To Cut a Long Story Short - Knowledge (XXG)

559:". "I wanted to create an overall corporate visual package for Spandau that was cutting edge and reflected their aspirations. It had to have style." The cover for "To Cut A Long Story Short" was a minimalist design that Smith felt mirrored the lyric "I am beautiful and clean". There was no photo of the band on it, which Kemp thought "would be too risky, given the speed at which styles were changing". Smith said, "This was obviously seen as a perverse and uncommercial move by Chrysalis" that would still seem so thirty years on. He explained that this approach "gave mystique to this new and very visual band. It added a strength to Spandau as they were clearly stating they were not packaged by the record company but doing things on their terms." 436:, had been impressed when he saw Spandau Ballet perform at the Blitz. Kemp showed interest in Landscape's current album that he mentioned he was working on and took advantage of the opportunity to listen to some rough recordings from the project. Burgess received a call from Dagger a couple of days later asking if he wanted to be their producer. He was "ecstatic" that the band chose him, but because he had little production experience, he thought the label they would be signing with would want a big-name producer instead. Years later, appreciating that he was kept on, he said, "I was over the moon because it was obviously a great opportunity for me." 444:, and they skipped celebrating the event afterward and went straight back to the studio to continue their work. The managing director of Chrysalis UK felt the song would be a success based solely on what they had completed that evening when Dagger took him to the studio. Upon revisiting the recordings of the song in 2020, Norman was reminded of the "minor annoyances" left in the recording, "such as the odd volume levels which I felt required tweaking but weren’t done as we ran out of studio time. And my slightly out of tune guitar wouldn’t get past anybody these days, so accustomed are our ears now to pitch correction software." 371:

resulted in photographers and film crews gathering outside the club for Blitz night every Tuesday, but the band saw the music press as ignorant and was not interested in speaking to them. Kemp described the vibe that was the result of the band's exclusivity: "No demo tapes were sent out, and although our name was spreading quickly around town and beyond, very few people knew what we sounded like. It made them want to hear us even more." Dagger, however, felt they needed more media coverage to keep their momentum going and arranged profiles of the band in two London newspapers and a review of one of their concerts in the

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play on his show, and "To Cut a Long Story Short" became so popular that other shows on the station aired it as well. Several record labels were in touch with them after the documentary aired in July 1980, but the band had a long list of requirements that had to be met and had difficulty deciding which label would meet all their needs. The song had gained such popularity on that one station that the labels in the running all agreed that the one the band chose to sign with would pay for the session time needed to record it right away and start working on their first album.

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elements of the song that underscored why he felt the band was overblown: "Their debut single features a cute synthesiser riff that pretends to be profound and is pure pop with a vocal that verges on the operatic." His conclusion also emphasizes what he saw as a tendency toward the grandiose. "Apart from a delightful series of rim shots and drumrolls in the middle, this is ordinary, a short story trying to become a novel." In an otherwise scathing review of the band's December 1980 concert at London's

571: 1366:, p. 95: Every seminal moment in British youth culture had had a band or artist that represented it: skiffle – Lonnie Donegan… punk – the Sex Pistols. We knew, even then, that Blitz and all it entailed and encouraged was going to be an important chapter in the story of London youth and their street-found fashions; and so, in a basement studio on Islington's Holloway Road, the Angel boys were busily trying to create a band who'd embody this latest twist in the tale. 304:. The contract also gave control over all aspects of how their music was presented, which allowed them to get help from the creative regulars from the Blitz who specialized in such things as graphic design, hair and costumes. The tactics that put Spandau Ballet in the public eye with the song were more about recognizing the cultural shift that these young people represented than they were about just having a hit record. 1402:, p. 96: his words were frantic with concern. "We have to get it out there quickly. This is gonna explode sooner than we think. I met someone the other night that told me he was the Steve Strange of Salisbury! And that fucking Gary Numan song, have you heard it?" "He can't even get into Blitz! Anyway," I said, "that's futurist bollocks, Steve, not what we're doing." "All I'm saying is we need to be ready soon." 858:". He admitted, "Up to that point, I didn't like dance music or disco at all." Upon hearing the Spandau Ballet song, however, he said, "It was the first time I was actually impressed by a rhythm that went 'boom-thwack, boom-thwack, boom-thwack.' It was the first time I discovered dance music for myself, and to write a song around that rhythm was quite a revelation for me. 'Just Can't Get Enough' came out of that." 421: 1607:, p. 104: As far as we were concerned, the music press… was run by embittered, middle-class, white college-rockers who'd hated punk when it first arrived and then bandwagon-jumped a little too late. The only black music that they deigned to patronize was reggae; but soul, the real black music of America, and its cousin of the night, disco, were shunned for being too aspirational and not political enough. 345:, who started out as one of their guitarists, recalled, "Once Gary had the riff for 'To Cut a Long Story Short', it felt so right." Kemp concurred that the band was confident that they were ready to make their debut the first time they played the song in which the singer begins providing details regarding certain undesirable circumstances but concludes with, "To cut a long story short, I lost my mind". On 377:. When the producer of a Sex Pistols documentary for television was interested in filming Spandau Ballet in concert for such a programme, the band seized the opportunity and performed on 13 May 1980 in front of television cameras and an audience that included journalists and record company executives. The documentary aired on 13 July, and several major labels were in touch within days. 763: 313: 808:, and Kemp marveled, "It was a look as yet unseen on this great British institution but would soon be copied on a thousand dance floors around the world." On being invited to appear on the show during the song's first week on the charts, Kemp said, "If anything, it felt like a greater high than signing – the culmination of all the work; the proof of arrival." 38: 2158:, p. 127: On a sunny October morning the five old school friends from Islington, plus a brother…put their names on a contract. It was Martin's nineteenth birthday, and we had our own label, a promise of full artistic control, and the additional promise from them to pay for 12-inch mixes and videos. 2997:, p. 76: I was incredibly nervous…. I was clutching a pair of binoculars, I've no idea why. I was just grateful to have something to hold; I didn't know what else to do with my hands. I could have done with a cigarette. We did include a couple of shots of people smoking, which the BBC made us cut. 2117:

