Thompson Twins were an English new wave band. The band formed in April 1977… Read Full Bio ↴Thompson Twins were an English new wave band. The band formed in April 1977, and disbanded in May 1993. Massively popular in the mid-1980s, the band scored a string of hits in the UK, broke into the U.S. and Canada and enjoyed huge popularity around the globe. The band was named after the two bumbling detectives Thomson and Thompson from Hergé's comic strip, The Adventures of Tintin.
In 1977, the original Thompson Twins lineup consisted of Tom Bailey (born January 18, 1956, in Halifax, Yorkshire) on bass and vocals, Pete Dodd on guitar and vocals, John Roog on guitar, and Jon Podgorski (known as "Pod") on drums. Dodd and Roog first met when they were both 13 years old.
After moving to London but having so little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins' member, Alannah Currie, lived in another squat in the same street — which is how she met Bailey. It was in this ramshackle and run-down house that they found an illegal way of "borrowing" electricity from the house next door. Bailey described themselves (laughingly) as "spongers" (meaning parasites) back then, as they were living on very little, and scavenging everything they could lay their hands on. He even said that the only instruments they had were bought, or had been "stolen or borrowed". Dodd managed to get a council flat not far away. Their roadie at that time was John Hade, who lived in the same house, and who later became their manager.
As "Pod" Podgorski had decided to stay in the north, they auditoned for drummers at The Point Studio in Victoria, London. Dick O'Dell (Disco Dell) the manager of The Pop Group and The Slits also had an office in the same building. Andrew Edge joined them on drums for less than one year, but left because of the subliminal tension between the other band members. Edge went on to join Savage Progress, who later toured with the Thompson Twins as their support act on the 1984 UK tour.
By 1981, the line-up was Bailey, Dodd, Roog and three new members: Chris Bell on drums, Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line up recorded the first Thompson Twins album A Product of ... (Participation). Currie, who had been hanging out with the band for a few years, played and sang on the first album, but was not yet a full member.
Bell admitted in the beginning that he was "not a drummer at all," but with the encouragement and help of Bailey he steadily improved to provide a solid back-beat. The group's personnel eventually rose to as many as eleven members, who often invited enthusiastic audience members onstage to pound on makeshift percussion instruments.
After the first album, the band's line-up shifted yet again. Saxophone player Shorter dropped out, Currie was made an official member, and added was bassist Matthew Seligman, a former member of The Soft Boys. Bailey, meanwhile, moved to keyboards and became the band's lead vocalist, with Leeway being vocalist on some tracks.
The band signed to Arista Records and released the album Set. Thomas Dolby played some keyboards, such as the Oberheim, on Set and some live gigs, as Bailey had little experience with synthesizers before then.
Set contained the single "In The Name Of Love", sung and largely written by Bailey. It became a substantial dance club hit in the U.S., and the Set album would be released as In The Name Of Love in the U.S. to capitalize on the song's popularity. It entered the Billboard 200.
After the success of "In The Name Of Love", Bailey, Currie and Leeway, wanting to pursue the single's different sound, toyed with the idea of starting a new band on the side, which they planned to call "The Bermuda Triangle". When the single and album failed to make a substantial impact in the UK charts, manager Hade convinced Bailey, Leeway and Currie to downsize the Thompson Twins to a core of the three in April 1982. On UK TV, Seligman explained it so:
“ We were all given a piece of paper that we had to sign, which said that we were to be paid 500 pounds, and we could keep our instruments and equipment. It sounded like quite a good deal at the time..." ”
All the former members are still on friendly speaking terms, although Dodd once had the job of delivering a keyboard to Thomas Dolby some time later, but (to Dodd's irritation) Dolby failed to recognise him.
No longer having to work out songs in beer-sodden and sweaty rehearsal rooms, as well as dealing with the opinions of other musicians, Bailey could now work on his own, and at his own pace. Unfortunately this would back-fire on him in later years, as the strain of doing almost everything led to a breakdown.
The Thompson Twins trio then decided to go abroad and to free themselves of any UK influences, as well as to combine the songwriting for their first "trio" album with a very long holiday: "We went to Egypt to be totally isolated", Currie explained. "The old version of The Thompson Twins had just split up (sic) and now there were the three of us — Tom, Joe and myself — and we needed to get some new songs written". "We were always London-based", Bailey added. "Making London-type music, for London people. It was the bane of our lives and we wanted to make a break from that. So Egypt seemed a good place to go..."
