Promises, Promises (Naked Eyes song)
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- "Low Life"
- "(What) In the Name of Love"
- "A Very Hard Act to Follow"
| "Promises, Promises" | ||||
|---|---|---|---|---|
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| Single by Naked Eyes | ||||
| from the album Burning Bridges | ||||
| B-side |
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| Released | 1 April 1983 | |||
| Recorded | 1983 | |||
| Genre | ||||
| Length |
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| Label | ||||
| Songwriters | ||||
| Producer | Tony Mansfield | |||
| Naked Eyes singles chronology | ||||
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"Promises, Promises" is a song by British new wave band Naked Eyes, released in 1983 as the second single from their debut album Burning Bridges.[1] The single went on to become a top-20 hit in the U.S. in October 1983, peaking at number 11 on the Billboard Hot 100 singles chart,[2] although it was re-recorded with lyrics differing from the original UK single.
The song was written by Pete Byrne and Rob Fisher, the core members of Naked Eyes. It follows the band's signature synth-pop sound, characterized by electronic instrumentation, layered melodies, and an upbeat rhythm.[1]
Promises, Promises was produced by Tony Mansfield and served as the follow-up to their successful cover of "Always Something There to Remind Me", originally written by Burt Bacharach and Hal David, which had reached the top ten in the U.S. in mid-1983. Although Bacharach and David had also written a song titled Promises, Promises for the musical of the same name, the Naked Eyes song is an original work and is unrelated to the Broadway show.[1]
Madonna performed background vocals on the Jellybean 7" and 12" mixes of the song. These versions were not released until 2001 on the compilation album Everything and More.[3]
Production
The track's rhythm section was crafted using the Fairlight CMI, with each drum sound individually programmed and synchronized via a click track. Initially, the band used analog equipment like the Prophet synthesizer and LinnDrum drum machine for their demos. However, during studio production, they layered these with digital instruments such as the Fairlight, PPG Wave 2.2, and Synclavier to achieve a clearer and more defined sound. This approach minimized the muddiness often associated with multitracking analog synths, particularly in the bass frequencies. The meticulous integration of these technologies resulted in the distinctive sound of Promises, Promises.[1]