Most 45 rpm singles had another song on side two. Gary thought we might try a remix for the flipside. The track had strong up-tempo dance elements. We bounced influences and preferences around and Gary reflected on the Jamaican dub reggae mixes: the pioneering sixties and seventies work of King Tubby

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I was ecstatic when they asked me to produce them, because I was a completely unknown quality, although I had done the Shock single and the Landscape album which hadn't been released. At the same time, I was a bit wary of something going wrong because of the tendency of record companies to swing back

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magazine that the song reflected "our certainty about ourselves at that time." He explained that the success they had with it "wasn't just about the song or even us as a band. It was about that whole movement…. There's something about the arrogance of youth in 'Story': you can hear that our attitude

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On the day of release, it featured on the highly rated and very influential 'Roundtable' record review show on Radio 1 on Friday afternoon. DJ Roscoe chaired a panel of pop stars, DJs, and celebs which changed every week and reviewed the new releases. It was a good thing to be chosen for review, but

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So simultaneously to finalizing our negotiations for our record deal, we set a release date of 31st October 1980 and started to record our album and single at Trident and then Jam Studios. Such was the clamour for the group's signature, the record companies agreed that whoever we chose would pick up

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and music magazine journalist David Johnson gave a historical account of the rise of the band in an article titled "Spandau Ballet, the Blitz kids and the birth of the New Romantics". He wrote, "Within weeks of Spandau's hit , Britain's clubbing grapevine put yet more clubland bands into the charts,

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In 2020, to celebrate the fortieth anniversary of the release of "To Cut a Long Story Short", the two mixes featured on the original 12-inch single were reissued both as a two-track digital single and on 180g vinyl. Norman wrote that the last time he had heard the recordings was back around the time

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as style, musical and lifestyle inspiration to our generation." They were relieved to hear Ferry describe it as a "smart, witty single". Dagger hand-delivered the dance version of the song to the DJs in London at their clubs when it came out, and "because of the hype around the band, they all played

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magazine was quite complimentary: "It is a good record using the modern technology in a warmer, more organic way… the lead vocal the usual alienated robot wimp but a big, mature full-bodied roar. This is clearly NOT the work of a bunch of out-of-work hairdressers who've managed to stumble through a

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to play regularly on his show because he enjoyed attending their documentary concert, and it also happened to be the one he played most often. Other Radio 1 shows also aired the session recording of the song, and their listeners were eager to get a copy of it. Kemp admitted that "the song started to

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By shaping their image around an exclusive club scene, Spandau Ballet piqued the interest of a television documentary filmmaker who then wanted to film the band in concert as part of presenting their story. A popular DJ attended the concert and requested that they record some of the songs for him to

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was not impressed by the media exposure that Spandau Ballet had received by the time "To Cut A Long Story Short" was available for review. "Lots of advance publicity for this and mention of moneys, which fail to create a sense of obligation to enjoy." His major points of criticism were directed at

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editing." They thought of this remix as having been inspired by those recordings rather than as an attempt at performing an all-out reggae version of the song, and they borrowed the terminology from those record labels by using the subtitle "Version". The band made it a contractual obligation that

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The Gentry's first Blitz-style concert was a private show for a small group of people from the club in November 1979, and that resulted in the selection of the new band name, Spandau Ballet, and an invitation to perform at the Blitz Christmas party on 5 December. The media became interested, which

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Rusty Egan called and told me I had to come to the Blitz Club one Tuesday night. I had no idea. Walking through the door of 4 Great Queen St. changed the course of my life. The music Rusty played was a revolutionary mix of European electronic music including recontextualizations of some of my own

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made them remove footage of people who were smoking. Shots of the band performing were interwoven with scenes of three Blitz friends playing cards and two young women who were also club regulars were dancing. Kemp felt their first video was "an opportunity to capture some of the flavour of who we

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Early indicators of the song's chances were encouraging. The Radio 1 studio session recording was in high rotation on the station before the commercial single was available. The station's weekly "Roundtable" record review show featured pop stars giving their opinion of the latest singles, and the

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included a dub mix labeled "Version" as well. Dagger said the 12-inch dance mix was "different from most of the electronic dance music" that the DJs usually played, adding, "The European and Japanese music sounded very 'polite' compared to this. It sounded very British and slightly punky." Kemp

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Since the song seemed destined for success, Dagger and the band chose a release date of 31 October for the single and started to record it as well as their first album, and the labels competing to sign the band all agreed that the chosen one would pay for their studio time. Looking back, Burgess

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Spandau Ballet signed its first record agreement with Chrysalis Records on 10th October 1980… However, there was no big party or celebration. Soon after the contracts were signed, at about 2.30 pm, the band left to go to Jam recording studios in Finsbury Park, where they were half-way through

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Another part of Spandau Ballet's deal with Chrysalis was that the band would have control over every aspect of how their music was marketed, including artwork, videos and the selection of songs to be released as singles, and they found most of their support team at the club. Blitz regular and

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We finished our run at the Papagayo on July 13th, the same day our documentary was broadcast on LWT…. There on our family telephone note pad was a list of every record company in London. Polydor, CBS, Virgin, Chrysalis, EMI, etc. They had seen the programme, and ALL wanted to sign Spandau

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described its brashness in his autobiography, writing, "'To Cut a Long Story Short' was taut, succinct, rude and uncompromising, with an all-in-at-once intro that sounded as though the door of the Blitz had been kicked open. And now the youth of Britain were about to rush in." Norman told

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Such was the positive response to the session from the listeners when it was broadcast that other Radio 1 shows started to play it, and quickly the session version of "To Cut A Long Story Short" was playlisted on the station. The listeners loved it and wanted to know when they could buy

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as well as a Christmas party at that establishment. After having tried other popular genres, the band had been preparing to make their debut as performers of dance music and wanted the public to associate them with the young crowd who met at the Blitz every Tuesday. They needed their

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We needed a club promo company…. a meeting was arranged at Chrysalis with Ian and Nick Titchener of Rush Release…. Ian phoned me, 'It's massive, it's going to be HUGE. Top 5 record!'. He was right. All of the obvious clubs played it and loved it, but so did the mainstream discos and

1785:, p. 125: He loved what he saw and asked us to do a four-song studio session for him that he could play during his show…. The resulting tracks were highly potent, and the ever-ebullient Peter Powell played them endlessly, although one more than any: "To Cut a Long Story Short". 1877:

group, Landscape's music. Like the music, the fashion was new, street, and exciting. A couple of weeks later some people I had been chatting with at the bar suddenly got up on the dancefloor and played a set. Stunning. It was a new sound, a new look, and new classic torch songs.

