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	<title>hit record &#8211; Jeremy C. Processing</title>
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		<title>a-ha The Movie</title>
		<link>https://jeremycprocessing.com/a-ha-the-movie/</link>
					<comments>https://jeremycprocessing.com/a-ha-the-movie/#respond</comments>
		
		<dc:creator><![CDATA[Jeremy Clarke]]></dc:creator>
		<pubDate>Fri, 20 May 2022 15:00:48 +0000</pubDate>
				<category><![CDATA[Animation]]></category>
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		<category><![CDATA[a-ha]]></category>
		<category><![CDATA[Alan Tarney]]></category>
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		<category><![CDATA[Aslaug Holm]]></category>
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		<category><![CDATA[hit]]></category>
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		<category><![CDATA[Take On Me]]></category>
		<category><![CDATA[The Living Daylights]]></category>
		<category><![CDATA[Thomas Robsahm]]></category>
		<category><![CDATA[Tony Mansfield]]></category>
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					<description><![CDATA[<p class="wp-block-paragraph">Directors – Thomas Robsahm, Aslaug Holm – 2021 – Norway, Germany – Cert. 12a – 108m</p>



<p class="wp-block-paragraph">***</p>



<p class="wp-block-paragraph"><em>The rise and career of the enduring, three-piece, Norwegian band a-</em>h<em>a </em>– out in cinemas on Friday, May 20th</p>



<p class="wp-block-paragraph">Norwegian trio <em>a</em>-h<em>a</em> are arguably best known for two songs. They swept to fame on the strength of their first hit Take On Me, which features extensively in this documentary. They were later asked to do the title for Bond movie <em>The Living Daylights</em> (John Glen, 1987), which gets only a few minutes screen time somewhere in the middle here, so I’ll get that out of the way first. The band write their own material and found themselves having to work with legendary Bond composer John Barry as their producer on this gig who, as they saw it, was used to having musical input and getting his own way. They talk about recording the song in such a way as to get round him.</p>



<p class="wp-block-paragraph">Perhaps what this best illustrates is that musicians (artists, composers, bands) often work and operate within their own sealed worlds and if they have to work with rivals, sometimes it works, sometimes it doesn’t. In this instance, it doesn’t sound a good experience for either party.&#8230; <a href="https://jeremycprocessing.com/a-ha-the-movie/" class="read-more" target="_blank">Read the rest </a></p>]]></description>
										<content:encoded><![CDATA[<p class="wp-block-paragraph">Directors – Thomas Robsahm, Aslaug Holm – 2021 – Norway, Germany – Cert. 12a – 108m</p>



<p class="wp-block-paragraph">***</p>



<p class="wp-block-paragraph"><em>The rise and career of the enduring, three-piece, Norwegian band a-</em>h<em>a </em>– out in cinemas on Friday, May 20th</p>



<p class="wp-block-paragraph">Norwegian trio <em>a</em>-h<em>a</em> are arguably best known for two songs. They swept to fame on the strength of their first hit Take On Me, which features extensively in this documentary. They were later asked to do the title for Bond movie <em>The Living Daylights</em> (John Glen, 1987), which gets only a few minutes screen time somewhere in the middle here, so I’ll get that out of the way first. The band write their own material and found themselves having to work with legendary Bond composer John Barry as their producer on this gig who, as they saw it, was used to having musical input and getting his own way. They talk about recording the song in such a way as to get round him.</p>



<p class="wp-block-paragraph">Perhaps what this best illustrates is that musicians (artists, composers, bands) often work and operate within their own sealed worlds and if they have to work with rivals, sometimes it works, sometimes it doesn’t. In this instance, it doesn’t sound a good experience for either party.&hellip; <a href="https://jeremycprocessing.com/a-ha-the-movie/" class="read-more" target="_blank">Read the rest </a></p>]]></content:encoded>
					
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