"Moments in Love" is the third single by Art of Noise. Although the original 10-minute version appeared on both the Into Battle with the Art of Noise release in 1983 and the Who's Afraid of the Art of Noise? album in 1984, "Moments In Love" wasn't released globally as a commercial single until 1985, when the song was featured on the "Pumping Iron II: The Women" soundtrack. The version that was used on this soundtrack was "Moments in Love (Beaten)". Reissues followed in 1986 and 1987, in some markets. Copyright dates indicate the edits & remixes were prepared in 1984.
Singles generally featured shortened edits of the album version. The 12-inch remixes were "Moments In Love (Beaten)" and the slower "Love Beat". On the Daft compilation, the former was retitled "Love", and an edit of the latter was called "(Three Fingers Of) Love". 12-inch and CD singles also included an edit of "Beat Box (Diversion One)", listed on the releases either as "Beatbox Diversion 10" or just "Beat Box". In the US, "Moments In Love" was later paired with "Close (To The Edit)" as a double-A-sided reissue, accounted for separately in Discogs. The 1999/2000 remixes were triggered by Rob Searle's bootleg mix "Moments In Time" and would eventually end in a cancelled release under the 'Vision' moniker.
Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award. The group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for innovative use of electronics and computers in pop music and particularly for innovative use of sampling. From the earliest releases on ZTT, the band referred to itself as both Art of Noise and The Art of Noise. Official and unofficial releases and press material use both versions.
"Moments in Love" is the third single by Art of Noise. Although the original 10-minute version appeared on both the Into Battle with the Art of Noise release in 1983 and the Who's Afraid of the Art of Noise? album in 1984, "Moments In Love" wasn't released globally as a commercial single until 1985, when the song was featured on the "Pumping Iron II: The Women" soundtrack. The version that was used on this soundtrack was "Moments in Love (Beaten)". Reissues followed in 1986 and 1987, in some markets. Copyright dates indicate the edits & remixes were prepared in 1984.
ResponderEliminarSingles generally featured shortened edits of the album version. The 12-inch remixes were "Moments In Love (Beaten)" and the slower "Love Beat". On the Daft compilation, the former was retitled "Love", and an edit of the latter was called "(Three Fingers Of) Love". 12-inch and CD singles also included an edit of "Beat Box (Diversion One)", listed on the releases either as "Beatbox Diversion 10" or just "Beat Box". In the US, "Moments In Love" was later paired with "Close (To The Edit)" as a double-A-sided reissue, accounted for separately in Discogs.
The 1999/2000 remixes were triggered by Rob Searle's bootleg mix "Moments In Time" and would eventually end in a cancelled release under the 'Vision' moniker.
Art of Noise (also The Art of Noise) were an English avant-garde synth-pop group formed in early 1983 by engineer/producer Gary Langan and programmer J. J. Jeczalik, along with arranger Anne Dudley, producer Trevor Horn and music journalist Paul Morley. The group had international Top 20 hits with "Kiss" and the instrumental "Peter Gunn", which won a 1986 Grammy Award.
ResponderEliminarThe group's mostly instrumental compositions were novel melodic sound collages based on digital sampler technology, which was new at the time. Inspired by turn-of-the-20th-century revolutions in music, the Art of Noise were initially packaged as a faceless anti- or non-group, blurring the distinction between the art and its creators. The band is noted for innovative use of electronics and computers in pop music and particularly for innovative use of sampling. From the earliest releases on ZTT, the band referred to itself as both Art of Noise and The Art of Noise. Official and unofficial releases and press material use both versions.