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wrote, "No one expected a first single to shoot straight into the Top 10. In the Eighties, it was more about steady sales. Chrysalis would have been content with a Top 40 hit on the first single. It was about getting us on the map and raising the profile of the band." The

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that they were released and that "the band's energy is all over it, which is how I remembered it sounding. This re-listening experience brought a smile to my face and, to be honest, made me feel somewhat proud all over again of all we were about to achieve as a band."

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In the week of our return from St.Tropez, I went to meet with all the record companies, often accompanied by Gary to talk business…. I needed a spectacular venue which could be booked quickly. He said, 'What about HMS Belfast?'… The next day I went down there to book

1670:, pp. 108–109: "Janet Street-Porter wants to do a documentary about us…. She produced that Pistols documentary on telly. She's doing a new series called 20th Century Box. I think it's similar, and they wanna do one on us, the whole thing. They wanna film a gig." 367:, he described the song as "garage-band stuff – short, to the point, and very English. With its portentous refrain of 'We are beautiful and clean and so very, very young', it seemed the perfect manifesto – or at least lyrical sound-bite – for the Blitz generation." 687:-like backbeat". Although he described it as "largely forgotten" today due to Spandau Ballet's later successful change in style towards "smooth, soulful pop", he suggested it was "a minor lost classic of the early-'80s UK synth pop scene". Ian Gittins wrote in 2599: 701:

it was "an era-defining slice of electronic myth-making, and a great dance record to boot (if it hadn't been, the cognoscenti, those who went to the same clubs as Spandau, would have strangled it at birth – or, more pertinently, refused to dance to it)."

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referred to as "white European disco music" and presented it to their manager, Steve Dagger, who explained that they needed to get ready for their debut quickly because of the growing competition to be the breakout artist amongst their peers. Band member

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dating back to the sixties. Burgess later described the limitations he and Kemp were dealing with at the time: "Tubby and Perry were not working with high technology in Jamaica, and our trick-bag was still light even as the eighties dawned.

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I had been in the studio finishing up the Landscape album, From the Tearooms of Mars… I mentioned that to Gary (Kemp). He wanted to hear some, so we sat in my car perched half on the curb in front of The Blitz, while I played him a few

786:, completed filming in one day. The lead singer was nervous and appreciated having a pair of binoculars to hold on to; he had no idea of what to do with his hands other than hold a cigarette, which would have been problematic as the 246:, released on 31 October 1980. The band began recording the song before they were signed to a record label because of the interest they had generated with a debut concert for patrons of the exclusive weekly London nightclub the 262:

The fact that they had little money to spend on the music video for "To Cut a Long Story Short" did not prevent the band from wearing historical military outfits. They kept the same look for their debut on the British

1505:, pp. 98–99: If this was to work, then we needed the approval of the cognoscenti, so a private show was how Dagger saw our reveal. We needed to give the elite the privilege of seeing it first; a small crowd but 363:, you know, slightly esoteric, this grand landscape that we're all living on. That was the kind of lyric, very early 80s lyric about a kind of heroic place that we all wanted to put ourselves." In his autobiography 2609: 2068:

The evening we signed, I went to the recording studios with Doug D'Arcy, the MD of Chrysalis UK. He heard the un-finished "To Cut A Long Story Short" and was visibly excited and pronounced it a massive

3033:, p. 76: There was a lot of tartan in the band at that point. Steve Norman was in a kilt. Gary Kemp was wearing tartan trousers. Martin Kemp had a skein of tartan slung across one shoulder. 1619:, p. 104–5: In any case, these writers couldn't dance and would never have understood our groove, so we turned it into a trench and prepared ourselves for an advance…. Instead of begging 273:, emphasizing that their image was as much a part of their performance as their music. The single received mixed reviews at the time of its release, but when it got as high as number 5 on the 3804: 2985:, p. 76: The London Dungeon was the setting for the "To Cut a Long Story Short" video…. We did the whole thing in a day. It was a simple shoot, the band miming to the track. 3238: 3202: 2221: 2427: 2390: 2368: 589: 17: 3094: 774:

Hadley recalled that the music video budget was "tight, around £5,000, which wasn't much", so they needed to shoot on videotape and use a location nearby. The band

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many unveiled by sharp young managers the same age as the talent. In the Blitz slipstream, a dynasty of 35 new-look acts charted during 1981 alone" – including

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27th November sees a reissue of the 12" single in its original die cut sleeve on 180g vinyl featuring the groundbreaking extended and dub mixes of the track

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was unable to attend and offered to pay for the recording of a demo of some of their songs, so on 31 August the band recorded "To Cut a Long Story Short", "

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Tobler, John (16 August 1986). "Richard James Burgess — A Producer/Hitmaker Whose 'Breathless' Style Carries Sound Of 'Hit' Excitement Around The World".

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it almost immediately". He and Chrysalis worked with promoters who knew other DJs around England to send it to, and those clubs also responded favorably.

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Second, the Angel Boys' entourage of otherwise unemployed Blitz Kids suddenly found careers… by dressing, photographing, staging and promoting the band.

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Who could have wished for more?... On May 13th filming took place around London with interviews with the band… And the record companies were impressed.

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included "To Cut a Long Story Short" on a list of Spandau Ballet songs that were "utterly convincing white boy Funk"; Ned Raggett interpreted it as a "

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wrote, "I have never seen that happen before or since." The group had recorded some of "To Cut A Long Story Short" by 10 October when they signed with

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I didn't give it much thought until a couple of days later when I got a call from Steve Dagger to see if I might be interested in producing the band.

