorded in late April 1978 during the Isolar II Tour was included on the 2017 edition of Bowie's live album Stage, released in the box set A New Career in a New Town, as a stand–alone album in 2018. A summer 1978 performance from the same tour was released on the live album Welcome to the Blackout in 2018. On many live versions, the lyric "Cause you ain't got time to check it" is replaced with a repetition of the lyric: "Cause you can't afford the ticket". Pegg, The Complete David Bowie, Reynolds & Hearn Ltd, 2000, ISBN 1-903111-14-5 Lyrics of this song at MetroLyrics Featured in "Driver: Parallel Lines"
Welcome to the Pleasuredome (song)
"Welcome to the Pleasuredome" is the title track to the 1984 debut album by Frankie Goes to Hollywood. The lyrics of the song were inspired by the poem Kubla Khan by Samuel Taylor Coleridge. In March 1985, the album track was abridged and remixed for release as the group's fourth UK single. While criticized at the time of release and afterward for being a song that glorifies debauchery, the lyrics make clear that the point of the song, just as Coleridge's poem, is about the dangers of this kind of lifestyle; this song, along with "Relax", made Frankie Goes to Hollywood more controversial than they were. Despite the group's record label pre-emptively promoting the single as "their fourth number one", an achievement that would have set a new UK record for consecutive number one singles by a debuting artist, "Welcome to the Pleasuredome" peaked at number two in the UK singles chart, being kept off the top spot by the Phil Collins/Philip Bailey duet "Easy Lover"; the single spent a total of eleven weeks on the UK chart.
It was the first release by the group not to reach number one and, despite representing a creditable success in its own right, it symbolically confirmed the end of the chart invincibility that the group had enjoyed during 1984. Frankie Goes to Hollywood would not release another record for seventeen months, they would fail to emulate their past glories upon their return; the spoken-word introductions to both 12-inch mixes are adapted from Walter Kaufmann's 1967 translation of Friedrich Nietzsche's The Birth of Tragedy. The recitation on the first 12-inch is by Gary Taylor, whilst that on the second 12-inch and the cassette is by actor Geoffrey Palmer, it is unknown whether Palmer's concluding "Welcome To The Pleasuredrome" was a genuine mistake or a deliberately scripted one. This is the only single from the group, not released on a CD single at that time. "Relax", "Two Tribes" and "The Power of Love" all saw a CD-maxi release in Germany at the end of the'80s. "Welcome to the Pleasuredome" was not given such a release.
However, the 7" vinyl single was released in two different mixes, it was purely random as to which one you ended up with, as both mixes were in identical sleeve designs and carried the same catalogue number. Not only that, but the subtitle used to identify different mixes was identical on both record labels, with only the matrix number on the run out groove giving the game away; the first 7" carried the normal 7" single mix, guitar driven. However, the "secret" alternative mix was quite different, featured on the Apple shaped Picture Disc; the subtitle for that disc was'alternative reel' but on the 7" single the subtitle remained unchanged as'altered real'. In fact, although appearing to be identical sleeves, the two mixes were released in different ones; the standard 7" mix came in a thick paper sleeve, whereas the "secret" one came in a thin paper sleeve. All releases featured either a short, long or longer version of "Get It On" recorded for a BBC Radio 1 session in 1983, plus a faded or full length version of "Happy Hi!", a brand-new song.
Both "Relax" and "Born To Run" are live recordings, based on an actual live appearance on The Tube's "Europe A-Go-Go" in Newcastle during early January 1985. The video, by Bernard Rose, features the group stealing a car, going to a carnival and encountering all manner of deceptively "pleasureable" activities; the audio soundtrack of the video was included as part of the cassette single. In 1984, a few months prior to the album's release, an early instrumental version of the album track was issued as a promotional 12-inch single, entitled "Welcome to the Pleasuredome", along with a similar early instrumental of "The Only Star in Heaven"; these tracks were subsequently given wider release as part of the B-side to the second 12-inch of "The Power of Love" single. "Welcome to the Pleasuredome" was used on several promotional records in the USA during 1985, featuring the following tracks in various combinations: The first UK 7-inch mix of the track, labeled "Trevor Horn Remix". An edited version of the album track created by the Sacramento radio station KZAP, known as "Welcome to the Pleasuredome" A version of the second UK 7-inch mix with a new introduction added, known as "Welcome to the Pleasuredome".
