Herzlichen Dank Meggie!
Ja a-ha geht es mit dem one Hit wonder ja nicht alleine so - siehe z.B. Falco mit seinem "Amadeus"...
Ich finde es halt schon schade, wenn man so ein Projekt wie das obere startet, dann diese Formulierung one hit wonder einbringt, denn selbst die USA müssten mittlerweile mitbekommen haben, dass viele Künstler international sehr erfolgreich waren/sind und das sollte auch anerkannt werden...
Na, ja, diese Diskussion hatten wir hier schon oft. In den USA stimmt das ja einigermaßen mit dem One Hit Wonder. The Sun Always Shines On TV kam da immerhin auf Platz 20, aber es wird ja nur noch Take On Me in den Radios gespielt (einer im Video erwähnte, dass es mittlerweile 10 Millionen Plays in den US-Radios sind!), daher ist das der einzige Song, den man in den USA noch kennt.
Du kannst Dir bei dem Video entweder Untertitel auf Englisch einschalten (rechts unten "CC" anklicken) oder diese sogar automatisch auf Deutsch übersetzen lassen (unter Einstellungen, das ist das Zahrad-Symbol). Oder - was ich auch sehr empfehlen kann - Du schaltest die Transkription ein, der Link dazu ist in der Beschreibung. Dann kannst Du einfacher mitlesen.
Das ist leider die US-Sicht, und wenn man in die Zahlen schaut, die zbig1 hier immer posted, liegt das leider nicht so fern.
Quelle: a-ha - Spotify Top Songs
Take on me kommt auf 1 Mio. Streams pro Tag bei Spotify.
The Sun always shines on TV schafft davon gerade einmal 7 %, HHAL 6 %, CITR und SOTR 5 %, You are the one und I've been losing you 2 % und selbst The Living daylights nur 1,5 %. Summer moved on knapp 1 %, und FOTM liegt mit 0,5 % sogar noch hinter Early Morning.
a-ha - Spotify Top-100 Songs | Current charts | YouTube stats
Last updated: 2026/05/04
Das ist ein ziemliches Take on Me Monopol mit ein wenig Wettbewerb am Rand...
Wie sieht es bei vergleichbaren Bands aus?
Depeche Mode nicht ganz so krass. Enjoy the silence wird etwas mehr als halb so oft gespielt wie Take on Me, aber Just can't get enough schaffen bezgen auf Enjoy the silence immerhin an die 40 % und Personal Jesus 20 %, und viele zwischen 1 und 10 %.
| Song Title | Streams | Daily |
|---|---|---|
| Enjoy the Silence | 1,009,662,798 | 564,980 |
| Just Can't Get Enough | 554,757,549 | 172,770 |
| Personal Jesus - Single Version | 447,539,210 | 102,892 |
| Precious | 186,492,368 | 73,337 |
| Policy of Truth | 172,811,869 | 90,367 |
| Enjoy the Silence | 139,940,743 | 91,410 |
| Never Let Me Down Again | 137,050,256 | 62,927 |
| Strangelove | 132,222,295 | 57,530 |
| It's No Good | 125,638,664 | 52,169 |
| Personal Jesus | 110,307,614 | 66,076 |
| People Are People | 105,612,375 | 37,689 |
| Ghosts Again | 76,653,534 | 26,553 |
| Everything Counts | 73,174,330 | 20,280 |
| Never Let Me Down Again | 71,751,856 | 40,753 |
| Shake the Disease | 69,680,729 | 27,317 |
| World In My Eyes | 67,330,092 | 29,293 |
| Wrong | 65,187,503 | 15,760 |
| Behind the Wheel | 54,831,715 | 16,799 |
| Walking in My Shoes | 51,797,804 | 18,589 |
| I Feel You | 48,533,871 | 12,988 |
Depeche Mode - Spotify Top Songs
Eine Band wie Offspring ist dann wiederum noch ausgeglichener:
| Song Title | Streams | Daily |
|---|---|---|
| You're Gonna Go Far, Kid | 1,370,358,891 | 538,027 |
| The Kids Aren't Alright | 1,320,776,776 | 584,235 |
| Self Esteem | 795,180,807 | 289,684 |
| Pretty Fly (For A White Guy) | 688,576,064 | 362,747 |
| Why Don't You Get A Job | 500,127,343 | 222,169 |
| Come Out and Play | 376,872,793 | 148,453 |
| Want You Bad | 339,612,729 | 179,547 |
| Gone Away - 1997 | 214,403,246 | 104,034 |
| Hit That | 142,553,337 | 70,330 |
| All I Want | 130,068,097 | 47,299 |
The Offspring - Spotify Top Songs
Ich glaube, man sollte hier rausziehen, dass a-ha eben das "Glück" und "Pech" zugleich haben, dass Take on Me solche Dimensionen hat. Die anderen Songs deuten im Vergleich zueinander nicht auf ein One-Hit-Wonder hin, sind aber eben auch nicht erste Liga.