336:, the fashionable clientele who gathered every Tuesday for the weekly London nightclub the Blitz. The band worked on what their guitarist/songwriter 3417: 580: 2752:

As soon as the "white labels" arrived I took them round to the sympathetic DJs in London personally while they were playing their sets that night.

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items. He said Hadley's binoculars were "meant to accentuate the battledress look and imply, I suppose, that we had the future in our sights."

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stipulated that covering the cost of remixing their songs for dance clubs would be included. The band was inspired by the practice of creating

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In addition to meeting with several different labels to begin to negotiate a contract, the band also scheduled a public performance on

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The white spartan package was pure and reflected some of Gary's lyrics and statements at the time, such as 'I am beautiful and clean'.

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There was no attempt to emulate the reggae forefathers, but we tipped our hat to their inspiration by subtitling the B side "Version".

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credited the song with having "a hook line reminiscent of the better psychedelic records". It was chosen as one of the best tracks on

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to a major name producer, but when they didn't do that, I was over the moon, because it was obviously a great opportunity for me.

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it was being played on high rotation on Radio 1, Peter Powell's session recording being replaced seamlessly by 'the real thing'.

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graphics student Graham Smith came up with the design for the sleeve of their first single as well as the album they had begun,

3741: 2765: 2739: 2716: 2684: 2658: 2632: 2236: 408:", "Confused" and "Reformation". "To Cut a Long Story Short" was also one of the four songs recorded at a studio session for 3643: 3484: 3102: 1707: 3789: 3706: 3498: 2829: 1595:, p. 104: By now, packs of photographers and film crews hovered every Tuesday outside our spiritual home of the Blitz 1191: 737: 733: 650: 628: 766:

The band wore tartan military dress similar to these Highland soldiers for the music video and their first appearance on

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scenario" in singling it out as one of their better early tracks; and Stewart Mason described it as minimalist "spiky

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groups that were associated with nightclubs were signed to record labels and began charting in the US as part of the

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it reached number 9 in Ireland, number 15 in Australia, number 19 in Spain and number 38 in New Zealand. In the US,

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men and journalists to come down, we did the opposite and were perversely thrilled by them not being allowed in.

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most important as far as we were concerned, and the direction of their thumbs would determine our future.

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series in 2013, Kemp said, "The lyrics to those kind of songs, I mean, I suppose they owed something to

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track "In Love with You", which was described as one of the "moments of boldness" on their 2006 album

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recalled, "Labels were at a fever pitch trying to sign the group." Burgess, co-founding member of

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The signature riff from "To Cut a Long Story Short" was used as a sample looping throughout the

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Kemp's "all-in-at-once" intro that one reviewer described as a merely "cute synthesiser riff".

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certification on 1 December for reaching the 250,000 units of shipment threshold. On other

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what would they say? And to make it more of a drama, Bryan Ferry was one of the guests.

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dated 15 November 1980 and peaked at number 5 during its 11 weeks there. Lead singer

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magazine in 2000 that "To Cut a Long Story Short" inspired him to write 1981's "

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Gary Kemp wrote many Spandau Ballet songs, including "To Cut a Long Story Short"

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few gigs, but a massively competent record by a band with plenty in reserve."

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week that "To Cut a Long Story Short" was reviewed, one of the panelists was

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On the fortieth anniversary of the song's release, Spandau Ballet producer

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This move would still be considered questionable in marketing terms today.

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material and featuring a "dirty, overdriven synth sound and a stomping

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appear as though it were a single before we even had a record label."

112: 1762:"40th Anniversary: Spandau Ballet and the Arista Demos – August 1980" 796: 460: 2512:. New York: Billboard Publications, Inc. 14 March 1981. p. 70. 1536:"40th Anniversary: The Blitz - The First Spandau Ballet Performance" 531:– Steve Dagger on the band's use of the Blitz Kids behind the scenes 516:

is 'We're here now, and if you don't like it, get out of the way.'"

312: 3149:"Spandau Ballet, the Blitz kids and the birth of the New Romantics" 2317:"Spandau Ballet, the Blitz kids and the birth of the New Romantics" 2272:"Spandau Ballet, the Blitz kids and the birth of the New Romantics" 3271: 3255: 1338:"Spandau Ballet review – return of the shoulder-heaving soul boys" 897: 761: 448: 419: 311: 3395: 1735:"40th Anniversary: Spandau Ballet at HMS Belfast – July 26, 1980" 754:

with "The Freeze", and eventually they got as high as number 28.

3361:(illustrated ed.). St Ives, N.S.W.: Australian Chart Book. 1682:"40th Anniversary: Spandau Ballet at The Scala – May 13th, 1980" 1647:"40th Anniversary: Spandau Ballet at the Scala – May 13th, 1980" 620: 3399: 945:"To Cut a Long Story Short" (Mix 2) ("Version" version ) — 3:56 2854:

The Irish Charts – Search Results – To Cut a Long Story Short"

1478: 795:

and Edwardian Scottish military regalia, which included a few

787: 1234:"To Cut a Long Story Short - Spandau Ballet | Song Info" 2766:"40th Anniversary: White Light and a Club Dance Floor Smash" 2740:"40th Anniversary: White Light and a Club Dance Floor Smash" 2717:"40th Anniversary: White Light and a Club Dance Floor Smash" 2685:"40th Anniversary: White Light and a Club Dance Floor Smash" 2659:"40th Anniversary: White Light and a Club Dance Floor Smash" 2633:"40th Anniversary: White Light and a Club Dance Floor Smash" 2237:"40th Anniversary: White Light and a Club Dance Floor Smash" 1708:"40th Anniversary: Spandau Ballet in St. Tropez – July 1980" 971: 912: 569: 1140:

Year-end chart performance for "To Cut a Long Story Short"

504:

their record label would also pay for dance mixes, and the

424:

Richard James Burgess produced "To Cut a Long Story Short"

396:. While several labels were represented in the crowd, the 697:

weirdness, all twitchy synths and bubbling urgency". For

487:

were a futuristic dream. We were limited to repeat echo,

2042:

recording the first single "To Cut A Long Story Short".