The new trio also had their share of in-fighting even after the other members had gone, Currie: "We did have terrible fights when we tried to work together. We threw things at one another and cried. It was all very traumatic, but we've worked so long together that we can cope with that. We know how to manipulate one another, you see, and stick the knife in. There's no democracy in the Thompson Twins; we run it on a totally fascist basis". "After Egypt, we went to the Bahamas" Currie commented, "but we got bored", said Leeway. "There was nothing to do but swim around and look at different coloured corals." Currie continues: "So we came back to Britain and set up a studio in the ballroom of a mansion presided over by a crazy woman in Wiltshire"
They broke into the UK Singles Chart and the U.S. Billboard Hot 100 chart at the beginning of 1983 with "Lies" and "Love On Your Side". Further singles from their third album Quick Step And Side Kick (called simply Side Kicks in the U.S.) followed with "We Are Detective" and "Watching". Bailey's flame-red hair and bright ponytail and Currie's wasp-swatting style at the xylophone swiftly becoming endearing images of an exciting new act. Bailey primarily wrote the music (with significant enough input from Leeway that he received co-authorship credit on all tracks), and Currie contributed most (if not all) of the lyrics. Leeway was also responsible for the band's exciting live visuals.
At the end of 1983, a new single "Hold Me Now" was released. An extremely simple love song with gentle guitar lines, it marked a clear break from the Thompson Twins' previously dance-oriented sound. It hit the top ten in both the UK and US.
Further hit singles followed in 1984: the pop hit "Doctor! Doctor!"; the quirky "You Take Me Up" (reaching number two and their biggest UK hit); the haunting "Sister of Mercy"; and "The Gap" with its Middle Eastern rhythms (this was not released in the UK). The corresponding album, Into The Gap, was one of the bestsellers of the year, selling five million units worldwide and topping the British album charts. The band also embarked on a world tour in support fo the album.
A late 1984 single, "Lay Your Hands On Me", saw the band attempt to build on their success, but an insensitive theme (showing the band draped in jewels) contrasted sharply with the prevalent theme of Live Aid currently obsessing the music press in the UK. The single did well, making the US top ten (#13 in the UK), but by then the trio had peaked.
Working on the follow up to Into The Gap, Bailey suffered a nervous breakdown. Nile Rodgers was subsequently called in to help finish the album, which appeared in 1985. Here's To Future Days (itself making the top 5 in the UK and top 20 in the US) spawned the track: "King For a Day", which made the US top ten, but only reached no.22 in the UK. Other singles included the anti-drug message "Don't Mess With Doctor Dream" (UK #15) and a cover of The Beatles' 1968 hit "Revolution". The Thompson Twins made headlines when they performed at the American-end of Live Aid and were joined on-stage by the fresh-faced Madonna, who was in only her second year of fame. The UK leg of the album's support tour had to be cancelled because of Bailey's breakdown (fans with tickets received a free live album as compensation) and the album itself was delayed by many months, causing the band to lose momentum. Despite this, the latter half of 1985 saw sell out tours for the band in the USA and Japan.
Leeway left the band in 1986, and the remaining duo of Bailey and Currie carried on making music for another seven years. 1987 saw the release of Close To the Bone and the single "Get That Love" which made it to number thirty-one in the U.S. "In The Name of Love" was given a new lease of life in 1988, after a remix by Shep Petitbone made #46 in the UK. 1989 saw the release of another album, Big Trash, and a new record deal with Warner Bros. Records. The single "Sugar Daddy" peaked at number twenty-eight in the USA and would be their last brush with mainstream chart success. 1991's Queer would be the band's swan song, and was supported by various techno-induced singles under the moniker of Feedback Max (in the UK) to disguise club DJs of the source of the records. The single "Come Inside" reached number seven in the U.S. Dance Chart and number one in the UK Dance Chart. However, once it was discovered that the Thompson Twins were behind the record, sales dropped and the album never had a UK release.