Ihr habt ja recht...
Ich schau halt doch durch die a-ha "Brille" 😉
Das darfst du auch! Und ungerecht ist es trotzdem.
Stimmt!
Abgesehen davon wäre jeder von uns über einen one Hit froh 
Aber ich finde Du hast es auf den Punkt gebracht: Es ist ungerecht für diese Leistung der Künstler!
A very interesting article, even though I don’t personally agree with everything.
Es gibt leider kein Video...
The 1980s was the golden age of the music video. Here are 15 DEFINING '80s videos
Sex, scandal… dancing chickens?! The best videos of the decade MTV changed everything
Getty Images/Julian Brown/Mirrorpix
Published: May 1, 2026 at 1:30 pm
Music videos came of age in the 1980s – where promotional clips had usually been perfunctory mimed performances, the advent of MTV led to an explosion of ideas, ambition and – most importantly – budgets. Here are the 15 videos that defined the decade.
2. a-Ha, 'Take On Me' (1985)
Screenshot of a-Ha's 'Take On Me' music video – Morten Hacket is real while a comic-book woman looks on - YouTube
The extraordinary success of a-Ha’s ‘Take on Me’ shows what a difference a great video can make. The song was first released in 1984, accompanied by a video featuring an unremarkable band performance, and flopped. The following year, the track was re-recorded with a polished synth-pop production and – most importantly – an unforgettable, innovative video – and it became one of the defining songs of the decade.
The video shows a young woman reading a comic book when the heartthrob hero (played by a-Ha singer Morten Harket) winks from the page and pulls her into his illustrated world.
The video’s director Steve Barron later told this writer how he found the inspiration for the video: "I was doing a Toto video at the time in New York. It was absolutely freezing and I was sitting in a pretty grubby hotel room, playing this song on my Sony Walkman.
"After a few hours of ‘what to do?’, this image sprung into my head of an animated hand reaching out of a comic book. It gave me little chills up the spine. If you’ve got goosebumps, you’re onto a good thing.
"It was a comic book from my childhood, villains against goodies in a motorbike sidecar race. That really stuck as an image, but then it needed a story. It was fantasy coming out of the least expected place, a greasy spoon – magic coming through a cup of tea and egg and chips."
Die 15 besten Musikvideos aus den Achtzigern: Diese frühen Meilensteine haben das Jahrzehnt geprägt
by Laura Stavropoulos
06.05.26
In den Achtzigerjahren begann der Siegeszug des Musikvideos – weil die bahnbrechenden Clips immer neue Mode- und Trendwellen lostreten und aufregende Impulse in den Mainstream bringen sollten. Aus einem visuellen Nebenprodukt entstand so eine vollkommen neue Kunstform.
In den Achtzigern begann eine neue Ära
Während davor einzig und allein die Radiosender darüber entschieden hatten, ob ein:e Künstler:in für immer unbekannt bleiben oder aber riesengroß werden sollte, begann in den frühen Achtzigern die Ära des Musikfernsehens – und damit auch der Siegeszug des Musikvideos als eigenständige Kunstform. Mit MTV und VH1 hatte die nächste Generation ihre visuelle Jukebox gefunden, und die dort ausgestrahlten Videos waren schon bald sehr viel mehr als ein bloßes Nebenprodukt: Sie avancierten zu einem integralen Bestandteil des Images eines Künstlers bzw. einer Künstlerin.
