I keep getting Emails from people asking me to re-upload the links and music etc. I think people are just getting to those particular pages so are not reading the reason for the dead links.
So I am putting this in place so hopefully people will read it and stop Emailing me about it.
The reason the links are dead is that my account with Media Fire has been closed with all 11,000 files lost. That is why you can not download the things and No I can not re-upload them.
Eventually I will start doing that again when I have found something suitable. In the meantime this blog will be information only blog.
Thank you all
Michaael
New Blog Forum
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'Underground' is a song from the soundtrack of the film Labyrinth, performed by David Bowie.
The track was something of an experiment for Bowie, dabbling in gospel music to a small extent, helped by a large chorus of backing vocalists and blues guitarist Albert Collins, but retaining use of synthesizers.
Steve Barron directed the video clip for promoting the song, which featured images of Bowie’s most notable “roles”, including Ziggy Stardust, The Thin White Duke (Bowie’s 1975 persona, explicitly named during the title track of Station to Station), Thomas Newton (from The Man Who Fell to Earth), Jareth (from Labyrinth) and Baal, before Bowie dances with the puppet characters from the film and turns into a cartoon himself.
The single reached number 21 in the UK charts. A video for 'As the World Falls Down', another track from the Labyrinth album, was mooted for a Christmas 1986 single release, with a 3:36 edit and another Steve Barron video made. However, this release was cancelled, for reasons that are still largely unknown. The video, comprising mainly of clips from the film, has since been released on Bowie collections. In January 1987, another track from the soundtrack, 'Magic Dance,' was issued as an American 12” only release.
Over the years it has been speculated that Underground was the inspiration for Madonna's 1989 hit 'Like a Prayer', which also features a pop melody combined with a gospel song. 1987's 'Man in the Mirror,' co-written and sung by Michael Jackson, is another possible influence on 'Like a Prayer' and, indeed, 'Underground' could have been an influence on 'Man in the Mirror.'
Click the link below to download the following: Video Single Version Extended Dance Mix Instrumental Version
'We Don't Need Another Hero (Thunderdome)' is the hit theme song to the 1985 film Mad Max Beyond Thunderdome. Written by Terry Britten and Graham Lyle, the song was performed by Tina Turner, who also played the role of Aunty Entity in the movie, and produced by Britten.
'We Don't Need Another Hero (Thunderdome)' was released at the peak of Tina Turner's musical career, on the heels of her multiplatinum Private Dancer album and its many hit singles. The song's lyrical content and theme is mostly a statement of anti-war and anti-violence. The version played during the film differs from the version on the album and single. The song was also released in an extended, six-minute-plus 12" version, included on the soundtrack album.
The song received a Golden Globe nomination for Best Original Song in 1986 and a 1986 Grammy nomination for Best Female Pop Vocal Performance.
The video is generally considered to be one of Tina Turner's best, and remains one of her most well-known and recognizable music videos. The video features an iconic Tina Turner dressed in a heavy chain mail gown, more or less in character as Aunty Entity. Striking a bold pose atop an illuminated circular pedestal, as several spotlights train themselves on her and the camera swoops beneath her, she proceeds to sing atop the platform while various scenes from the movie are shown. In the last part of the song, Turner's tour saxophonist Tim Capello and a children's choir accompany Tina.
The music video received an MTV Video Music Award nomination for Best Female Video.
The song was written and produced by the same people behind Turner's Private Dancer album. Turner was backed by a choral group from King's House School in Richmond, London. One of the choir members who appeared on the record, Lawrence Dallaglio, became famous in a totally different field as a rugby union star and captain of the England national team.
Click the link below to download the following: Video Extended Video Single Version Instrumental Versionextended Version
'Crazy' is the name of a 1984 single by British pop group Five Star.
It was their third single and would later be included on their 1985 debut album Luxury of Life.
It was written by Gary Bell (who co-wrote their later hit 'System Addict'), and Anne Dudley, one of the UK's top female songwriters and composers.
This is one of a few that I did not get around to buying. If anyone has this to share, especially the Extended and Instrumental Versions, then let me know. Thank you.
Click the link below to download the following: Video Album Version
'Brothers in Arms' is a 1985 song by Dire Straits, appearing as the last track on the album of the same name. It peaked at number 16 in the UK.
There are actually two studio recorded versions of this song: the album version which is 6:55 seconds, and the shorter version which is 6:05 seconds and features slightly different (and shorter) solos at the beginning and end of the song. The version that appears on Dire Straits' greatest hits album, The Very Best of Dire Straits, is 4:55. The version featured on the live album On the Night contains an extra slide guitar solo and is 8:55. Mark Knopfler usually played the song on a Gibson Les Paul guitar, rather than his usual Schecter "Stratocaster", and a Les Paul appears in the distinctive promo video, which is in the style of a charcoal drawing, interspersing scenes of the band playing with scenes of war. During Dire Straits' 1992 On Every Street tour, Knopfler used his Pensa Suhr MK1 for this song, like most of the others.