Prior to this, Bailey and Currie (now a couple) had their first child together in 1988, and in the following years they spent a lot of time writing material for other artists including the hit single "I Want That Man" for Debbie Harry. In 1991, Bailey and Currie got married in Las Vegas and the following year moved to New Zealand with their two children. In 1992, the Thompson Twins contributed the song "Play With Me" to the soundtrack of the Ralph Bakshi film Cool World; Tom Bailey alone contributed a second track, "Industry and Seduction". The following year, the group finally formally disbanded, and Bailey and Currie teamed up with engineer Keith Fernley to form a new group called Babble. The Thompson Twins have declined to follow the examples of many of their contemporaries and reform to tie-in with a nostalgic rebirth of the 1980s, although Bailey, Currie and Leeway appeared together on the UK Channel 4 show "Top Ten Electro Bands" in 2001 as the Thompson Twins were placed at no.9.
Bailey and Currie are now divorced. Bailey resides with his new wife in London. Currie is now a furniture designer. Her furniture is stuffed with animals to bring attention to the cruelty of animals used for furniture.
In 1977, the original Thompson Twins lineup consisted of Tom Bailey (born January 18, 1956, in Halifax, Yorkshire) on bass and vocals, Pete Dodd on guitar and vocals, John Roog on guitar, and Jon Podgorski (known as "Pod") on drums. Dodd and Roog first met when they were both 13 years old.
After moving to London but having so little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins' member, Alannah Currie, lived in another squat in the same street — which is how she met Bailey. It was in this ramshackle and run-down house that they found an illegal way of "borrowing" electricity from the house next door. Bailey described themselves (laughingly) as "spongers" (meaning parasites) back then, as they were living on very little, and scavenging everything they could lay their hands on. He even said that the only instruments they had were bought, or had been "stolen or borrowed". Dodd managed to get a council flat not far away. Their roadie at that time was John Hade, who lived in the same house, and who later became their manager.
As "Pod" Podgorski had decided to stay in the north, they auditoned for drummers at The Point Studio in Victoria, London. Dick O'Dell (Disco Dell) the manager of The Pop Group and The Slits also had an office in the same building. Andrew Edge joined them on drums for less than one year, but left because of the subliminal tension between the other band members. Edge went on to join Savage Progress, who later toured with the Thompson Twins as their support act on the 1984 UK tour.
By 1981, the line-up was Bailey, Dodd, Roog and three new members: Chris Bell on drums, Joe Leeway on congas and percussion, and Jane Shorter on saxophone. This line up recorded the first Thompson Twins album A Product of ... (Participation). Currie, who had been hanging out with the band for a few years, played and sang on the first album, but was not yet a full member.
Bell admitted in the beginning that he was "not a drummer at all," but with the encouragement and help of Bailey he steadily improved to provide a solid back-beat. The group's personnel eventually rose to as many as eleven members, who often invited enthusiastic audience members onstage to pound on makeshift percussion instruments.
After the first album, the band's line-up shifted yet again. Saxophone player Shorter dropped out, Currie was made an official member, and added was bassist Matthew Seligman, a former member of The Soft Boys. Bailey, meanwhile, moved to keyboards and became the band's lead vocalist, with Leeway being vocalist on some tracks.
The band signed to Arista Records and released the album Set. Thomas Dolby played some keyboards, such as the Oberheim, on Set and some live gigs, as Bailey had little experience with synthesizers before then.
Set contained the single "In The Name Of Love", sung and largely written by Bailey. It became a substantial dance club hit in the U.S., and the Set album would be released as In The Name Of Love in the U.S. to capitalize on the song's popularity. It entered the Billboard 200.
After the success of "In The Name Of Love", Bailey, Currie and Leeway, wanting to pursue the single's different sound, toyed with the idea of starting a new band on the side, which they planned to call "The Bermuda Triangle". When the single and album failed to make a substantial impact in the UK charts, manager Hade convinced Bailey, Leeway and Currie to downsize the Thompson Twins to a core of the three in April 1982. On UK TV, Seligman explained it so:
“ We were all given a piece of paper that we had to sign, which said that we were to be paid 500 pounds, and we could keep our instruments and equipment. It sounded like quite a good deal at the time..." ”
All the former members are still on friendly speaking terms, although Dodd once had the job of delivering a keyboard to Thomas Dolby some time later, but (to Dodd's irritation) Dolby failed to recognise him.