This is on the Bang! Japanese album and CD. A edited version of "Relax" All discographical information pertains to the original UK single release only. All songs written by Peter Gill/Holly Johnson/Brian Nash/Mark O'Toole. "Welcome to the Pleasuredome" – 4:20 "Get It On" — 3:28 "Happy Hi!" — 3:47Matrix numbers on A-side: 1U/2U "Welcome to the Pleasuredome" – 5:05 "Get It On" – 3:28 "Happy Hi!" – 3:47Matrix numbers on A-side: 7U/8U "Welcome to the Pleasuredome" – 5:05 "Get It On" – 2:32 "Happy Hi!" – 4:04apple-shaped picture disc single "Welcome to the Pleasuredome" – 4:20 "Relax" – 4:26 "Welcome to the Pleasuredome" – 9:42 "Get It On" – 2:32 "Happy Hi!" – 4:04 "Relax" — 4:51"Relax" was rereleased in 2012 on CD Sexmix Disk 1, Track 6 in a slightly edited version. A'Fruitness'"Welcome to the Pleasuredome" (a.k.a. Fruitness
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
"Roadhouse Blues" is a song by the American rock band the Doors. Written by Jim Morrison, it appeared as the B-side of "You Make Me Real", was first released as a single from the album Morrison Hotel in March 1970. S. Billboard Hot 100; the song became a concert staple for the group and it has been covered by numerous artists by British rock group Status Quo. It took two days to record the song with producer Paul A. Rothchild striving for perfection. Several takes from these sessions were included on the 2006 remastered album. Rothchild does not comment on Morrison, intoxicated, "going into full blues singer mode", improvising and flubbing several lyrics and repeating the blues phrase "Money beats soul every time"; the phrase can be found on the When You're Strange: Music from the Motion Picture soundtrack, with the next track being a live version of "Roadhouse Blues". The sessions took off only on the second day, when resident Elektra guitarist Lonnie Mack joined in on bass and ex-Lovin' Spoonful frontman John Sebastian contributing harmonica sat in.
A studio version of the song with John Lee Hooker sharing vocals with Morrison can be found on the Stoned Immaculate: The Music of The Doors album. There exists a misconception that Mack contributed both the guitar solo and the bass guitar on the track. Mack himself stated that he had "played bass". In actuality, Mack's contribution is indeed limited to bass guitar and guitarist Robby Krieger is responsible for all other guitar parts on "Roadhouse Blues". Jim Morrison shouts "Do it, Robby, do it!" at the start of the guitar solo. The solo on record is representative of Krieger's fingerstyle playing and is identical to all his versions played in the previous day's session. Subsequent interviews with members of The Doors and Rothchild confirm this; the complete song was composed and rehearsed before Lonnie Mack was invited to play bass on "Roadhouse Blues" and "Maggie M'Gill". Mack had quit touring and was working for Elektra Records at the time, but returned to music after playing bass at the session.
Alice Cooper claimed he was the inspiration for the line "Woke up this morning and I got myself a beer", as stated on his Planet Rock morning show. A live version appeared on the posthumous album An American Prayer and that same version can be heard again on In Concert and Greatest Hits. During this rendering, Jim Morrison talks for a short while to a female audience member about his Zodiac sign and, with a sudden, ironic twist that causes the audience to erupt in laughter, denounces his belief in it; the song was featured twice in the movie The Doors. Jim Morrison - vocals Robby Krieger - guitar Ray Manzarek - piano John Densmore - drums Lonnie Mack - bass John Sebastian - harmonica Status Quo, while touring in Bielefeld, Germany in 1970, heard the Door's recording shortly after it was released, they were looking for a change of direction, away from their original psychedelic pop style, were unsure about what to do. The group recorded a studio version on the 1972 album Piledriver, with bassist Alan Lancaster taking the lead vocal and featuring an extra verse with three-part harmonies, which the Doors' recording did not have.
The lyrics were different to the original, for instance: "I should have made you" instead of "Ashen lady". The track was released as a promotional single, with Black Sabbath's "Children of the Grave" on the B-side; the song was a regular feature of Quo's live setlist throughout the 1970s, its performance coming towards the end of the show. It was extended to allow a jam session in the middle, featuring snippets of other songs, including the traditional "The Irish Washerwoman" and "Shakin' All Over". A14-minute version appears as the final track on 1977's Live. In 1992, the live album Live Alive Quo featured Roadhouse Medley, which blended other songs into the main Roadhouse Blues riff."Roadhouse Blues" was revived for the "Frantic Four" tours in 2013. In 2014, a deluxe reissue of Piledriver included a 15-minute live version, recorded in 1973. Alan Lancaster - lead vocals, bass Francis Rossi - lead guitar, backing vocals Rick Parfitt - rhythm guitar, backing vocals John Coghlan - drums Bob Young - harmonica Jimmy Horowitz - piano Other artists who have recorded cover versions include Deep Purple, Lana Del Rey, Bon Jovi, The Cult, Status Quo, Mahogany Rush, Frankie Goes to Hollywood, Los Lonely Boys.