The single was re-released to promote the compilation album, which came out just in time for Christmas 1988, but this re-release was unsuccessful in all territories.
Click the link below to download the following: Video Single Version Going Home - Live - B-Side
'Some Great Reward' is the fourth album by the British electronic group Depeche Mode, released in 1984. The album peaked at number 5 in the UK and at number 54 in the US.
The title comes from the last lines of the bridge in 'Lie to Me' when it repeats near the end.
Traclisting:
01 - Something To Do 02 - Lie To Me 03 - People Are People 04 - It Doesn't Matter 05 - Stories Of Old 06 - Somebody 07 - Master And Servant 08 - If You Want 09 - Blasphemous Rumours
'Our Lips Are Sealed' is a song written by Go-Go's guitarist Jane Wiedlin and Specials and Fun Boy Three singer Terry Hall.
It was first recorded by The Go-Go's as the lead-off song on their 1981 album Beauty and the Beat, and served as their debut American single. In 2000 Rolling Stone named it one of the 100 Greatest Pop Songs of all time.
In 1983 Fun Boy Three recorded their version of the song and had a major hit with it as it made it to number 7 on the UK singles Chart.
Click the link below to download the followinng: Video Single Version Special Club Remix Urdu Version Zipper Mix Going Home - Live - Bonus Limited Single We're Having All The Fun - Bonus Limited Single
'Construction Time Again' is the third studio album by the British synthpop band Depeche Mode, released in 1983. This was the first Depeche Mode album with Alan Wilder, who composed the songs 'Two Minute Warning' and 'The Landscape Is Changing' (as well as the B-side 'Fools'). The title comes from the second line of the first stanza of "Pipeline".
The album was recorded at John Foxx's Garden studios in London, engineered by Gareth Jones (who had also engineered Foxx's seminal electronic album, Metamatic). It was mixed in the famous Hansa Tonstudio in Berlin (where much of David Bowie's trilogy of seminal electronic albums featuring Brian Eno had been produced). The album's cover artwork features the Matterhorn mountain.
Tracklisting: 01 - Love, in Itself 02 - More Than a Party 03 - Pipeline 04 - Everything Counts 05 - Two Minute Warning 06 - Shame 07 - The Landscape Is Changing 08 - Told You So 09 - And Then... 10 - Everything Counts (Reprise) - [hidden track]
'Everything Counts' is Depeche Mode's eighth UK single - released on 11 July 1983, and third US single -released on 2 November 1983, from the then upcoming album Construction Time Again.
It was the first in a long line of industrial-inspired singles released by the band, and has been referred to as "arguably...the first English-language industrial pop hit." The single was re-released (in live format) on 13 February 1989 (25 March 1989 in the US) to support the live album 101.
In January 1983, shortly before the release of the 'Get the Balance Right!' single, lyricist Martin Gore attended an Einstürzende Neubauten concert, giving him the idea to experiment with the sounds of industrial music in the context of pop. This experimentation hinged on the band's first use of a Synclavier, a synthesizer that not only contained a large number of pre-programmed sounds, but also allowed for samples to be imported. With this, the band proceeded to travel around the neighbourhood where they could tape "found" sounds and feed them into the Synclavier, then manipulate the noises to fit into their songs. These sounds consisted mainly of hammering anvils, clanging pipes, running water, and the like. In addition to the "found" sounds used as samples, the single also samples a variety of musical instruments, such as the xylophone and a melodica (which Martin has been known to play on stage for the song). That spring, the band converged in London to begin recording their third album, Construction Time Again, and changed recording studios as well. For the previous two albums, the band had recorded at Blackwing Studios, but would switch to John Foxx's "The Garden" studio. This change, along with the addition of Gareth Jones to the production team facilitated the band's transition from the hook driven pop songs of their past (a transition that had begun to take shape in 1982 with the more noticeably melancholy 'Leave in Silence. The band continued perfecting their industrial formula over their next two albums, 1984's Some Great Reward and 1986's Black Celebration.
In addition to the change in the band's musical influence, the single would introduce a transition in lyrical content as well. Construction Time Again would include a bevy of political themes, sparked by the poverty Gore had seen on a recent trip he had taken to Thailand. These themes were in stark contrast from the inoffensive, love-themed pop numbers of the band's early career. 'Everything Counts', specifically addresses corporate greed and corruption in the music industry, as the chorus sings of "grabbing hands" that "grab all they can". Perhaps surprisingly, the single was released at a time when the band itself was not under a formal contract with Mute Records.