Da das alles in jenen Tagen so wahnsinnig neu war, gab es zunächst noch überhaupt keine Regeln, keine Konventionen: Es war wie im Wilden Westen, musikalisch und visuell war alles erlaubt, kein Experiment war zu verrückt. Sicher waren die technischen Mittel noch ziemlich begrenzt, aber dem begegneten die Regisseur:innen mit umso mehr Kreativität und Experimentierfreude. Starten wir also unsere Zeitreise in eine Ära, in der alle irgendwie etwas braungebrannter als heute waren – und alle etwas reicher, ärmer, verrückter und überdrehter. Unsere Top 15 der größten Musikvideos aus den Achtzigern.
4. a-ha: Take On Me (1985)
Das Video zu diesem Synthiepop-Superhit von a-ha besticht nicht nur mit eindrucksvollen Falsett-Einlagen, sondern auch mit einer Reihe von Spezialeffekten. Überhaupt bringt es das Jahrzehnt visuell ziemlich gut auf den Punkt: Die Rick-Astley-Frisur, die romantischen Kapriolen, dazu Pop-Art-Elemente wie aus dem Comic. Viel Liebe zum Detail steckt in diesen gut vier Minuten, die als einer der ersten Clips aus dem letzten Jahrhundert auch bei YouTube die 1-Milliarde-Marke knacken konnten: Mike Patterson, der Illustrator, soll allein gut 3.000 Skizzen abgeliefert haben. Der Trend zu Animationsvideos oder zumindest animierten Elementen sollte danach 10 Jahre lang nicht abreißen.
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From Live Aid to Take On Me: when music and culture collided in 1985
There are some years that don’t just deliver hits — they define an era. 1985 was exactly that kind of year. It was bold, emotional, and unapologetically catchy, with music that still echoes across decades. From global anthems to synth-driven pop perfection, this was a year where artists didn’t just top charts — they created moments.
It’s the featured year on this week’s HOT Classic Countdown with Steve Bishop, taking place every Sunday from 12 to 3pm on HOT 102.7FM.
Globally, 1985 was packed with history. The world watched as Live Aid united music’s biggest stars for a cause, raising millions for famine relief in Ethiopia. That spirit of unity was captured perfectly in one of the year’s defining songs, We Are the World, a track that brought together icons for a single, powerful message. It wasn’t just a song — it was a movement.
On the charts, the sound of the mid-’80s was unmistakable. Glossy production, big hooks, and even bigger personalities dominated.
Tracks like Everybody Wants to Rule the World captured the mood of a generation navigating Cold War tensions and rapid change, while the infectious optimism of Walking on Sunshine offered pure escapism.
And then there was Careless Whisper — a saxophone-driven ballad that became one of the most recognisable songs of all time. Smooth, soulful, and heartbreakingly honest, it cemented George Michael as a global superstar.
Pop culture was just as vibrant off the charts. Films like Back to the Future captured imaginations, while fashion leaned into bold colours, big hair, and even bigger statements. Technology was also quietly shaping the future — Microsoft released the first version of Windows 1.0, planting the seeds for the digital world we know today.
Closer to home, South African music was carving out its own identity. Artists like Sipho Hotstix Mabuse brought local flavour to the airwaves with tracks like Burn Out, while bands like Mango Groove infused township rhythms with pop sensibility. It was a powerful reminder that even in challenging times, music remained a vital form of expression and connection.
Meanwhile, global icons continued to dominate. Madonna pushed boundaries with Like a Virgin, redefining female pop stardom, while Whitney Houston introduced the world to one of the greatest voices of all time with You Give Good Love.
Meanwhile, global icons continued to dominate. Madonna pushed boundaries with Like a Virgin, redefining female pop stardom, while Whitney Houston introduced the world to one of the greatest voices of all time with You Give Good Love.
Did You Know?
The iconic video for Take On Me took over 16 weeks to produce and used a groundbreaking animation technique called rotoscoping — blending pencil-sketch animation with live action. At the time, it was revolutionary… and it still looks incredible today.External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Looking back, 1985 wasn’t just about the music — it was about feeling. Whether it was the emotional pull of Drive by The Cars or the slick groove of Easy Lover from Philip Bailey and Phil Collins, every track carried its own story.