Live covers have been released by Meat Loaf, Eric Burdon, Eppu Normaali and Creed. U. S. hard-rock band Blue Öyster Cult released a live version, recorded Dec. 15, 1981 at the Country Club in Reseda, CA, on Extraterrestrial Live, featuring Robby Krieger joining the band on guitar. The Jeff Healey Band performs the song in the movie Road House; the song was played by the surviving Doors and Eddie Vedder at The Doors' Rock and Roll Hall of Fame induction in 1993. In addition, a bootleg recording of this song performed by Vedder and others surfaced in 2001; the Crystal Method di
Welcome to the Pleasuredome
Welcome to the Pleasuredome is the debut studio album by Frankie Goes to Hollywood, first released by ZTT and Island Records on 29 October 1984. Issued as a vinyl double album, it was assured of a UK chart entry at number one due to reported advance sales of over one million; the album was a top ten seller internationally in countries such as Switzerland and New Zealand. While commercially successful, the album drew criticism for containing new versions of all of the songs from the group's hit singles from the same year, as well as a surfeit of cover versions in lieu of much new original material, it was revealed that Trevor Horn's production dominated the record so that the band's own instrumental performances were replaced by session musicians or Horn himself. Frankie's second album, Liverpool featured the full band. However, the album's evergreen ballad "The Power of Love" subsequently provided the group with their third consecutive UK number one single. To celebrate the album's 30th anniversary, in October 2014, ZTT through Union Square Music released a limited edition box set entitled Inside the Pleasuredome, available from the website pledgemusic.com.
The box set contains rarities on 10" vinyl, as well as a book, a DVD, a cassette as well as a new 2014 remastered version of Welcome to the Pleasuredome on 180g vinyl. All songs written and composed by Peter Gill, Holly Johnson, Brian Nash and Mark O'Toole except where noted; the entire first side was indexed as one track on vinyl, much like the 12" singles from this album. "" was an unlisted orchestral extract from "Two Tribes" and featured an impersonation of HRH Prince Charles ruminating about orgasms. "War" features a long introduction with a percussion track and an impersonation of Ronald Reagan in a long soliloquy about war and love. "Ferry" was a short version of "Ferry Cross the Mersey", the Gerry and the Pacemakers track that backed Frankie's first 12-inch single, "Relax". A brief extract of the vocals from this featured on side one as "Snatch of Fury" The LP was issued as a double picture disc in transparent PVC sleeve, cat no: NEAT 1. Some, though not all copies of this release suffer from deterioration of the clear vinyl in the form of "Browning" which gives the records a bronze hue over time.
However, the sound quality is not affected. The album was released on cassette, cat no: ZCIQ1. Stocks of the cassette shells were subsequently used for the 1985 release of the cassette single "Welcome to the Pleasuredome" with a sticker carrying the correct information covering over the pre printed album shells; the original CD version had an altered track list, offering several tracks in different versions, omitting the cover version of "Do You Know the Way to San Jose" and replacing it with the track "Happy Hi!". "The World Is My Oyster" – 1:57 "Welcome to the Pleasuredome" – 13:38 "Relax" – 3:56 "War" – 6:12 "Two Tribes including The Last Voice" – 10:22 "Born to Run" – 4:13 "Happy Hi!" – 4:12 "Wish including The Ballad of 32" – 7:35 "Krisco Kisses" – 2:57 "Black Night White Light" – 4:05 "The Only Star in Heaven" – 4:16 "The Power of Love" – 5:28 "Bang" – 1:08Several CD reissues omit the vocals on "Snatch of Fury". A digitally remastered version was issued in 2000 including the bonus B-side tracks "One September Monday" and "One February Friday".
In 2010, a deluxe edition of Welcome to the Pleasuredome was released, featuring a second disc containing rare and unreleased material. The first CD contains the LP version of the original album; the contents of the second CD are as follows: "Relax" – 16:59 "One September Monday" – 04:49 "The Power of Love" – 09:30 "Disneyland" – 03:07 "Two Tribes" – 04:10 "War" – 04:00 "Welcome To The Pleasuredome" – 05:40 "One February Friday" – 05:00 "The Ballad of 32" – 11:03 "Who Then Devised the Torment?" – 00:16 "Relax" – 06:18 "Watusi Love Juicy" – 04:03 "The Last Voice" – 01:14 The album was reissued by Union Square Music under the Salvo label on limited edition white vinyl and was available from larger branches of Sainsbury's. The original gatefold format has been retained, as has the original artwork and track listing. Holly Johnson – lead vocals Paul Rutherford – backing vocals Brian Nash – guitar Mark O'Toole – bass guitar Peter Gill – drumsAdditional personnel J. J. Jeczalik – keyboards, software Andrew Richards – keyboards Luís Jardim – percussion Anne Dudley – keyboards, string arrangement on "The Power of Love" Stephen Lipson – guitar Steve Howe – acoustic guitar Trevor Horn – backing vocals, bass guitarProduction Produced by Trevor Horn Engineers – Stuart Bruce, Steve Lipson Mastering – Ian CooperTechnical Cover concept - Paul Morley Illustration by Lo Cole Cover photography - Peter Ashworth Welcome to the Pleasuredome at Radio3Net