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Making Spandau Ballet: Journeys To Glory



Spandau Ballet: Journeys To Glory was the band’s debut album, peaking at No.5 after its release in February 1981. Guitarist/saxophonist Steve Norman talks to Classic Pop about its making… By John Earls

Spandau Ballet Journeys To Glory
Spandau Ballet Journeys To Glory cover

Although barely out of their teens when their debut album Journeys To Glory was released in February 1981, Spandau Ballet had already chalked up nearly five years of various school bands and near misses. Punk wannabes Roots started with Gary Kemp, Steve Norman and John Keeble, friends at Dame Alice Owen School in Islington.

They mutated into The Cut and The Makers, before Gary’s younger brother Martin finalised the line-up on bass and another name change to Gentry in 1978.

“We didn’t feel like we were close to anything,” admits Steve. “We didn’t have a record deal, and that was the most important thing in our world. We felt isolated and despondent.”

A friend, Steve Dagger, had recommended they go to Shagoramas, because it was about the only club in London playing the glamorous music Gentry were into. Too fed up to explore pastures new, by the time they finally went to a Bowie night uptown in autumn 1978, Shagoramas had become Billy’s.

“Meeting Steve Strange and Rusty Egan was a massive boost,” says Steve. “As soon as we hit Billy’s, the despondency lifted. We could see we weren’t alone – there were young guys just like us, feeling just like us. It gave us back our gang mentality.” Billy’s also influenced the music Gary and Steve were writing. Only one early song, the charging Confused, made it on to Journeys To Glory

Steve feels Rusty Egan’s influence on 80s music has been overlooked.

“I’m a big champion of Rusty,” he says. “I always like to remind people what a true pioneer he was in bringing electronic music to the UK. As soon as we changed our name to Spandau Ballet, we went from playing rock to four-on-the-floor dance music. That changed everything for us, and it’s largely down to what Rusty played at Billy’s and then the Blitz. He’d mix in German electronic music like Can, Neu! and Kraftwerk with proto-electronic music from a couple of years earlier – Bowie’s Berlin era and Iggy Pop, whose Funtime was massive. 

“Rusty was a massive influence, not just on us, but from everyone of that period like Ultravox and Boy George. Everyone tends to give Steve Strange the kudos, which I understand as Steve was a master of the visual side of that scene. But Rusty Egan shouldn’t be overlooked.”

As important as the new electronic music was, Gentry began making friends with future cultural commentators including Robert Elms and Dylan Jones. Robert suggested they change their name to Spandau Ballet after he visited Berlin.

“I should emphasise how important our mates from those times were,” Steve acknowledges. “Graham Smith, who went on to do Spandau’s artwork, was brilliant for showing us the importance of art. For the clothes, everyone knows the big designers of that time like Chris Sullivan and Willie Brown. Simon Withers too, who also helped out on our lighting.”

Rather than have Spandau play every gig offered to them, Steve Dagger decided to keep his charges away from the gig circuit. This was a nod to the Blitz’s infamously exclusive admittance policy, and also helped foster intrigue among record companies. One of the few shows Spandau did play was the Blitz’s Christmas party in December 1979.

“It’s funny how we’ve become known as the house band of the Blitz,” says Steve. “We only played there twice! The show I remember most from that time was at Toyah Willcox’s warehouse. Our ‘support act’ was a screen at the back that showed porn films. Those porn films were still on while we were playing, just to keep everyone watching us. There was a buzz around us, once we’d got our feet firmly in the door at the Blitz.”

The buzz led Spandau to be interviewed by Danny Baker on Janet Street-Porter’s ITV culture show 20th Century Box in the summer of 1980 – which in turn produced an offer to hone their craft at a two-week residency at a club in St Tropez, Le Papa Gayo, where Spandau played two sets a night, with Sundays off.

“There were 15 people in two rooms,” says Steve. “The conditions were pretty unsavoury, but it was fantastic practice. I took down all the tacky paintings and hung my show clothes on the wall, two or three different outfits as a statement: ‘I’m here to work, so these are going on the wall.’ That was a fantastic time.”

As well as nascent versions of Confused and Age Of Blows, Spandau covered Iggy Pop’s Funtime and John Barry’s theme to On Her Majesty’s Secret Service at the residency.