928:"To Cut a Long Story Short" ("Version" version ) — 3:20 1951:. New York: Billboard Publications, Inc. p. H-4. 16:

For the short story collection by Jeffrey Archer, see

288:

The record contract that Spandau Ballet signed with

3751: 3582: 3529: 3469: 2574:"Gold: The Best of Spandau Ballet - Spandau Ballet" 194: 180: 166: 145: 121: 88: 80: 65: 55: 44: 30: 526:We were all in it together to cause a revolution. 18:To Cut a Long Story Short (short story collection) 3805:Song recordings produced by Richard James Burgess 2936:"Spandau Ballet Chart History (Dance Club Songs)" 3237:: CS1 maint: others in cite AV media (notes) ( 3201:: CS1 maint: others in cite AV media (notes) ( 2220:: CS1 maint: others in cite AV media (notes) ( 1260:"The top 25 greatest 1980s synthpop songs ever" 1207:Shipments figures based on certification alone. 844:Former Depeche Mode keyboardist and songwriter 802:The band chose similar garb for their debut on 524: 300:with such reinterpretations of the song on the 3127:"69: Depeche Mode – 'Just Can't Get Enough'". 782:, then located in Tooley Street, and director 3411: 2892:(1st ed.). Spain: Fundación Autor-SGAE. 8: 3133:. No. 855. 7 December 2000. p. 97. 2645:All the signs for the single were very good. 1322:. No. 28. 12 November 1983. p. 22. 581:Spandau Ballet - "To Cut a Long Story Short" 3616:Chant No. 1 (I Don't Need This Pressure On) 3142: 3140: 2917:Spandau Ballet – To Cut a Long Story Short" 723:"To Cut a Long Story Short" debuted on the 693:that the song "remains a sharp exercise in 3573:The Story: The Very Best of Spandau Ballet 3418: 3404: 3396: 3122: 3120: 2166: 2164: 1834: 1832: 1830: 1422:"Making Spandau Ballet: Journeys To Glory" 1412: 1410: 1408: 1170: 1138: 1038: 942:"To Cut a Long Story Short" (Mix 1) — 6:30 715:, who Dagger described as "second only to 36: 27: 2710: 2708: 2706: 2548:"The Singles Collection - Spandau Ballet" 2452: 2450: 2448: 2194: 2192: 1940: 1938: 1447: 1445: 1331: 1329: 962:Credits adapted from the liner notes for 3250: 3248: 2966: 2964: 2962: 2931: 2929: 2467:. Vol. 27, no. 46. p. 14. 2363: 2361: 2359: 1529: 1527: 3053: 3051: 1227: 1225: 1221: 1203: 332:wanted to be the band to represent the 54: 43: 3337:I Know This Much: From Soho to Spandau 3230: 3194: 3030: 2994: 2982: 2953: 2868: 2866: 2848: 2846: 2820: 2818: 2809: 2794:"Spandau Ballet: Artist Chart History" 2530: 2430:. Shapersofthe80s.com. 24 January 2011 2393:. Shapersofthe80s.com. 24 January 2011 2371:. Shapersofthe80s.com. 24 January 2011 2213: 602: 365:I Know This Much: From Soho to Spandau 2911: 2909: 2888:Fernando Salaverri (September 2005). 2883: 2881: 2789: 2787: 238:" is the debut single by the English 7: 3057: 3042: 3018: 3006: 2970: 2872: 2414: 2350: 2302: 2257: 2174:. spandauballet.com. 30 October 2020 2155: 1821: 1782: 1667: 1632: 1616: 1604: 1592: 1580: 1568: 1556: 1518: 1502: 1451: 1399: 1387: 1375: 1363: 679:" with a style reminiscent of early 649:magazine's review of the album, and 447:Kemp suggested to Burgess that they 3256:"National Top 100 Singles for 1981" 1314:"Spandau Over Europe: The Conquest" 3093:Drever, Andrew (3 November 2006). 1477:. Series 2. UK. 6:09 minutes in. 925:"To Cut a Long Story Short" — 3:20 791:were" and explained the band wore 706:Release and commercial performance 14: 3147:Johnson, David (3 October 2009). 3070:Norman, Steve (4 November 2020). 2890:Sólo éxitos: año a año, 1959–2002 2315:Johnson, David (3 October 2009). 2270:Johnson, David (3 October 2009). 835:in a review by Andrew Drever for 681:Orchestral Manoeuvres in the Dark 3566:Gold: The Best of Spandau Ballet 2480:"Spandau Ballet: Heaven, London" 2457:Cooper, Mark (8 November 1980). 750:magazine paired the song on the 603:Problems playing this file? See 585: 3359:Australian Chart Book 1970–1992 1988:It was a hit waiting to happen. 1336:Gittins, Ian (1 October 2014). 1286:O'Neil, Dave (15 August 2016). 2202:(12-inch Single liner notes). 328:era in British youth culture, 1: 3183:(7-inch Single liner notes). 2830:British Phonographic Industry 734:British Phonographic Industry 25:1980 single by Spandau Ballet 2944:. Retrieved 26 August 2021. 663:In retrospective reviews on 296:mixes and released both the 73:"To Cut a Long Story Short" 3262:. 4 January 1982. p. 7 2459:"Singles: Synths 'n' Slush" 1258:Owen, Tom (30 April 2024). 