a ha

A difference from their last effort yet undeniably a-ha. This time, the Norse purveyors of quality pop have opted for a variety of producers, ranging from Stephen Hague to Clive Langer and Alan Winstanley. The album begins with a lush ballad – which is typical a-ha, pastoral with support orchestration – almost like a modern day Moody Blues. "You Wanted More" also follows this trait, only darker with spiky electronics. "Afternoon High" sketches out '70s pastel glory similar to what Tears for Fears were getting at with parts of the Seeds of Love album. There are shades of Minor Earth Major Sky in that they keep the sugary neigh pleasant ballads vein to full emotional effect on "Turn the Lights Down," "Time and Again," and like MEMS's Garbage homage "Sun Never Shone." "Cannot Hide" opts for a Jennifer Paige "Crush" vibe with George Harrison-style guitar, while "Forever Not Yours"' pleasant dramatism echoes Darren Hayes' recent Insatiable.

Norway's a-ha took "Take on Me" to the number one spot on Billboard's Top 40 in 1985, thanks to the award-winning animated video that accompanied it. Still, a-ha contributed rather accordingly to the '80s pop sound, drenching their music with bouncy riffs and employing the keyboard as the foundation to their colorful formula. Headlines and Deadlines: The Hits of a-ha assembles all of their singles together, a definite one-stop for all of their music. Combining ballads and radiant '80s pop, this set includes their most fervent offering in "The Sun Always Shines on T.V.," which hit number 20 in 1986 and originated from Hunting High and Low, the same album that included "Take on Me."

Norwegian pop trio A-ha has had their catalog revamped and repackaged a number of times since their inception in the 1980s, but 2016's Time and Again: The Ultimate A-ha brings their canon of hits up to date with the inclusion of material from each of their ten studio albums. The first disc of this set is generally concerned with their hits, beginning, appropriately, with the sunny synths of "Take on Me" and winding chronologically through the years to the sweeping orchestral ballad "Under the Makeup" from their 2015 LP Cast in Steel. The expected tracks like "Touchy!," "The Living Daylights," and their lush cover of the Everly Brothers' "Crying in the Rain" are all included alongside later-era cuts like 2000's "Summer Moved On," which was a number one hit in their home country. The second disc in the set is dedicated entirely to alternate mixes and remixes of their hits, some of which hold some historical value like Jellybean's previously unreleased 1986 remix of "Cry Wolf" and Justin Strauss' rare dub mix of "You Are the One."

Pal Waaktaar and Magne Furuholmen, formerly of Bridges, formed a-ha in the early '80s. Morten Harket joined the duo, and they left for the now "legendary London flat" (so called because of its state of disrepair) to make it. By late 1983 they had achieved part of that goal by signing to WEA. "Take on Me" took three times to become a hit in the U.K., eventually hitting number two in November 1985…

Memorial Beach is the fifth album by the Norwegian band A-ha, released in 1993. The album was recorded primarily at Prince's Paisley Park studios outside Minneapolis in the U.S. Memorial Beach featured three UK Top 50 singles for the band, "Move to Memphis" (released as a single in 1991, almost two years before the album), "Dark is the Night" and "Angel in the Snow". While the album did not chart on the U.S. Billboard 200 and would be the band's last to be released there, the single "Dark Is the Night" peaked at #11 on the Billboard Bubbling Under Hot 100 Singles chart, their last U.S. charting to date. Q magazine listed the album as one of the 50 best albums of 1993: "If ever a band deserved reappraisal on the back of an album then it was a-ha!"

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow. The opening two songs alone make for one of the best one-two opening punches around: the tense edge of the title track, featuring one of Morten Harket's soaring vocals during the chorus and a crisp, pristine punch in the music, and "The Swing of Things," a moody, elegant number with a beautiful synth/guitar arrangement (plus some fine drumming courtesy of studio pro Michael Sturgis) and utterly lovelorn lyrical sentiments that balance on the edge of being overheated without quite going over.

Stay on These Roads is the third studio album by Norwegian band A-ha. It was released on 3 May 1988 by Warner Bros. Records. Six singles were released from the album. A Synclavier, Sequential Circuits Prophet 5, Yamaha DX-7, Roland D-50, and Roland Juno-60 or Roland Juno-106 synthesizers were used in the recording of this album, as was a Yamaha RX-5 drum machine. Stay on These Roads was the band's third studio album. The album's peak on the Billboard 200 was 148. The album was another big hit by A-ha internationally, selling over 4 million copies worldwide. Stay on These Roads achieved Platinum status in Brazil and Gold in the UK, Switzerland, the Netherlands and Germany and Double Platinum status in France.The album reached #2 in the European top-100 albums sales chart.

This 4CD Box Set features four maxi-singles off the Norwegian group's 2000 album, "Minor Earth Major Sky".
Pal Waaktaar and Magne Furuholmen, formerly of Bridges, formed Norwegian synth pop group a-ha in the early '80s. Nimble vocalist Morten Harket joined the duo, and they left for the now "legendary London flat" (so called because of its state of disrepair) to make it. By late 1983 they had achieved part of that goal by signing to WEA. Their debut single, "Take On Me," went through three versions before becoming a hit in the U.K., eventually reaching number two in November 1985. It went one better in the U.S., mainly due to the wide exposure of its stunning video on MTV, which fused animation with real-life action.

While not quite as strong as the band's debut, Scoundrel Days is still a-ha succeeding as a marketed "pretty boy" band which can connect musically and lyrically as much as any musical sacred cow…