Recording Spandau Ballet: Journeys To Glory

Chrysalis eventually signed Spandau on October 10, 1980 – Martin Kemp’s 19th birthday. By then, recording sessions for their debut album had begun, partially inspired by the Yamaha CS10 synth the band bought to enhance their new dance direction.

“Literally just before we began recording, Gary wrote a new batch of tunes,” Steve recalls. “Before that, there would always be new songs from both of us. This new batch sounded really relevant to us – songs like The Freeze and To Cut A Long Story Short. I’d lost confidence in my songwriting, but Gary’s new songs – helped by the synth we’d bought – reflected the sounds we were listening to. As a band, that’s all we ever did, reflect what we were playing. It’s why Spandau are so diverse, as we’ve got the funk of some artists and the rock of others, and obviously Journeys To Glory has a lot of electronica.”

Spandau began recording at The Manor in rural Oxfordshire the month before signing to Chrysalis. Although their engineer was future 80s production king Hugh Padgham, the sessions were uncomfortable for the few days Spandau were there, the band not used to being stuck out in the countryside.

“I think we might have got the keyboards to The Freeze done there,” is Steve’s summary.

Far more successful was the move to Trident Studios in Soho once the Chrysalis deal was signed. It was where The Beatles made Hey Jude; Queen and Elton John recorded there in the 70s and, most significantly for Spandau, Trident was the birthplace of Ziggy Stardust And The Spiders From Mars for David Bowie.

“The sound of all the legends must have been in all the walls,” laughs Steve. “The place had such an energy to it, it makes you raise your game. Really, we wanted to be close to home. All our mates from the Blitz were able to hang out at Trident. We had huge characters like Chris Sullivan, Bob Elms and Simon Withers there, helping to gee us along.”

The album’s producer was another Blitz face. At 31, Richard James Burgess was a decade older than his charges, but was also a novice as a producer. Dividing his time between establishing himself as a producer and frontman for Landscape, Richard had befriended the band at the club. 

“Richard would be at the Blitz in a bright red PVC onesie, looking like something from Space 1999,” jokes Steve. “He’d always want to go down the ramp the Blitz had, feet first, ever so smoothly in all that PVC!” 

With everyone being newcomers, experimentation was encouraged.

“Richard was a lovely guy and a fantastic producer who’d try anything once,” enthuses Steve. “What he struggled with, on a technical basis, was Tony’s voice, because he sings so loudly it was too overpowering for the equipment. And Tony isn’t a one-take singer – he likes to try vocals lots of ways, to develop how a song could sound.”

This reached a peak when Richard led Tony out to another studio at Trident. Steve recalls: “Through the glass partition, we could see Tony laid down with two mic stands and a carpet laid over him, so he looked like he was in a tent. It was to keep the sound in. Tony did one take – and, as he finished singing, a puff of smoke came out. As the smoke billowed everywhere, Richard just went ‘How was that, then?’ It was one of the funniest things I ever saw in a studio – and it was a great idea, like Tony Visconti would come up with.”

Read more about Journeys To Glory in our Top 40 80s Debut Albums feature

Read more: Making Duran Duran

While the album was being finished, Chrysalis released first single To Cut A Long Story Short in November. It reached No. 5, though the band weren’t surprised by its success.

“Once Gary had the riff for To Cut A Long Story Short, it felt so right,” Steve insists. “There was never any doubt it was going to be a hit, because Story wasn’t just about the song or even us as a band, it was about that whole movement. It’s why The Makers and Gentry hadn’t been successful – so much of success is down to the planets aligning.”

The eight songs for Journeys To Glory were finished at the start of 1981. Of its running order, Steve explains: “We were never a band to front-load our albums and say ‘All the singles have to be at the start.’ It’s the same with our concerts not starting with the biggest hits. The shows – and our albums, right from the start – are about energy; having peaks and troughs.”

The title, taken from a Robert Elms essay about Spandau, was also a natural fit. “None of our album titles felt a struggle,” ponders Steve. “True was nearly called The Pleasure Project. That apart, we had our titles early on.”

Released in February 1981, just 10 days after recording at Trident ended, the album also reached No. 5. “Some of it has dated,” admits Steve. “But on the best songs, I think ‘Jeez, that’s groundbreaking!’ It was an exciting time – and it’s an exciting album.”  