31:"To Cut a Long Story Short" 3821: 3795:Songs written by Gary Kemp 3552:The Best of Spandau Ballet 3291:Post Punk Diary, 1980–1982 908:Formats and track listings 812:Twelve-inch single reissue 539:Camberwell College of Arts 485:digital audio workstations 15: 3800:Chrysalis Records singles 3591:To Cut a Long Story Short 3433: 3339:. London: Fourth Estate. 3314:To Cut a Long Story Short 3181:To Cut a Long Story Short 3095:"Adventures in Freestyle" 2200:To Cut a Long Story Short 1469:"Spandau Ballet (A-Side)" 1204: 1189: 1181: 1178: 1175: 1152: 1114: 1099: 1087: 1075: 1063: 1051: 236:To Cut a Long Story Short 211:To Cut a Long Story Short 202: 35: 2130:Burgess, Richard James. 2118:and Lee "Scratch" Perry. 2103:Burgess, Richard James. 1916:Burgess, Richard James. 1889:Burgess, Richard James. 1862:Burgess, Richard James. 1839:Burgess, Richard James. 459:and then remembered the 3289:Gimarc, George (1997). 2798:Official Charts Company 1017:Graham Smith – graphics 832:Adventures in Freestyle 283:Second British Invasion 3728:Be Free with Your Love 3707:Through the Barricades 3630:She Loved Like Diamond 3538:The Singles Collection 3506:Through the Barricades 3318:Sidgwick & Jackson 771: 574: 528: 425: 317: 298:7- and 12-inch singles 251:guitarist/songwriter, 3545:The Twelve Inch Mixes 3312:Hadley, Tony (2004). 1012:Richard James Burgess 992:– guitar, synthesizer 980:– vocals, synthesizer 856:Just Can't Get Enough 778:a performance at the 765: 573: 430:Richard James Burgess 423: 315: 267:television programme 189:Richard James Burgess 3790:Spandau Ballet songs 3383:Official music video 2210:. 1980. CHS 12 2473. 466:and remixes done by 285:as well as at home. 3700:Fight for Ourselves 3672:Only When You Leave 3335:Kemp, Gary (2009). 3233:cite AV media notes 3197:cite AV media notes 3074:. spandauballet.com 2858:Irish Singles Chart 2768:. spandauballet.com 2742:. spandauballet.com 2719:. spandauballet.com 2687:. spandauballet.com 2661:. spandauballet.com 2635:. spandauballet.com 2506:"Top Album Picks". 2478:Williams, Richard. 2239:. spandauballet.com 2216:cite AV media notes 2134:. spandauballet.com 2107:. spandauballet.com 2084:. spandauballet.com 2058:. spandauballet.com 2031:. spandauballet.com 2004:. spandauballet.com 1978:. spandauballet.com 1920:. spandauballet.com 1893:. spandauballet.com 1866:. spandauballet.com 1843:. spandauballet.com 1799:. spandauballet.com 1764:. spandauballet.com 1737:. spandauballet.com 1710:. spandauballet.com 1684:. spandauballet.com 1649:. spandauballet.com 1538:. spandauballet.com 1430:. Anthem Publishing 1172: 1141: 736:awarded the single 472:Lee "Scratch" Perry 374:New Musical Express 277:, several other UK 3785:1980 debut singles 3530:Compilation albums 3391:, 13 November 1980 3295:St. Martin's Press 1171: 1139: 772: 575: 563:Critical reception 426: 318: 198:singles chronology 75:"Version" version 3767: 3766: 3478:Journeys to Glory 3462:Ross William Wild 3346:978-0-00-732330-2 3327:978-0-283-07386-1 3304:978-0-312-16968-8 3260:Kent Music Report 3227:. 1981. CHR 1331. 3225:Chrysalis Records 3219:(record sleeve). 3217:Journeys to Glory 3191:. 1980. CHS 2473. 3189:Chrysalis Records 3161:on 11 August 2021 3105:on 16 August 2021 2329:on 11 August 2021 2284:on 11 August 2021 2208:Chrysalis Records 2015:the studio bills. 1559:, p. 100–101 1289:The Summer of '82 1213: 1212: 1208: 1164: 1163: 1155:Kent Music Report 1132: 1131: 1078:Recorded Music NZ 1054:Kent Music Report 1026: 1025: 965:Journeys to Glory 954: 953: 640:Journeys to Glory 590: 544:Journeys to Glory 451:the song for the 442:Chrysalis Records 290:Chrysalis Records 232: 231: 228: 227: 141: 140:(12-inch version) 136: 76: 59:Journeys to Glory 3812: 3752:Related articles 3679:I'll Fly for You 3513:Heart Like a Sky 3420: 3413: 3406: 3397: 3372: 3350: 3331: 3308: 3276: 3275: 3269: 3267: 3252: 3243: 3242: 3236: 3228: 3213: 3207: 3206: 3200: 3192: 3177: 3171: 3170: 3168: 3166: 3157:. Archived from 3144: 3135: 3134: 3124: 3115: 3114: 3112: 3110: 3101:. 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2887: 2886: 2879: 2871: 2864: 2851: 2844: 2834: 2832: 2824: 2823: 2816: 2808: 2804: 2792: 2785: 2771: 2769: 2764:Dagger, Steve. 2763: 2762: 2758: 2745: 2743: 2738:Dagger, Steve. 2737: 2736: 2732: 2722: 2720: 2715:Dagger, Steve. 2714: 2713: 2704: 2690: 2688: 2683:Dagger, Steve. 