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.
You Take Me Up
Thompson Twins Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I work to survive
And I sleep in a fever
So this is my life
I cry in my sleep (cry boy, cry boy)
It just makes me weep when I try, how I try
I know what it means to work hard on machines
It's a labour of love so please don't ask me why
Trying too hard (he's trying too hard)
Moving in circles (too hot, too hot)
Don't get very far (don't get very far)
Should I ask you to dance? (dance boy, dance boy)
If I promise romance would you come for the ride?
I know what it means to work hard on machines
Do you believe in love, one that lasts for all time?
(chorus)
You take me up, oh hoh,
You take me up to the higher ground
You take me up so high
Now I never want to come back down
I'm glad in these hard times (day in, day out)
There's hope in your eyes (hope in his eyes)
I don't need a religion (too hot, too hot)
Cause this love never dies (love never dies)
I believe in today (believe boy, believe boy)
It's better that way and you work through the night
I know what it means to work hard on machines
It's a labour of love, so please don't ask me why
(REPEAT CHORUS)
I cry in my sleep (cry boy, cry boy)
It just makes me weep when I try, how I try
I know what it means to work hard on machines
It's a labour of love so please don't ask me why
(REPEAT CHORUS x 2)
"You Take Me Up" by Thompson Twins is a song about the struggles of a blue-collar worker who works hard to survive in life. It is a melancholic reflection on the monotony and difficulties of a factory worker's life. The lyrics tell a story of someone who works on the front line, someone who works hard on machines, and someone who sleeps in a fever. Despite the singer's hard work, he never seems to get anywhere, as he moves around in circles and doesn't get very far.
The chorus of the song is a plea to someone who can take the singer to higher ground, someone who can offer a romantic escape from the mundane realities of life. The singer has faith in the power of love, which will never die. The song ends with a repetition of the chorus, emphasizing the singer's yearning for something more than the struggle of his daily life.
Overall, the song is a commentary on the harsh realities of the working-class life while also expressing hope and the power of love to uplift and inspire.
Line by Line Meaning
I work on the front line
I work in a position that is directly exposed to the public or customers.
I work to survive
I work just to make ends meet and get by.
And I sleep in a fever
I sleep filled with anxiety and stress.
So this is my life
This is how my life is and the reality I must face every day.
I cry in my sleep (cry boy, cry boy)
I feel overwhelmed and emotional about my struggles even in my sleep.
It just makes me weep when I try, how I try
I find it heartbreaking when I see how hard I try to come out of my current situation but seem to not be making much progress.
I know what it means to work hard on machines
I am an expert in working tirelessly on machines or technology.
It's a labour of love so please don't ask me why
Working meticulously is something I enjoy and take pride in, and there is no specific reason or explanation for it.
Looking for reasons (day in, day out)
I am constantly searching for a way out of my situation every single day.
Trying too hard (he's trying too hard)
I attempt to change my life and escape my struggles with a great amount of effort and energy.
Moving in circles (too hot, too hot)
I seem to be stuck in the same spot despite trying different things to improve my life.
Don't get very far (don't get very far)
Despite my hard work, I still can't seem to make much progress.
Should I ask you to dance? (dance boy, dance boy)
Do you want to embark on a journey with me, and enjoy the moment?
If I promise romance would you come for the ride?
If I promise to make this journey enjoyable with the possibility of love, would you come along?
Do you believe in love, one that lasts for all time?
Are you hopeful about finding true love that stands the test of time?
(chorus) You take me up, oh hoh, You take me up to the higher ground, You take me up so high, Now I never want to come back down
You elevate me to a new level of happiness and joy where I never want to experience sadness or bitterness again.
I'm glad in these hard times (day in, day out)
I am grateful for the good times that come my way even in the midst of my struggles.
There's hope in your eyes (hope in his eyes)
You give me hope and optimism for a better and brighter future.
I don't need a religion (too hot, too hot)
I don't need anything other than the love and support you offer to feel content and at peace.
Cause this love never dies (love never dies)
The love between us is so strong it will never fade away or disappear.
I believe in today (believe boy, believe boy)
I choose to focus on the present and believe that things will get better moving forward.
It's better that way and you work through the night
It's better to expend my energy on working hard on myself and my situation than overthinking at night.
(REPEAT CHORUS)
You continue to uplift and elevate me to a new level of happiness and fulfillment where I never want to come back down.
I cry in my sleep (cry boy, cry boy)
Even in my subconscious, I feel overwhelmed and emotional about my struggles.
It just makes me weep when I try, how I try
I find it painful when I see how much effort I put into changing my life but still can't seem to make much progress.
I know what it means to work hard on machines
I am no stranger to working hard and being dedicated to my work or craft.
It's a labour of love so please don't ask me why
I take pride in my work and pour my heart and soul into it; there is no specific reason why I do it other than my love for it.
(REPEAT CHORUS x 2)
You consistently raise my spirits and bring me to a higher level of happiness and contentment, making me never want to come back down.
Lyrics © Universal Music Publishing Group
Written by: ALANNAH JOY CURRIE, JOSEPH MARTIN LEEWAY, TOM BAILEY
Lyrics Licensed & Provided by LyricFind
@patrickmorrissey8429
I wore this cassette out back in 80's. Glory days.
@fionamiles8167
Yes Tom I do believe in love that lasts for all time, because we're at nearly 40 years on and I still can't get enough of this song😂
@kelseymariel2127
Me too. Always brought me up when I was so down.
@RB-cx5xn
Ditto for me!
@nataliegraves3977
Absolutely..❤🥰🥳🥳🎶🎶👊
@cuntchops23
It's like an old chain gang "spiritual". Didn't get any of it as a 14 yr old fan of TTT, I was just carried and enamoured by the sound n vibe.....and now, as a jaded and ageing anarchist and activist I can appreciate the rallying cry of this song! Fuxkin fantastic........2024 WTF IS RISING UP?!
@holyspacemonkey
Same!
@GoodMrDawes
What a happy era
@suebello5978
Old as$ new waver-woke with this song in my head-so many times this song has forced its way to the top of my internal play list-Love love loove Thompson Twins!!❤❤ ❤
@rhondarandall4500
wellguess what im 76 and WILL ALWAYS LOVE the THOMPSON TWINS.theur music IS GREAT❤️❤️❤️👍💓👌💋