Spandau Ballet: Journeys To Glory – The Songs

Steve Norman reflects on the tracks that made up Spandau Ballet: Journeys To Glory 


“I can’t imagine To Cut A Long Story Short never having been a hit. That song failing? It’s something we didn’t think was possible in 1980, and I can’t imagine it now either! There’s something about the arrogance of youth in Story: you can hear that our attitude is ‘We’re here now, and if you don’t like it, get out of the way.’ If I had to pick two Spandau songs as my absolute favourites, it’d be Story and Chant No 1. They’re just undeniable, unstoppable.”


“I really like Reformation. It’s obviously a song that gets overlooked by most people in this country, but Spain and Portugal were the first two countries outside the UK to get Spandau. Over there, they tend to go for Reformation and Mandolin more than To Cut A Long Story Short and The Freeze. I really liked revisiting Journeys To Glory on the last couple of Spandau tours, and Reformation still sounded great then, as there’s a lot of energy to it.”


“This is the song I think of when I talk about any songs on Journeys To Glory that have aged a bit. Tony’s voice is really exaggerated and over-the-top here, but he’s acting in it. There’s a lot of Bowie in Mandolin and it’s a great little tune at its heart. I fall in and out of love with some songs, so maybe Mandolin will become relevant again. I thought Heaven Is A Secret was twee for ages, but I’d like to see that one back in the set now, as it was so right for its time.”


“We got stuck in the Lake District filming the video for Musclebound. It was my 21st birthday on the last night, but by that stage we were all so fed up that only Martin really celebrated with me. He didn’t thank me on the coach home… me and him with evil hangovers. Maybe that’s why Martin hates the video so much – he looks great in it, so it can’t be that. You wouldn’t have dwarves in a video like Musclebound does now, but that was very much of its time.”


“One of the lesser songs on the album. I don’t want to get Gary into trouble, but he was obviously influenced by Warszawa on Bowie’s Low album. We all were! You can thank Rusty Egan for Age Of Blows, because it’s the Blitz club all over. I think it was always going to be an instrumental, I don’t recall Gary ever saying he had a lyric for it. Really, I think Age Of Blows was written as an excuse to test out the Yamaha CS10 and see what it could do.”


“Looking back, I’m not really surprised The Freeze didn’t turn out to be as big a hit as To Cut A Long Story Short. It doesn’t have a chorus, for one thing – my guitar acts as the chorus. The Freeze is such an arrogant song that it didn’t really need a chorus, and I like that about it. It’s from the same camp as To Cut A Long Story Short, of our certainty about ourselves at that time. It’s another of those songs you can only write when you’ve suddenly found a tribe of like-minded, disillusioned teenagers.”


“The oldest song on the album, Confused is the only song to survive from the period before we first went to Billy’s. It’s the first unstoppable song that Gary ever wrote, I think. It had to be, because so many other great songs came along after Confused, but it always earned its place in our shows and on the album. It’s the song that, when we first got to Billy’s, would make you think we belonged there.”


Toys had to be the last song on the album, because it’s the closest on there to a ballad! I remember when we were recording Toys that I suddenly had my feet on the monitors, rocking out, despite wearing a kilt. Like The Freeze, there’s not a sung chorus on this one. There was a lot of space in the song for me to add guitar to it. I felt like a rock god when we were making it, even though I immediately knew we weren’t.”

Check out Spandau’s official website

Read more: Making Ultravox’s Vienna





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The Story Of Now That’s What I Call Music




Now That's What I Call Music
Now That’s What I Call Music Vol 1

Now That’s What I Call Music! was many people’s introduction to chart music when they were young. Classic Pop traces the story of the big daddy of all compilation series… By Paul English

The Now That’s What I Call Music! brand is quite simply a phenomenon. Initially launched by EMI and Virgin in November 1983, it’s currently now at volume 109 with spin-offs and other series bringing the total number of releases well past the 250 mark.

Right from the beginning, Now… looked different to other compilations with its liner notes, artist photographs and generally luxurious feel.

For many people, these releases are totally tied to nostalgia. They represent the building blocks of a record collection with their contents exposing young listeners to a wide variety of music hanging together in a logical sequence. The person responsible for this was Ashley Abram, who in 1983 was creating compilations for Ronco, and joined the Now team just before the second volume.