No longer having to work out songs in beer-sodden and sweaty rehearsal rooms, as well as dealing with the opinions of other musicians, Bailey could now work on his own, and at his own pace. Unfortunately this would back-fire on him in later years, as the strain of doing almost everything led to a breakdown.
The Thompson Twins trio then decided to go abroad and to free themselves of any UK influences, as well as to combine the songwriting for their first "trio" album with a very long holiday: "We went to Egypt to be totally isolated", Currie explained. "The old version of The Thompson Twins had just split up (sic) and now there were the three of us — Tom, Joe and myself — and we needed to get some new songs written". "We were always London-based", Bailey added. "Making London-type music, for London people. It was the bane of our lives and we wanted to make a break from that. So Egypt seemed a good place to go..."
The new trio also had their share of in-fighting even after the other members had gone, Currie: "We did have terrible fights when we tried to work together. We threw things at one another and cried. It was all very traumatic, but we've worked so long together that we can cope with that. We know how to manipulate one another, you see, and stick the knife in. There's no democracy in the Thompson Twins; we run it on a totally fascist basis". "After Egypt, we went to the Bahamas" Currie commented, "but we got bored", said Leeway. "There was nothing to do but swim around and look at different coloured corals." Currie continues: "So we came back to Britain and set up a studio in the ballroom of a mansion presided over by a crazy woman in Wiltshire"
They broke into the UK Singles Chart and the U.S. Billboard Hot 100 chart at the beginning of 1983 with "Lies" and "Love On Your Side". Further singles from their third album Quick Step And Side Kick (called simply Side Kicks in the U.S.) followed with "We Are Detective" and "Watching". Bailey's flame-red hair and bright ponytail and Currie's wasp-swatting style at the xylophone swiftly becoming endearing images of an exciting new act. Bailey primarily wrote the music (with significant enough input from Leeway that he received co-authorship credit on all tracks), and Currie contributed most (if not all) of the lyrics. Leeway was also responsible for the band's exciting live visuals.
At the end of 1983, a new single "Hold Me Now" was released. An extremely simple love song with gentle guitar lines, it marked a clear break from the Thompson Twins' previously dance-oriented sound. It hit the top ten in both the UK and US.
Further hit singles followed in 1984: the pop hit "Doctor! Doctor!"; the quirky "You Take Me Up" (reaching number two and their biggest UK hit); the haunting "Sister of Mercy"; and "The Gap" with its Middle Eastern rhythms (this was not released in the UK). The corresponding album, Into The Gap, was one of the bestsellers of the year, selling five million units worldwide and topping the British album charts. The band also embarked on a world tour in support fo the album.
A late 1984 single, "Lay Your Hands On Me", saw the band attempt to build on their success, but an insensitive theme (showing the band draped in jewels) contrasted sharply with the prevalent theme of Live Aid currently obsessing the music press in the UK. The single did well, making the US top ten (#13 in the UK), but by then the trio had peaked.
Working on the follow up to Into The Gap, Bailey suffered a nervous breakdown. Nile Rodgers was subsequently called in to help finish the album, which appeared in 1985. Here's To Future Days (itself making the top 5 in the UK and top 20 in the US) spawned the track: "King For a Day", which made the US top ten, but only reached no.22 in the UK. Other singles included the anti-drug message "Don't Mess With Doctor Dream" (UK #15) and a cover of The Beatles' 1968 hit "Revolution". The Thompson Twins made headlines when they performed at the American-end of Live Aid and were joined on-stage by the fresh-faced Madonna, who was in only her second year of fame. The UK leg of the album's support tour had to be cancelled because of Bailey's breakdown (fans with tickets received a free live album as compensation) and the album itself was delayed by many months, causing the band to lose momentum. Despite this, the latter half of 1985 saw sell out tours for the band in the USA and Japan.
Leeway left the band in 1986, and the remaining duo of Bailey and Currie carried on making music for another seven years. 1987 saw the release of Close To the Bone and the single "Get That Love" which made it to number thirty-one in the U.S. "In The Name of Love" was given a new lease of life in 1988, after a remix by Shep Petitbone made #46 in the UK. 1989 saw the release of another album, Big Trash, and a new record deal with Warner Bros. Records. The single "Sugar Daddy" peaked at number twenty-eight in the USA and would be their last brush with mainstream chart success. 1991's Queer would be the band's swan song, and was supported by various techno-induced singles under the moniker of Feedback Max (in the UK) to disguise club DJs of the source of the records. The single "Come Inside" reached number seven in the U.S. Dance Chart and number one in the UK Dance Chart. However, once it was discovered that the Thompson Twins were behind the record, sales dropped and the album never had a UK release.