It was also the first song in the band's catalogue which includes both of the band's singers prominently (at different times). Lead vocalist David Gahan sings the verses, while song writer Martin Gore sings the chorus.
The music video for 'Everything Counts' was directed by Clive Richardson in and around Berlin. The band returned to Richardson after not being satisfied with the work of Julien Temple for the A Broken Frame singles. Richardson had previously directed the video to 'Just Can't Get Enough' two years earlier. According to Wilder, "It was felt that after the Julien Temple years, we needed to harden up not only our sound but also our image. Clive had lots of new ideas which didn't involve stupid storyboards where we were required to act."
In the original music video, the xylophone, the melodica, and the shawm are played by Alan Wilder, Martin Gore, and Andrew Fletcher, respectively. The shawm, however, is produced by a synthesizer on the studio recording, but the band used the real shawm in the music video and television performances for show.
The 'Everything Counts (Live)' video was directed by D.A. Pennebaker. The video not only includes portions of the live performance, but also contains various references to the money made from merchandise and ticket sales at the concert, humorously connected to the theme of corruption and greed of the song.
Click the link below to download the following: Video Single Version in Larger Amounts - 12 inch mix D.I.N Remix Extended Stratosphere Remix Dub Version Roger Sanchez Remix Work Hard - B-Side Work Hard - East End 12 inch Mix
'Get the Balance Right!' is the seventh single by Depeche Mode, originally released on 31 January 1983. It is the first Depeche Mode single with Alan Wilder as an official band member, and the first with a song written by both Martin Gore and Wilder - 'The Great Outdoors!'.
'Get the Balance Right!' was not included on the following album Construction Time Again, but does appear on the American compilation People Are People and the compilation The Singles 81-85.
The B-side is 'The Great Outdoors!', an instrumental written by Martin Gore and Alan Wilder. It was the first Depeche Mode song not to be played live.
Included on the 12" releases is 'Tora! Tora! Tora! (Live)', the first live song released on a Depeche Mode single. A limited edition of the single was released, which features more live tracks: 'My Secret Garden', 'See You', and 'Satellite'. It was the first DM single to have a Limited Edition.
In the music video Wilder lip-syncs the first lines of the song, even though Dave Gahan should be singing it. The band were too afraid to tell the director that Gahan was the lead singer. The music video is not commercially available.
Click the link below to download the following: Video Single Version Demo Version Combination Mix 12 inch Mix Beat Machine Mix The Great Outdoors - B-Side
'Tar' is the debut single by the British pop group Visage. It was initially released on Radar Records on 7 September 1979, before the band had signed to Polydor. Although not a chart hit, the track is also available on Visage's eponymous debut album released in 1980.
The lyrics are centered around the habit of smoking cigarettes.
The b-side to the single is 'Frequency 7', a rapid synth song with robotic vocodor vocals. This version of 'Frequency 7' has never been re-released in any form since the original release of Tar in 1979 and is a rarity.
The more commonly-circulated 'Dance Mix' of the song is stripped of all vocals. This is also the sole Visage song where bassist Barry Adamson receives a writing credit.
Click the link below to download the following: Single Version Frequency 7 - B-Side
'Pleasure Boys' is the seventh single by the British pop group Visage, released on Polydor Records on October 29, 1982.
The track is the only one of the band's singles not to be taken from an album, though it was subsequently included on their 'Fade To Grey: The Singles Collection' compilation album in 1983.
It was also the first release by Visage after the departure of Midge Ure, who left the group due to creative differences with Steve Strange and also to concentrate on his role in Ultravox.
Possibly due to Ure's absence, 'Pleasure Boys' was the first Visage single to miss the UK top 40 (peaking at 44) after a string of five hits during the 1981-82 period.
The B-Side is a track called The Anvil. There was a German language version of The Anvil, made as a DJ white label 12" single only and later appeared on Fade to Grey - The Singles Collection (cassette version) and the Beat Boy CD release.
Click the link below to download the following: Video Single Version Dance Mix The Anvil - B-Side The Anvil - Dance Mix Der Amboss (The Anvil) - German DJ Whilte Label
'Tonight, I Celebrate My Love' is a song written by Gerry Goffin and Michael Masser, recorded as a duet single released in 1983 by singers Peabo Bryson and Roberta Flack.
It became a big hit for both singers, peaking at number sixteen on the Billboard Hot 100, number five on the Hot R&B/Hip-Hop Songs chart, and number four on the Billboard Adult Contemporary charts.
It also peaked at number two in the UK Singles Chart, becoming the 25th best selling single of 1983 in the UK. It boosted the careers of both stars and brought them both returns to prominence. The song was used in the mid 80's as the love theme for Bo and Hope on Days of our Lives.