He remembers those early 1984 days: “The first Now album had the whole year to choose from but there was only a limited period of time to compile Now 2 and a more limited pool of tracks. Now 1 had cleared big names like Rod Stewart and Genesis and coupled them successfully with current pop acts and we felt it was important to do this for the follow-up.

“We managed to get David Bowie and Eurythmics who’d refused permission for the first one and ended up striking a deal with Queen on the agreement that they would appear in the TV ad and be the first track on the album. On the basis that it would encourage other ‘superstar’ acts, Virgin and EMI went to great lengths to clear The Rolling Stones and Paul McCartney for Now That’s What I Call Music 2 as well.”

After a hugely successful summer with Now 3, a new rival entered the market which meant that CBS and WEA started to refuse tracks for the next instalment of Now, instead keeping them back for their own compilation, The Hits Album.


Now That's What I Call Music
Now That’s What I Call Music II

However, Now That’s What I Call Music 4 sold a million copies and, in addition, to the regular vinyl and cassette also came out as a 15-track CD, which now sells for over £500. Abram looks back: “When the CD format first appeared, there was no blueprint for compilation clearances and, as I remember, it took a long time to get agreement over what royalties should be paid to the artists etc.

“We wanted to put out a CD to test the market but couldn’t get approvals on a number of the tracks on Now 4, so we ended up with a truncated version and also using tracks from previous albums. From memory, it sold around 2,000 copies max!”

By 1985, the series had settled into a regular release pattern and started to diversify into spin-offs with Now Dance – The 12 Mixes and Now The Christmas Album both appearing. The first two Now Dance volumes were well-received but didn’t sell in massive quantities so it was put on the back-burner until 1989.

Abram explains: “The original Now Christmas album was an interesting one. Lots of record company people didn’t want to release it at the time because they thought it would only sell for a week before 25 December and then we’d be left with all the stock.

“Also, at the time they said I couldn’t put Bing Crosby and Slade on the same album and that Jona Lewie wasn’t a Christmas song! However, we managed to convince the relevant people, got the rights to bring it back for the next few years and a successful version still exists 32 years later. Sales-wise we were more than vindicated as Now 6 and Now Christmas dominated the charts that December.”

Now That's What I Call Music
Now That’s What I Call Music 26

The track flow on the Now albums was key to telling a story and building the mood. There are many examples: the love trilogy towards the end of Now 13, OMC being followed by OMD on Now 34 and the memorable side-long house and indie sequences on Now 11 and 17 respectively.

Deciding on inclusions was an ongoing process for Abram: “I was constantly monitoring the charts and new releases and obviously Top Of The Pops as it had a big effect on chart positions. As the series developed and became successful, record companies began suggesting tracks for inclusion, so I had a good idea of what was around but the albums had to be mastered around a month before release in those days, so there was always an element of trying to predict the hits!”

One fundamental flaw of retrospective compilations is that they tend to cherrypick songs whereas the Now albums tended to give a snapshot of pop trends over a four-month period. Sometimes mistakes would occur or a rare version would be included.

Read more: Now II reissue review

Now 4 starts with Arthur Baker’s Special Dance Mix of Paul McCartney’s No More Lonely Nights as it was the only version that his management would approve for licensing. Meanwhile, Pet Shop Boys were involved in two such instances: the original Mark Stent Mix of Go West kicked off CD2 of Now Millennium Series 1993, while on 1986’s Now 7 we got treated to the Alternative 7” of Opportunities (Let’s Make Lots of Money).

Abram recalls: “They were done deliberately – at least most of them were! In the 80s and 90s, the Now albums had long lead times but there was always pressure to get the mastering done very quickly. Component parts came into the studio in large numbers so it was always chaos in Abbey Road with packages of master tapes arriving the whole time so not everything always went exactly to plan.

“I think on Opportunities…, PSB didn’t mind which mix we used but when they found out we’d used the alternative version they asked EMI for a couple of boxes of samples of Now 7 as they thought it might become sought after at some point because of the alternative mix!”

Now That's What I Call Music
Now The Christmas Album

More time capsules of long-forgotten tracks include novelties like The Commentators’ N-N-Nineteen Not Out on Now 5, a parody of Paul Hardcastle’s 19, which describes the poor performances of England’s cricket team. Another is Karel Fialka’s synth-and-drum combination Hey Matthew which graced Now 10 and deals with a father questioning his son’s television choices.

