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Then at the age of 17, he joined the new wave band A Flock of Seagulls, a few months after the band was formed, and came to replace the original guitarist Willie Woo. [ 2 ] [ 3 ] The group's popularity soared in the early 1980s with the release of " (It's Not Me) Talking ," and in 1982 the song " I Ran (So Far Away) " was a hit in the US and at ...
Mike was a hairdresser when he bought a second-hand Korg MS-10 synthesizer and invited his friends to form the band. Frank played bass and Ali drums, even without prior experience. After testing six guitarists, Willie Woo joined the band and brought in Mark Edmondson to replace Ali on drums.
Title Album details The Singles: Released: June 1985; Label: Jive; Formats: 10x7" Also released as 10x12" as The 12" Singles; The Best of A Flock of Seagulls: Released: October 1986
It should only contain pages that are A Flock of Seagulls songs or lists of A Flock of Seagulls songs, as well as subcategories containing those things (themselves set categories). Topics about A Flock of Seagulls songs in general should be placed in relevant topic categories .
The song exemplifies "synth-pop's spaced-out loneliness" and yearning for imagined, absent lovers, [3] and is noted for its Wall of Sound-styled layer of synthesizer padding – a "multi-layered, hypnotic song", according to AllMusic. [2] According to lead singer Mike Score, "Wishing" was based on a real person. When recalling the experience ...
Modern Love Is Automatic is a 1981 EP by the British new wave band A Flock of Seagulls, written by Mike Score, Ali Score, Frank Maudsley and Paul Reynolds. The song of the same name was also showcased on their self-titled album the following year. The song peaked at #19 on the US Dance Club Play chart as a double A-side with Telecommunication. [3]
Bob Dylan and Willie Nelson will team up for the second summer in a row for the Outlaw Music Festival tour, which will begin May 13 in Phoenix and wrap Sept. 19 in East Troy, Wi. Although the ...
On its release, Music Week called "Who's That Girl (She's Got It)" a "lively, bubbling number" and "danceable electronic pop" with "wide enough appeal to chart". [8] Nancy Culp of Record Mirror commented, "To even have the same title as the seminal Eurythmics stunner is sacrilege. To soil its memory with piffle is an even greater crime." [9]