Dream Come True is the fourth album by A Flock of Seagulls, released in 1985 in the UK and in 1986 in the US by Jive Records.
Listen was the second album release by the UK synthpop band A Flock of Seagulls, released in 1983. It teamed the musical group with record producer Mike Howlett again, except on the single release "(It's Not Me) Talking" which was produced by Bill Nelson. The record included the UK Top 10 hit "Wishing (If I Had a Photograph of You)". The shape of a person's face on its sleeve cover is in fact the band's drummer, Ali Score.
A Flock of Seagulls is the eponymous debut album by the Liverpudlian New Wave band of the same name. It was released in 1982 on Jive, and featured international smash hit, "I Ran (So Far Away)", which reached the top 10 in the U.S. and New Zealand, as well as number 1 in Australia. The song "Space Age Love Song" also managed to score radio play. On the success of the singles, the album reached number 10 in the States.
UK three CD collection. This release charts the birth of synthesized pop music in the 1980s and ultimately the roots of contemporary electronic dance music. The importance and continued popularity of '80s pop is not to be underestimated, and the emergence of serious synthesized music producers in Kraftwerk, the Human League, Heaven 17, OMD, Yazoo, Ultravox, Talk Talk, Japan, Devo, Sparks, Gary Numan, New Order and the Pet Shop Boys, all of whom massively pushed the boundaries in experimenting with (mainly) Roland synths in this era, ultimately showed the way for the House and Techno producers of the '90s to the present day. Within this more serious side there was also some brilliant, pure Synthpop from the Thompson Twins, Duran Duran, Spandau Ballet, Thomas Dolby, Simple Minds, Propaganda, Erasure, China Crisis, Belouis Some, the Lotus Eaters, a Flock of Seagulls, Howard Jones, Blancmange and the Associates.
Andy McCluskey and Paul Humphreys make up Orchestral Manoeuvres in the Dark, who were responsible for some of the catchiest and brightest synth pop that the '80s had to offer. O.M.D.'s material was a step above other keyboard pop music of the time, thanks to the combination of intelligently crafted hooks and colorful rhythms that bounced and jittered with pristine charm. Their squeaky-clean brilliancy initiated by both their synthesizers and subdued yet attractive vocal styles gave them a more mature sound over bands like Duran Duran and A Flock of Seagulls, who were attracting a younger audience. The Best of O.M.D. is an excellent compilation of their polished music, starting out with less provocative material like the basic electronic wash of "Electricity" and the bare but ebullient fervor of "Enola Gay".