Click the link below to download the following: Single Version Born To Love - B-Side
'The Look of Love' is a song recorded by ABC in 1982, included on their debut album, The Lexicon of Love.
Released as a single and as a 12" remix, the single went to number one on the Billboard Dance/Disco chart as well as the Canadian pop singles chart. It was their biggest hit in the UK Singles Chart, peaking at number 4, and was a Top 20 hit on the Billboard Hot 100 in the U.S., peaking at number 18.
The single consists of four parts, referred to as "Parts One, Two, Three and Four". Part One is the standard album version, Part Two is an instrumental version, Part Three is a vocal remix and Part Four is a short acoustic instrumental part of the song, containing strings and horns, as well as occasional harp plucks and xylophone. A different remix version by producer Trevor Horn appeared on the 1982 U.S. 12".
A music video for the song featured the band's members at a carnival, taped on a soundstage. The video vaguely pays homage to Gene Kelly's Ballet sequence from An American in Paris.
The '82 U.S. Extended Remix was not widely available after its initial release, but the track remained much in demand by club DJs and fans alike, and copies of the original 12" version fetched high prices. When Neutron (the band's UK label) discovered this, they issued a limited edition re-pressing of the Horn remix (though did not officially re-release the song) in 1985.
A new remix of the song by Paul O'Duffy was officially released in 1990, without participation or approval from the band's members. Subsequent years have brought numerous re-releases of The Lexicon of Love and several hits collections, yet oddly enough on the frequent occasions when a remix of 'The Look of Love' is included, it is almost always the 1990 O'Duffy retread, and not the classic, chart-topping 1982 Trevor Horn original.
The US B-side, entitled 'Theme From Mantrap', was an alternate version of 'Poison Arrow'.
In 2009 Virgin Trains used the song to front an advertising campaign to promote its services.
In 2009, the song was performed by the cast in a full song and dance number on the U.S. CW TV serial drama series Valentine, as part of the plot in which the goddess Aphrodite makes a love match at a karaoke bar.
In 2009, Payless used the song to promote holiday sales of shoewear.
Click the link below to download the following: Video Parts 1 and 2 Part 3 Part 4 7up Extended mix Disconet Mix DJ Ozyboy Mix Dream Time Mix Part 1 1990 mix Part 1 - Album Version Tackmaster Millennium Mix Ultimix Live at Hammersmith Odeon 1982 Live in Musikhalle Hamburg 1983 US Remix 1990 Remix Ocean Blue - 1990 B-Side
'The Rise & Fall' is the fourth album by the British pop group Madness. This album saw Madness at their most experimental, exhibiting a range of musical styles including jazz, English music hall and Eastern influences. NME described it at the time of its release as "The best Madness record".
It has often been retrospectively described as a concept album. Though the album was never released in the USA, several tracks were later placed on the compilation Madness, including the melancholic pop of 'Our House.
Tracklisting: 01 - Rise and Fall 02 - Tomorrow's (Just Another Day) 03 - Blue Skinned Beast 04 - Primrose Hill 05 - Mr. Speaker Gets the Word 06 - Sunday Morning 07 - Our House 08 - Tiptoes 09 - New Delhi 10 - That Face 11 - Calling Cards 12 - Are You Coming (With Me) 13 - Madness (Is All in the Mind)
'Private Investigations' is a popular song by Dire Straits from their album Love Over Gold. Although it was not released as a single in the US, it reached number 2 in the UK, and is one of their biggest chart successes in the United Kingdom, on a par with 'Walk of Life'. Similarly, the album it came from, Love over Gold, only sold 0.5 million copies in the US, though it was well-received elsewhere.
The song begins with a slow piano riff accompanying an acoustic guitar. After several verses, the song opens up into a slow, bass-driven beat, with an electric guitar coming in at the end, before the gradual diminuendo featuring extended interplay between Mark Knopfler's acoustic guitar and Marimba played by Mike Mainieri.
On the Sultans of Swing: The Very Best of Dire Straits DVD, Mark Knopfler said this about the song: "It's just about the Private Investigations... "What have you got at the end of the day" - Nothing more than you started out with..." It is said the song was inspired by author Raymond Chandler.
The riff from the song was used on a BT advert in 1994.
Click the link below to download the following: Single Version T-Shirts - B-Side
'I Won't Let You Down' was a single in 1982 by the band Ph.D..
It reached number 3 in the U.K. charts in April 1982.
The band consisted of Jim Diamond who was the lead vocalist, Tony Hymas on keyboards and Simon Phillips on drums. It went on to become the 23rd best selling single of 1982 in the UK.
Click the link below to download the following: Video Single Version Hideaway - B-Side
'Underground' is a song from the soundtrack of the film Labyrinth, performed by David Bowie.
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