As one of the leading New Romantic bands, Spandau Ballet racked up a number of British hits -- as well as one Top Ten American hit, "True" -- during the early '80s, becoming one of the most successful groups to emerge during new wave. The only other new romantic band to enjoy greater commercial success was Duran Duran, yet Spandau Ballet was there first, scoring three Top Ten hit singles during 1981 with their synthesized dance-pop. By 1983, the London-based quintet had shed its Roxy Music-inspired robotic art-disco and picked up on Bryan Ferry's latter-day crooner persona, revamping themselves as a slick, stylish white soul act. It was in this incarnation that Spandau Ballet experienced its greatest success, as "True" reached number one in Britain and number four in America. However, their time in the spotlight was shortlived. Though they had a few more hits in Britain, none of them were particularly big, and in America they disappeared at the end of 1984. By the end of the decade, the group had split, with their core members, brothers Gary and Martin Kemp, launching acting careers with the 1990 film, The Krays.

The Kemps -- who played guitar and bass, respectively -- founded Spandau Ballet in 1979 with Tony Hadley (vocals), Steve Norman (rhythm guitar, saxophone, percussion), and John Keeble (drums). The group hired their schoolfriend Steve Dagger as manager. Spandau Ballet began playing nightclubs in London that had responded to punk by embracing exaggeratedly fashionable clothes and makeup. Soon, the band was one of the most popular attraction on this scene, which subsequently dubbed by the British press as "New Romantic." Chris Blackwell, the head of Island Records, saw the group at a London party and offered them a contract on the spot. They rejected his offer, choosing to set up their own label, Reformation. Early in 1980, the group licensed Reformation to Chrysalis, giving their label the distribution power of a major label.

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"To Cut a Long Story Short," Spandau Ballet's first single, shot to number five in Britain upon its fall 1980 release. It was quickly followed by the number 17 hit "The Freeze" in early 1981, and "Musclebound," which reached number ten in the spring. The singles made their way over to America, where they received play in dance clubs. By the spring, their debut album, Journey to Glory, had been released. In the summer, they released a new, non-LP single, "Chant No. 1 (I Don't Need This Pressure On)," which boasted a funkier beat and soulful flourishes. The group continued to pursue this direction on their subsequent singles, including the gold-selling Top Ten UK hits "Instinction" and "Lifeline," as well as their 1982 album Diamond, but it didn't reach its fruition until the 1983 album True.

True was a full-fledged white-soul album, much like the sophisticated pop of late-'70s Roxy Music albums. The title ballad reached number one in Britain during the spring and a few months later, the single and album became a hit in America, peaking at number four and 19 respectively. Spandau Ballet managed to hit the Top Ten once more in the UK with "Gold," which peaked at number two; in the US, it reached 29. "Communication," a third American single from True, fizzled in the spring of 1984. Its failure was the beginning of the band's commercial downfall. "Only When You Leave," the first single from 1984's Parade, was a number three hit in the UK, yet it only reached 34 in the US; furthermore, it was their last American hit ever. Parade was a success in Britain, yet it wasn't as big as its predecessor. In 1985, Spandau Ballet sued Chrysalis, claiming that the label wasn't providing enough promotional support for the band, especially in the US, and thereby harming its career. The suit was settled in 1986, and the group jumped ship for CBS/Columbia (Epic in the US), where they released Through the Barricades that same year. The title track was a Top Ten hit, but its follow-up, "How Many Lies?," became the group's last Top 40 hit ever. Following the release of Heart like a Sky in 1989, the group quietly disbanded the following year.

Gary and Martin Kemp played the notorious British mobsters the Krays in a 1990 film of the same title. Gary Kemp pursued acting as his vocation during the '90s, appearing in The Bodyguard with Whitney Houston, HBO's The Larry Sanders Show, and Embrace of the Vampire with Alyssa Milano. Tony Hadley released a solo album, State of Play, in 1993. ~ All Music Guide 

Source: Stephen Thomas Erlewine

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The Boomtown Rats were one of the biggest bands to come out of the UK new wave, punk genre. The group consisted of Pete Briquette (bass), Gerry Cott (guitar), Johnny Fingers (piano), Bob Geldof (vocals), Garry Roberts (guitar) and Simon Crowe (drummer). This Irish six-piece was primarily active between the years of 1975 - 1985 and best known for hits I Don’t Like Mondays and Rat Trap.

In 1977, The Boomtown Rats appeared on Britain’s Top of the Pops performing Mary of the Fourth Form. The band had an interesting stage presence; Geldof was known for being new wave’s Mick Jagger and Fingers performed in striped pyjamas.

Two years later, the band set off on a world tour and shortly after Geldof and Fingers wrote the classic I Don’t Like Mondays after hearing about a Californian girl that shot her school principal and injured other fellow students. The track was banned on American radio and only managed to reach #73 on the US charts. But it was named 1979’s Single of the Year by the British Pop and Rock awards and sold over a million copies in England alone.

The early 80s ushered in the new romantics, a spin-off of the new wave movement, with bands like Spandau Ballet and Duran Duran. It also proved to be the years that the Boomtown Rats were to break up.

After releasing its fourth album, the band began dabbling with a reggae sound and that wasn't popular with their core fans.

In 1985, after seeing a news report on Ethopia, Geldof set about arranging Band Aid that recorded a charity track called Do They Know It’s Christmas. The song featured The Boomtown Rats as well as vocals from some of the major British artists of the time including Sting, Bono, Paul McCartney and Boy George. This was the beginning of Geldof going solo and launching the Live Aid Trust.

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One year later, the band managed to release its final album In the Long Grass but it failed to produce any chart-topping singles.

In the end, some of The Boomtown Rats’ members went on to form other bands and Geldof became a household name by being an outspoken advocate for various humanitarian and charitable activities.

Juanita Appleby

This information is provided as a brief overview and not as a definitive guide, there are other sources on the net for that. If however you have a story or information that is not generally known we would love to hear from you. Content@rokpool.com

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