2682: 2681: 2677: 2664: 2662: 2657:Dagger, Steve. 2656: 2655: 2651: 2638: 2636: 2631:Dagger, Steve. 2630: 2629: 2625: 2615: 2613: 2605:The Independent 2597: 2596: 2592: 2582: 2580: 2571: 2570: 2566: 2556: 2554: 2542: 2541: 2537: 2529: 2525: 2505: 2504: 2500: 2490: 2488: 2477: 2476: 2472: 2456: 2455: 2446: 2433: 2431: 2426: 2425: 2421: 2413: 2409: 2396: 2394: 2389: 2388: 2384: 2374: 2372: 2367: 2366: 2357: 2349: 2345: 2332: 2330: 2314: 2313: 2309: 2301: 2297: 2287: 2285: 2269: 2268: 2264: 2256: 2252: 2242: 2240: 2235:Dagger, Steve. 2234: 2233: 2229: 2212: 2198: 2197: 2190: 2177: 2175: 2170: 2169: 2162: 2154: 2150: 2137: 2135: 2129: 2128: 2124: 2110: 2108: 2102: 2101: 2097: 2087: 2085: 2080: 2079: 2075: 2061: 2059: 2054:Dagger, Steve. 2053: 2052: 2048: 2034: 2032: 2027:Dagger, Steve. 2026: 2025: 2021: 2007: 2005: 2000:Dagger, Steve. 1999: 1998: 1994: 1981: 1979: 1974:Dagger, Steve. 1973: 1972: 1968: 1944: 1943: 1936: 1923: 1921: 1915: 1914: 1910: 1896: 1894: 1888: 1887: 1883: 1869: 1867: 1861: 1860: 1856: 1846: 1844: 1838: 1837: 1828: 1820: 1816: 1802: 1800: 1795:Dagger, Steve. 1794: 1793: 1789: 1781: 1777: 1767: 1765: 1760:Dagger, Steve. 1759: 1758: 1754: 1740: 1738: 1733:Dagger, Steve. 1732: 1731: 1727: 1713: 1711: 1706:Dagger, Steve. 1705: 1704: 1700: 1687: 1685: 1680:Dagger, Steve. 1679: 1678: 1674: 1666: 1662: 1652: 1650: 1645:Dagger, Steve. 1644: 1643: 1639: 1631: 1627: 1615: 1611: 1603: 1599: 1591: 1587: 1579: 1575: 1567: 1563: 1555: 1551: 1541: 1539: 1534:Dagger, Steve. 1533: 1532: 1525: 1517: 1513: 1501: 1497: 1487: 1485: 1463: 1462: 1458: 1450: 1443: 1433: 1431: 1416: 1415: 1406: 1398: 1394: 1386: 1382: 1374: 1370: 1362: 1358: 1348: 1346: 1335: 1334: 1327: 1312: 1311: 1307: 1300: 1285: 1284: 1280: 1270: 1268: 1257: 1256: 1252: 1242: 1240: 1232:Stewart Mason. 1231: 1230: 1223: 1218: 1183:Certified units 1169: 1137: 1135:Year-end charts 1046: 1037: 1032: 1027: 960: 955: 910: 823: 814: 805:Top of the Pops 768:Top of the Pops 760: 708: 612:Mark Cooper of 610: 609: 601: 599: 598: 597: 596: 593: 586: 583: 576: 570: 565: 534: 530: 522: 383: 324:epitomized the 310: 270:Top of the Pops 223: 214: 181: 167: 162: 137: 130: 126: 125: 117: 84:31 October 1980 66: 56:from the album 26: 21: 12: 11: 5: 3818: 3816: 3808: 3807: 3802: 3797: 3792: 3787: 3782: 3772: 3771: 3765: 3764: 3762: 3761: 3755: 3753: 3749: 3748: 3746: 3745: 3738: 3731: 3724: 3717: 3710: 3703: 3696: 3689: 3682: 3675: 3668: 3661: 3654: 3647: 3640: 3633: 3626: 3619: 3612: 3601: 3594: 3586: 3584: 3580: 3579: 3577: 3576: 3569: 3562: 3559:The Collection 3555: 3548: 3541: 3533: 3531: 3527: 3526: 3524: 3523: 3516: 3509: 3502: 3495: 3488: 3481: 3473: 3471: 3467: 3466: 3464: 3463: 3460: 3455: 3450: 3445: 3440: 3434: 3431: 3430: 3427:Spandau Ballet 3425: 3423: 3422: 3415: 3408: 3400: 3394: 3393: 3385: 3378: 3377:External links 3375: 3374: 3373: 3367: 3351: 3345: 3332: 3326: 3309: 3303: 3284: 3281: 3278: 3277: 3244: 3221:Spandau Ballet 3208: 3185:Spandau Ballet 3172: 3136: 3116: 3085: 3062: 3047: 3035: 3023: 3011: 2999: 2987: 2975: 2958: 2946: 2925: 2921:Top 40 Singles 2905: 2898: 2877: 2862: 2842: 2814: 2802: 2783: 2756: 2730: 2702: 2675: 2649: 2623: 2598:Jones, Dylan. 2590: 2572:Raggett, Ned. 2564: 2544:Thompson, Dave 2535: 2523: 2498: 2470: 2444: 2419: 2407: 2382: 2355: 2343: 2307: 2295: 2262: 2250: 2227: 2204:Spandau Ballet 2188: 2160: 2148: 2122: 2095: 2073: 2046: 2019: 1992: 1966: 1934: 1908: 1881: 1854: 1826: 1814: 1787: 1775: 1752: 1725: 1698: 1672: 1660: 1637: 1625: 1609: 1597: 1585: 1573: 1561: 1549: 1523: 1511: 1508: 1495: 1456: 1441: 1404: 1392: 1380: 1368: 1356: 1325: 1305: 1298: 1278: 1250: 1220: 1219: 1217: 1214: 1211: 1210: 1202: 1201: 1198: 1195: 1187: 1186: 1180: 1177: 1168: 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London: 1465:Kemp, Gary 1319:Number One 1243:17 October 1216:References 1101:UK Singles 1014:– producer 890:Bananarama 742:pop charts 651:Alan Lewis 623:nightclub 605:media help 549:The Freeze 468:King Tubby 406:The Freeze 381:Recordings 359:'s famous 334:Blitz Kids 330:the Gentry 308:Background 220:The Freeze 3742:Once More 3520:Once More 3443:Gary Kemp 3165:11 August 3109:16 August 3058:Kemp 2009 3043:Kemp 2009 3019:Kemp 2009 3007:Kemp 2009 2971:Kemp 2009 2941:Billboard 2873:Kent 1993 2518:0006-2510 2509:Billboard 2485:The Times 2415:Kemp 2009 2351:Kemp 2009 2333:11 August 