This was a year where music connected people across continents, broke records, and created memories that still resonate today. And that’s exactly what makes revisiting it so special — because in 1985, the soundtrack wasn’t just playing in the background… it was leading the moment.
6 music videos that changed how we see the song
Story by Matthias Binder
Most songs arrive complete. You hear them, you feel them, and that's mostly where the relationship ends. Then a music video comes along and quietly rearranges everything. The visuals reframe the lyrics, deepen the subtext, or pull the meaning so far from the original that even the songwriter can barely recognize their own work.
It doesn't happen often. For every video that simply illustrates what the song already says, there's a rare few that actually change how a song lands in the body. These six are those rare ones.
6. "Take On Me" – a-ha (1985)
(Image Credits: By Jamesbond raul, CC BY-SA 4.0)
A-ha's "Take On Me" broke new ground with its innovative blend of live-action and pencil-sketch animation. Directed by Steve Barron, the video follows a romantic storyline that moves seamlessly between animation and reality, a visual style that had never been seen before. The technology behind the rotoscope animation was groundbreaking at the time and helped make the video an instant classic.
Director Steve Barron delivered something that is still interesting to watch even decades after it premiered. The combination of live action and animation is always iconic and timeless. Without the video, "Take On Me" is a propulsive, enjoyable synth-pop song. With it, the song gains a second life as something visual and escapist, a fantasy of being pulled through a flat page into another world. That idea is so vivid that it's hard to hear the song now without seeing it.
What unites all six of these videos is that none of them simply illustrate what the song already says. Each one adds a layer of meaning that wasn't fully there before, whether through historical context, cinematic scale, radical minimalism, or pure visual invention. Pairing sound and vision creates an entire artistic vocabulary, producing miniature-movie masterpieces that changed how we heard and saw music. Once you've seen these videos, the songs are permanently altered. You can't unhear what the images have told you.
3 Songs From the 80s You’ll Definitely Love if You’re a Fan of “Take On Me”
By Kat Caudill
May 19, 2026 10:30 am
In 1985, A-ha earned themselves a career-defining masterpiece with “Take on Me”, which would go on to become one of the biggest tunes of the decade. When I think of the 80s, I always think of this song. Here are three other songs from the decade that might remind you a little bit of this one if you’re looking for something similar.
“Everybody Wants To Rule The World” by Tears For Fears
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“Into The Groove” by Madonna
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“Every Breath You Take” by The Police
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One Hit Wonder Bands Who Made Actual Good Music
Published 16 hours ago in Wow
One-hit wonders are the bands known for that one good song that no matter how many years pass, even decades later, people still listen to and will remember for years, but that’s the only one song people know from them.
But this is not always the case, even if they’re known for that, lots of one-hit wonders have a very good catalog that fans swear by. This is a list of those artists people insist should be given a shot.
Sure, they’re mostly known for that one big it, but there’s definitely a lot more to them than just that one song.
1 A-ha
“Take On Me is phenomenal, but their whole debut album has some great stuff. The Sun Always Shines on TV, Hunting High and Low, and they even did a fantastic cover of the Everly Brothers’ Crying in the Rain.”
22 of the weirdest MTV videos and why we loved them
Story by Marcos Perrone
©provided by constative.com
There was a window, roughly 1980 to 2002, when music videos got genuinely, gloriously weird. Not quirky-weird or ironic-weird, but actually strange in ways that left you unsettled during commercials afterward. Directors had budgets, artists had nerve, and nobody had yet agreed on what a music video was supposed to look like. These are the ones that proved no one was really in charge, and we are better for it.
#2: “Take On Me” by a-ha (1985)
A woman reaches into a comic book and the world goes pencil-sketch around her. Director Steve Barron spent weeks perfecting the rotoscope animation, and audiences rewarded him by making it one of the most-requested videos of the decade. The romance carried the story while the visual technique stayed strange underneath. The strangeness became the selling point, not the obstacle.
Lohnt sich, da mal durch die Slideshow durchzugehen.