For many years, the only way you could obtain a CD version of Tears For Fears’ Everybody Wants To Run The World (recorded to promote Sport Aid) was on the spin-off CD-only Now ‘86 released that year.

Flying the flag for obscure sophisti-pop were The Ward Brothers’ Don Was-produced Cross That Bridge on Now 9 and Waterfront’s superb Cry on Now 15. And back to Paul Hardcastle: his Top Of The Pops theme, The Wizard, appeared on Now 8.

After five years of uninterrupted success, compilation albums ended up being placed in their own chart from January 1989. Abram attributes this to, “pressure from US companies on their UK counterparts i.e. Warner/Sony as they couldn’t understand why their superstars were being kept off the top by Now!

From then on, the series went from strength to strength as the CD format finally took a foothold in the public consciousness. After truncated CD releases of volumes 8 and 9, Now 10 was the first to include the same songs across all three formats. Meanwhile, Now 16 offered three bonus tracks to purchasers of the silver discs which went some way towards compensating against the complete absence of any No.1 singles. 

The series dropped back to two annual releases for 1990 and 1991 (there were three Now Dances in 1990) before settling into a thrice-yearly pattern from 1992 onwards. While it continued to come out on vinyl, sales of that format from Now 21 onwards were very low and continued to decrease.

Now 35 – emerging in November 1996 – was the last double LP and regularly fetches up to £100 due to its scarcity. It’s certainly the only compilation where you’ll find Boyzone and Björk sharing vinyl space. As the end of the decade approached, Now 44 became the best-selling volume, shifting a massive 2.3 million copies – many of them purchased to soundtrack New Year’s Eve Millennium parties.

Nearly 40 years later, the brand shows no sign of stopping with Now 110 expected later this year.

Ashley Abram is no longer involved – his last compilation was Now 81 in 2012 – with Jenny Fisher taking over. “After I stopped doing Now, I had a run of big compilation albums with Sony such as Sugar Sugar, Be My Baby and I’m Every Woman but I haven’t done any new comps for a couple of years and have no plans to do anything more as things stand – so I guess I’ve retired!”

Read more: Now That’s What I Call Music I reissue review

Read more: Top 15 Pop Compilations

Check out Now’s website here

Competition from the hits factory

After the unequivocal success of the first three Now albums, it was inevitable that competition would emerge. The Hits series began in November 1984 as a joint venture between CBS and WEA with its first effort stealing a march on Now 4 by being released a week beforehand. This was a winning strategy as The Hits Album topped the charts for seven weeks and kept its rival off the coveted Christmas No.1 slot.

It came loaded with a number of US acts; indeed the television advert just focused on Prince, The Cars and Chicago with the four sides loosely divided into pop, soul, romantic and rock themes. Up until 1988, Hits proved to be a powerful adversary – licensing the likes of Madonna and Bruce Springsteen – and was essential listening for those who wanted a rounder picture of the Top 40. Hits 2, 4 and 6 were particularly strong in their track selections.

With the ninth volume, the compilers decided to omit the numbering, which resulted in the arguably weaker Now 13 establishing the upper hand. From then on, momentum was lost. Successive re-brands (Monster Hits, The Hit Pack) and a 1993 re-boot with Telstar on board led to the series having an inconsistent feel.

From December 1995, BMG and Warner Brothers re-established a regular release pattern with up to five volumes per year which certainly gave the Now! team a serious challenge – particularly as the Hits’ spring and autumn releases would come out before their Now equivalents. The series bowed out with Summer Hits 2006, leaving Now! as the only hits compilation brand still going in the UK.

The Best Of The Rest

There was still room for other compilations – many of whom were short lived. K-Tel’s swansong Hungry For Hits came out between Now 2 and Now 3 and is stuffed with also-rans, follow-ups to successful hits and long-forgotten pop memories like Sandie Shaw’s Smiths cover Hand In Glove. Chrysalis and MCA’s Out Now! appeared in 1985 and lasted two volumes: the first is most enjoyable as it lurches from Billy Bragg to Killing Joke.

