"Paying The Price of Love"
Barry: It's about a wonderful relationship that's gone wrong, and the personsinging the
song is, as always, paying the price... the person who's most in love.
Robin: It took about half an hour to write. In general, the best songs do come the
Maurice: This is one of the first songs we wrote. We write like we used to, just the
technology has changed. There is a place for drum machines if you use them correctly. We
wanted a groove that was exceptionally danceable, that was commercial.
Barry: We wanted something everybody might want to sing along to. It's more of a European
flavour than American. We recorded the song about three or four different ways, and
organically, that was the best version.
Robin: I'm really into great constructed pop records, and this is the kind of record I can
get my teeth into... a great verse and chorus, a great payoff. Personally, one of my
"Kiss Of Life"
Robin: One of the first things we wrote for the album... about a year and a half ago.
Maurice: We weren't sure that the song would stand up to the rest, and it wasn't until we
started doing the lyrics that we thought, 'This is gonna be really good when we're
Robin: I love the title; it's a great title to sing.
Maurice: We wanted a song with plenty of harmony... a pop sixties song done today.
Barry: We like Phil Collins, and we wanted to do something in that vein, where there are
lots of harmonic hooks in the choruses. A lot of Beach Boys influence in that track... the
vocal breakdown in the middle was Beach Boys influenced. In saying that, we were probably
influenced by a lot of different vocal styles through the years, and we want to
incorporate them into this album.
"How To Fall In Love, Part One"
Maurice: This was a song we wrote about a year before we started the album. The idea was
put down on a cassette, and we never really finished it.
Robin: It's a combination of two different songs put together at the end of the day. It
started with a line Barry had and a verse line that I had.
Maurice: The point is, every time you really fall in love, experience goes out the window.
Barry: It's an R&B ballad, influenced a little bit by Elton John... perhaps R&B
music as a while. It's the one song my wife keeps singing. It's the one song that I feel
is probably the biggest single, and it might be the one that gets ignored. What I think is
the hit usually doesn't get put out. I usually get outvoted. Still, it's my favourite on
the new album.
Maurice: I think Barry's vocal is brilliant.
Barry: One of the first things we wrote, and one of the least favourites for at least six
months. We worked on this LP for almost a year and a half, and all along, we thought,
maybe this will be on the album and maybe it won't.
Maurice: This song is me... the last man on Earth. It's from a Charlton Heston film I saw
once, where he plays the hero here to save the world. It's a very Beatlesque track...
Mersey Beat type of thing that was going on in the '60s.
Robin: This is a song originally cut, it was even more Beatleish, with vibrato guitars. I
suggested to our engineer, Femi Jiya, that I'd like to re-cut this track and make it a lot
more moodier and sensual.
Barry: I sang the original demo, but when Maurice did the vocal, it had that little bit of
humour that I thought was missing.
Barry: Another of my favourites. Very Gothic. To me, we all have different visions, but we
all have the same one. And the end of a marriage, suddenly you have a house full of empty
rooms, and you're haunted by the person you lived with.
Robin: One of my favourites, too. I like the theme of a guy being haunted by memories.
It's a very strong story line. The song was originally called "Lambs To The
Slaughter," but we decided that was a little too blood curdling, although you can
hear us singing that title in the lyric.
Maurice: Great keyboard sounds on this one. Wanted it to be haunting, very moody and
atmospheric. That's something that I adore doing. I love to create effects like that, that
get you into the mood of the song. Listen to it on heaphones. The stereo just widens.
"Heart Like Mine"
Robin: One of my personal favourites. What really inspired me to do this is Clannad, the
Irish folk group. Enya was originally a member of the group. I like their vocal sounds,
and I wanted to do something in that vein, that kind of chemistry.
Barry: Once again, that's sort of Beach Boys influenced. We loved their original music and
harmonies, Brian Wilson's work. Some of that creeps in there too. A very compelling vocal
from Robin. Fantastic. Reminds me a bit of Aaron Neville.
Maurice: This is the kind of song built for Robin's very teary type voice. His vocal is
unbelievable on this... classic Robin. When I first heard the vocal, that little bit at
the end of each chorus... ooh, it just broke me up, and I knew that it was a very
emotional song. He's alone but he knows there's someone out there for him. That's
basically the plot of this song.
"Anything For You"
Barry: This one's just for fun... not too heavy. It's purely a sexual innuendo, hopefully
a good dance groove. Dancing is the rhythm of the soul, that goes back thousands of years.
Sometimes I feel a bit like Glenn Miller. Just because people want to dance to your music
doesn't mean it's a bad thing.
Maurice: We wrote about six songs for the album up front, the rest, we started jamming
about and this one is us just having fun.
Maurice: This is not the "Blue Island" we think of with palm trees, near Tahiti.
It's a "Blue Island" taken from a book that was written about afterlife. It says
that England is green and on the other side it's blue. This is for the children of Bosnia,
that the "Blue Island" out there is a better life after this, so don't worry.
Robin: We didn't want to make an actual statement about kids dying, but we are talking
about the children of Bosnia in that song.
Maurice: We did it acoustically, and sang it live at the same time. It's our
"Unplugged" track if you will. We did it all in one go. It took about five
takes. We all sat in a circle, Me on the twelve string, Barry and our other guitarist Alan
Kendall on six string and Gustava Lezcano on harmonica. We dimmed the lights down low and
cut it. The only thing that's overdubbed is the keyboard. At the last minute, Barry
suggested that we have a warm sounding keyboard on the second half, and I dubbed that on.
The whole song was a lovely experience.
Barry: This is our dedication to the children of Yugoslavia. That's what the song is
about. Listen to the lyrics with that in mind, it gives you a whole different vision. I'm
very angry that we're not taking a much stronger stand. We seem to be very frustrated as
civilization to not be able to stop what's going on. We should know how to stop something
like this. But whatever you say, it doesn't seem adequate. That's why we're gonna do a
show this year, where everybody does one of our songs, and all of the proceeds will go to
the children of Yugoslavia.
"Above and Beyond"
Robin: Tamla influences on that... a song that harks back to that soul era of Motown. It's
the same kind of thing we did for "Chain Reaction" with Diana Ross.
Barry: Just a positive, uplifting attitude. This is one of the songs we were in
doubt about, but Maurice wanted to sing it, and he did a really nice job.
Maurice: My pop contribution... a song that everyone could sing along with. I wanted to
let people know I could do another thing besides "Omega Man".
"For Whom The Bell Tolls"
Robin: We wanted to do a traditional power ballad, and this is the one folks. Although the
verse is less traditional than we're accustomed to..."
Maurice: This is like "How Can You Mend A Broken Heart", a class Bee Gees epic.
To me, it's like "Fanny Be Tender...".
Maurice: I like the Pet Shop Boys...
Robin: Although they are traditional dance grooves, there's something about Pet Shop Boys
that American groups don't use in their grooves. It's a European groove which is quite
tonic when you hear it in America, because you don't hear it so much.