Prior to this, Bailey and Currie (now a couple) had their first child together in 1988, and in the following years they spent a lot of time writing material for other artists including the hit single "I Want That Man" for Debbie Harry. In 1991, Bailey and Currie got married in Las Vegas and the following year moved to New Zealand with their two children. In 1992, the Thompson Twins contributed the song "Play With Me" to the soundtrack of the Ralph Bakshi film Cool World; Tom Bailey alone contributed a second track, "Industry and Seduction". The following year, the group finally formally disbanded, and Bailey and Currie teamed up with engineer Keith Fernley to form a new group called Babble. The Thompson Twins have declined to follow the examples of many of their contemporaries and reform to tie-in with a nostalgic rebirth of the 1980s, although Bailey, Currie and Leeway appeared together on the UK Channel 4 show "Top Ten Electro Bands" in 2001 as the Thompson Twins were placed at no.9.
Bailey and Currie are now divorced. Bailey resides with his new wife in London. Currie is now a furniture designer. Her furniture is stuffed with animals to bring attention to the cruelty of animals used for furniture.
Lay Your Hands On Me
Thompson Twins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
This old life seemed much too long
With little point in going on
I couldn't think of what to say
Words just vanished in the haze
I was feeling cold and tired
Yeah kinda sad and uninspired
But when it almost seemed too much
I see your face
And sense the grace
And feel the magic in your touch
(chorus)
OH LAY YOUR HANDS
LAY YOUR HANDS ON ME
OH LAY YOUR HANDS
WOO-OO-OO-OO!
OH LAY YOUR HANDS
OH LAY YOUR HANDS ON ME
Back and forth across the sea
I have chased so many dreams
But I have never felt the grace
That I have felt in your embrace
Oh I was tired and I was cold
Yeah with a hunger in my soul
When it almost seemed too much
I see your face
And sense the grace
And feel the magic of your touch
(REPEAT CHORUS)
Now you made me feel so good
Yeah like I never ever thought I would
You know you make me feel so strong
And now our laughter just goes on and on
So c'mon lay your hands on me
Cause close to you is where I really wanna be
And if it ever gets too much
I see your face
And sense the grace
And feel the magic in our touch
(REPEAT CHORUS TO FADE)
With little point in going on
I couldn't think of what to say
Words just vanished in the haze
I was feeling cold and tired
Yeah kinda sad and uninspired
But when it almost seemed too much
I see your face
And feel the magic in your touch
(chorus)
OH LAY YOUR HANDS
LAY YOUR HANDS ON ME
OH LAY YOUR HANDS
WOO-OO-OO-OO!
OH LAY YOUR HANDS
OH LAY YOUR HANDS ON ME
Back and forth across the sea
I have chased so many dreams
But I have never felt the grace
That I have felt in your embrace
Oh I was tired and I was cold
Yeah with a hunger in my soul
When it almost seemed too much
I see your face
And sense the grace
And feel the magic of your touch
(REPEAT CHORUS)
Now you made me feel so good
Yeah like I never ever thought I would
You know you make me feel so strong
And now our laughter just goes on and on
So c'mon lay your hands on me
Cause close to you is where I really wanna be
And if it ever gets too much
I see your face
And sense the grace
And feel the magic in our touch
(REPEAT CHORUS TO FADE)
The Thompson Twins' song "Lay Your Hands On Me" is a soulful and uplifting track that speaks to the transformative power of love and human connection. The lyrics describe a person who is feeling lost, disconnected, and uninspired. The singer describes a life that feels empty and meaningless, with little point in going on. They are stuck in a haze of sadness and fatigue, struggling to find the words to express their emotions.
But in a moment of almost unbearable despair, the singer sees the face of the person they love and feels a deep sense of connection and spiritual grace. They describe the magic in the touch of this person, how it lifts them up and makes them feel alive again. The repeated refrain of "lay your hands on me" serves as a plea for this person to bring their healing touch and loving energy into the singer's life.
The song also touches on the theme of chasing dreams and searching for meaning in life. The singer has traveled across the sea, chasing various ambitions and desires, but has never felt the profound sense of grace and belonging that they find in the arms of their beloved.