2303:Kemp 2009 2288:11 August 2258:Kemp 2009 2156:Kemp 2009 1957:0006-2510 1948:Billboard 1822:Kemp 2009 1783:Kemp 2009 1668:Kemp 2009 1633:Kemp 2009 1617:Kemp 2009 1605:Kemp 2009 1593:Kemp 2009 1581:Kemp 2009 1569:Kemp 2009 1557:Kemp 2009 1519:Kemp 2009 1503:Kemp 2009 1452:Kemp 2009 1400:Kemp 2009 1388:Kemp 2009 1376:Kemp 2009 1364:Kemp 2009 1271:27 August 1148:Position 1122:Billboard 1064:Ireland ( 1047:position 990:Gary Kemp 958:Personnel 882:Soft Cell 747:Billboard 677:synth-pop 646:Billboard 634:The Times 520:Cover art 497:breakdown 495:, mixing 434:Landscape 338:Gary Kemp 253:Gary Kemp 175:Gary Kemp 155:Chrysalis 108:Eurodisco 98:Synth-pop 3644:Lifeline 3357:(1993). 3078:1 August 2772:2 August 2746:2 August 2723:2 August 2691:2 August 2665:2 August 2639:2 August 2616:1 August 2583:1 August 2578:AllMusic 2557:1 August 2552:AllMusic 2491:1 August 2434:9 August 2397:9 August 2375:9 August 2243:8 August 2178:1 August 2138:2 August 2111:2 August 2088:2 August 2062:7 August 2035:7 August 2008:7 August 1982:7 August 1924:2 August 1897:2 August 1870:2 August 1847:2 August 1803:7 August 1768:6 August 1741:6 August 1714:6 August 1688:6 August 1542:5 August 1434:2 August 1238:AllMusic 1200:250,000 1004:– guitar 793:Culloden 673:rent-boy 665:AllMusic 493:overdubs 481:samplers 240:new wave 103:new wave 81:Released 3583:Singles 3485:Diamond 3099:The Age 2779:Meccas. 1904:roughs. 1721:Ballet. 1621:A&R 1197:Silver 1185:/sales 1176:Region 1088:Spain ( 986:– drums 838:The Age 695:art-pop 555:" and " 455:of the 398:A&R 392:on the 389:Belfast 361:cut-ups 224:(1981) 215:(1980) 113:art pop 3499:Parade 3365: 3343: 3324: 3301: 2896: 2516: 1955: 1349:6 June 1296: 1030:Charts 1021: 998:– bass 949: 821:Legacy 797:tartan 738:Silver 656:Sounds 625:Heaven 489:reverb 483:, and 461:reggae 453:B-side 302:B-side 122:Length 68:B-side 46:Single 3272:Imgur 1090:AFYVE 898:Wham! 848:told 776:mimed 449:remix 357:Bowie 248:Blitz 242:band 147:Label 138:6:30 90:Genre 3665:Gold 3658:True 3609:Glow 3492:True 3363:ISBN 3341:ISBN 3322:ISBN 3299:ISBN 3268:2022 3239:link 3203:link 3167:2021 3111:2021 3080:2021 2894:ISBN 2837:2021 2774:2021 2748:2021 2725:2021 2693:2021 2667:2021 2641:2021 2618:2021 2585:2021 2559:2021 2514:ISSN 2493:2021 2436:2021 2399:2021 2377:2021 2335:2021 2290:2021 2245:2021 2222:link 2180:2021 2140:2021 2113:2021 2090:2021 2069:hit. 2064:2021 2037:2021 2010:2021 1984:2021 1953:ISSN 1926:2021 1899:2021 1872:2021 1849:2021 1805:2021 1770:2021 1743:2021 1716:2021 1690:2021 1655:2021 1544:2021 1490:2021 1436:2021 1351:2019 1294:ISBN 1273:2024 1245:2016 1066:IRMA 1045:Peak 900:and 884:and 621:LGBT 557:Glow 551:", " 501:tape 470:and 464:dubs 387:HMS 326:punk 3721:Raw 3607:"/" 2923:. 2860:. 2800:. 1810:it. 1507:the 1479:BBC 1192:BPI 1160:81 1128:28 1115:US 1105:OCC 1095:19 1083:38 1059:15 904:. 886:ABC 788:BBC 653:of 643:in 631:of 412:DJ 349:'s 294:dub 279:pop 48:by 3776:: 3320:. 3316:. 3297:. 3293:. 3258:. 3247:^ 3235:}} 3231:{{ 3199:}} 3195:{{ 3187:. 3151:. 3139:^ 3119:^ 3097:. 3050:^ 2961:^ 2938:. 2928:^ 2919:. 2908:^ 2880:^ 2865:^ 2856:. 2845:^ 2828:. 2817:^ 2796:. 2786:^ 2776:. 2750:. 2705:^ 2695:. 2669:. 2643:. 2602:. 2576:. 2550:. 2546:. 2482:. 2461:. 2447:^ 2438:. 2401:. 2358:^ 2337:. 2319:. 2274:. 2218:}} 2214:{{ 2206:. 2191:^ 2182:. 2163:^ 2142:. 2115:. 2066:. 2039:. 2012:. 1986:. 1959:. 1937:^ 1928:. 1901:. 1874:. 1829:^ 1807:. 1748:it 1745:. 1718:. 1692:. 1526:^ 1481:. 1471:. 1444:^ 1424:. 1407:^ 1340:. 1328:^ 1316:. 1262:. 1236:. 1224:^ 1194:) 1157:) 1125:) 1110:5 1107:) 1092:) 1080:) 1071:9 1068:) 1056:) 968:: 896:, 892:, 880:, 876:, 872:, 841:. 667:, 627:, 491:, 479:, 222:" 213:" 131:20 3744:" 3740:" 3737:" 3733:" 3730:" 3726:" 3723:" 3719:" 3716:" 3712:" 3709:" 3705:" 3702:" 3698:" 3695:" 3691:" 3688:" 3684:" 3681:" 3677:" 3674:" 3670:" 3667:" 3663:" 3660:" 3656:" 3653:" 3649:" 3646:" 3642:" 3639:" 3635:" 3632:" 3628:" 3625:" 3621:" 3618:" 3614:" 3611:" 3603:" 3600:" 3596:" 3593:" 3589:" 3419:e 3412:t 3405:v 3371:. 3349:. 3330:. 3307:. 3274:. 3241:) 3205:) 3169:. 3113:. 3082:. 2915:" 2902:. 2852:" 2839:. 2727:. 2620:. 2587:. 2561:. 2520:. 2495:. 2379:. 2292:. 2247:. 2224:) 2092:. 1851:. 1772:. 1657:. 1546:. 1492:. 1438:. 1353:. 1302:. 1275:. 1247:. 1119:( 1103:( 770:. 607:. 234:" 218:" 209:" 129:: 127:3 20:.

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