There were also magazine tie-ins, both compiled by Ashley Abram: Just Seventeen’s Heartbeats (1989) is an impeccable selection of frothy pop and breathless romantic numbers while Smash Hits’ numerous compilations were perfect summations of the year’s pop action and also came with great sleevenotes. Telstar’s rather predictable annual Greatest Hits Of series commenced in 1985 but one of their unsung jewels was a one-off: The Dance Chart (1987), which includes rare single edits from The Concept, Timex Social Club and Whistle.

Read more: Top 40 Synth-Pop Songs



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Queen to launch pop-up shop on Carnaby Street




Queen the Greatest
Photo copyright Queen Productions

In celebration of five decades in music, the mighty Queen will feature in a dedicated pop-up shop on Carnaby Street opening later this month.

The shop, named Queen The Greatest will open on Tuesday 28th September 2021 until January 2022 with a line-up of limited edition music releases, fashion collaborations and lifestyle products with weekly product drops and events. 

Each month will have a theme; Music, Art & Design and Magic, with visual installations that act as storytelling from each of Queen’s five decades. 

The Queen The Greatest store will take visitors on a journey over two floors, from 70s thrift store (Freddie and Roger had a stall in Kensington Market), 80s iconic live performances and tours, 90s record store, 00s DVD homage through to 2010s tech concepts. 

The new store, created in partnership with Bravado, Universal Music Group’s merchandise and brand management company, features all of the hallmarks of the band. The store includes an apparel collection including exclusive collaborations from a host of fashion brands including Champion, Wrangler and Johnny Hoxton jewellery.

The Champion collection features unisex T-shirts and sweatshirts, with a nod to the fashion brand’s heritage. Denim pieces from Wrangler, some adorned with iconic song titles, sit alongside solid gold and silver jewellery from British jewellery designer Jonny Hoxton, known for his tongue in cheek jewellery that fill the sweet spot between traditional craftsmanship and underground pop culture.

The proceeds from an exclusive Freddie Mercury T-shirt will go to the Mercury Phoenix Trust. The charity was founded by Brian May, Roger Taylor and Jim Beach in memory of Freddie Mercury and raises vital funds and awareness for HIV/Aids.

“We are pleased to collaborate with Bravado on this project, which will be an exciting experience for everyone to come to London and enjoy,” the band said in a statement. “Carnaby Street was the perfect spot for the store to celebrate five decades.”

Queen the Greatest


The band’s continuing album and single releases will be a big part of the shop’s pulse. Limited edition music will be available to buy throughout music month with drops every week including a limited edition of a Greatest Hits vinyl, exclusive to the store, as well as both current and new solo releases from Brian May and Roger Taylor.     


Showcasing a line up of collaborative partners including Japanese designer Tokolo, a limited-edition bear from Steiff and a first viewing of a soon to be released pinball machine.


Fusing the magic of five decades of Queen with the magic of Christmas. Product includes Rubik’s Cube, Christmas jumpers, cards, wrapping paper and accessories.

The store will feature screens showing archive Queen performances and Instagrammable moments that fans won’t want to miss. For those unable to travel to the store, a selection of items including the vinyls will be available online.

Queen The Greatest – 57 Carnaby Street, London, W1

28th September 2021 – January 2022 

Monday – Saturday: 11am – 7pm / Sunday: 12pm – 6pm






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Primal Scream announce Screamadelica tour dates




Primal Scream have announced that they are to return to live show with a series of sets celebrating their classic Screamadelica album.

The band will play three dates in July 2022, performing their 1991 album in full. 1 July see them play Queen’s Park, Glasgow, before heading off to Castlefield Bowl in Manchester on 9 July and then London’s Alexandra Palace Park on the 16th.

This year, of course, was the 30th anniversary of that indie-dance classic, and this Friday will see the release of two new versions of the album. A 10-disc 12” Singles Box compiles nine replicas of the singles from the original album campaign alongside Andrew Weatherall’s recently unveiled ‘Shine Like Stars’ remix, all pressed on 180-gram heavyweight vinyl. The second release is the album’s first ever picture disc format.

The previously unreleased Demodelica collection then follows on 15 October. It provides a new insight into the album’s creation, with a variety of early demos and work-in-progress mixes. It will be released on digital, double-vinyl, CD and C90 cassette formats. The package will be completed with new liner notes by author Jon Savage.

 All three releases are available to pre-order here.

Tickets for the dates, listed below, go on general sale from 9am on Friday, 17 September. They will be available from and

Read more: Top 40 Synth-Pop Songs



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