Overall, "Lay Your Hands On Me" is a powerful ode to the transformative power of human connection and the importance of intimacy and love in our lives.
Line by Line Meaning
This old life seemed much too long
Life felt like a never-ending struggle
With little point in going on
Life had lost its meaning
I couldn't think of what to say
Words failed me
Words just vanished in the haze
Words disappeared without any explanation
I was feeling cold and tired
I was physically and emotionally exhausted
Yeah kinda sad and uninspired
I was unhappy and lacking inspiration
But when it almost seemed too much
Just when I thought I couldn't handle it anymore
I see your face
I am reminded of you
And sense the grace
I feel the beauty of your presence
And feel the magic in your touch
I feel the power of your touch
OH LAY YOUR HANDS
Please touch me
LAY YOUR HANDS ON ME
Connect with me through touch
WOO-OO-OO-OO!
Expressing excitement and anticipation
Back and forth across the sea
Traveling around the sea from one place to another
I have chased so many dreams
I have pursued many aspirations
But I have never felt the grace
I have never experienced such a beautiful feeling
That I have felt in your embrace
That I have received from your embrace
Oh I was tired and I was cold
I was physically and emotionally drained
Yeah with a hunger in my soul
I had an intense desire
Now you made me feel so good
You give me so much joy
Yeah like I never ever thought I would
More than I could have ever imagined
You know you make me feel so strong
You make me feel powerful
And now our laughter just goes on and on
Our joy continues without ceasing
So c'mon lay your hands on me
Requesting touch for connection
Cause close to you is where I really wanna be
Being near you is my desire
And if it ever gets too much
If it becomes too difficult
I see your face
You remain in my mind
And sense the grace
I feel your beauty
And feel the magic in our touch
I feel the power of our connection
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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@johnnyf4997
I suggest that he could look same as what we see here, 2023s only time since and now, would be great see that, rust haired coloration, with same jacket and all, where are the 2 others? Basist and Xylophonist?
I was 15 in 85, we are lucky to have lived times far away behind the actual time today.
Lot of changes!
Thx to you Tom!
Wonderfull voice and piano, and all, so wonderfull.
@rumpoh8039
This old life seemed much too long
Little point in going on
I couldn't think of what to say
Words just vanished in a haze
I was feeling cold and tired
Yeah, kinda sad and uninspired
When it almost seemed too much
I see your face and sense the grace
And feel the magic in your touch
Oh, lay your hands
Lay your hands on me
Oh, lay your hands (woo hoo)
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands
Back and forth across the sea
I have chased so many dreams
But I have never felt the grace
That I have felt in your embrace
I was tired and I was cold
Yeah, with a hunger in my soul
When it almost seemed too much
I see your face and sense the grace
And feel the magic of your touch
Oh, lay your hands
Oh, lay your hands on me
Lay your hands, woo hoo
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands, oooh
You know you make me feel so good
Yeah, like I never ever thought I would
You know you make me feel so strong
And now our laughter just goes on and on (and on)
So c'mon lay your hands on me
'Cause close to you
Is where I really wanna be
And if it ever gets too much
I see your face and sense the grace
And feel the magic in our touch
Oh, lay your hands
Lay your hands on me
Oh, lay your hands (Woo hoo)
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands
Ooh, lay your hands
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands (Woo hoo)
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands
Oh, lay your hands on me
Oh, lay your hands
@synthwave7
We don't search for songs - we search for memories !! One of the best 80's songs. Still sounds great in 2023. Timeless.
@techvtimber6059
Agree.. One of 80s best
@thegteam4349
So true ❤
@joncampos-cw2tk
You nailed it!
@user-eu2kp9gv6i
Powerful and correct statement !!
@hulasue8553
Exactly what I’m doing tonight! Searching for memories ♥️ Love this song
@brandonmoore3840
Another example of fantastic music from the 80s.
@tubedude26666
Is there anything better than the rediscovery of '80s songs? I had completely forgotten about this one! Awesome!
@contention100
Boy do I miss the 80's. What a time to be alive. Seems like everything went to hell in a hand basket after that.
@stefanoroncon521
Is the same for all’ Of us that was yung in that age … from Ireland to italy…fantastic age