14 overplayed ’80s pop songs people love to hate (and still sing along to)
“Take On Me” – a-ha (1984)
© Image Credit: Sheila Rock, licensed under CC BY 2.0. Via Wikimedia Commons.
The second those bright synths glitter to life, your mouth moves before you can stop it. That video etched itself into pop culture with sketch lines and swooping romance, so your brain fills the room with animated pencil dust. And then there is the falsetto, the Everest of living room karaoke, daring you to climb and inevitably crack.
It is overplayed, no question. But the hook works like a magnet you secretly carry around, pulling you back to 1984 even if you were not there. You try to behave, yet your hands drum that galloping rhythm on any nearby surface.
Maybe it is the perfect collision of innocence and velocity that makes surrender feel fun. The chorus lands and logic disappears. You laugh, reach a little too high, and chase that impossible note like it owes you money.
Schönes altes Foto haben sie da rausgesucht...
Aber die übersehen immer, dass sie 1984 in den USA den Song noch gar nicht kannten - selbst wenn er da das erste Mal erschienen ist! 
Singers who ruled pop music in the 1980s then disappeared — where are they now?
Neon hues and hair to the skies – must be the '80s! But the decade wouldn't be what it was without the music that filled our homes
The '80s gave us some pop hits that glowed with neon-bright energy, and bands sporting a similar hue. From Flock of Seagulls signature haircuts to travelling through the fantasy world of A-Ha's 'Take on Me', we're missing the decade's finest stars that brought feet rushing to the dance floor.
Read on to find out what became of the '80s favourites after they disappeared from the spotlight.
© VCG via Getty Images,WireImage via Getty Images
'Take On Me' took the music video industry to a new realm
A-ha
A-ha's 'Take on Me' combined memorable lyrics with a fantasy video escape as a young woman is brought into a two-dimensional comic book and eventually joined by her love in the real world.
In 1994, an underperforming fifth album prompted the band to take a five year hiatus, followed by a split in 2010, a brief reunion for a festival appearance in 2015 and they later released a new album, 2022's True North. Despite this, it's their '80s fame that saw the height of A-ha's success.
10 music videos people still talk about decades later
A great music video can do more than promote a single. It can turn a song into an event, give an artist a new identity, or create images that stick around long after the chorus fades.
From early promo clips to MTV-defining blockbusters and viral internet hits, these 10 music videos helped shape what the format could be.
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Warner Bros.
4. "Take On Me" by A-ha (1985)
"Take On Me" remains one of the clearest examples of a video making a song bigger. The mix of live action and pencil-sketch animation created a romantic comic-book fantasy that still feels charming. A woman pulled from a café into a drawn world was a simple hook, but the execution made it feel magical.
10 songs from the ’80s suddenly taking over TikTok
This one may take you by surprise. TikTok — the app built entirely around fifteen-second attention spans and whatever sound the algorithm decided was interesting this week — has quietly become the best radio station the 1980s ever had. Yes, you are reading that right. The platform that Gen Z built for Gen Z has turned into a safe haven for music dating back to the 1950s, 60s, 70s and beyond, and nobody planned it that way. Not the engineers. Not the labels. Not the artists who recorded these songs before most of TikTok's user base was born.
The data behind every entry on this list comes from NME, Songfacts, uDiscover Music, The Queen Zone and AllMusic.
And yet here we are. You scroll past one of these and something happens — a synth line, a chorus, a riff you haven't thought about in years — and suddenly you're watching another one. The decade that gave the world shoulder pads and synthesizers turns out to have been engineering three-second hooks for a platform that didn't exist yet. Forty years early and perfectly on time.
Ten of the songs doing it right now, below.
Image credit: Jamesbond raul / Wikimedia Commons
"Take on me" — A-ha (1985)
The video alone is a TikTok before TikTok existed. uDiscover Music has the full breakdown of why it became one of the defining visual moments of the decade. Three Norwegian guys made this forty years ago and are now, involuntarily, the soundtrack to millions of personal reinvention videos. They did not see that coming. Nobody did.
Da ich auf TikTok nicht unterwegs bin, war mir das noch nicht untergekommen. Hat jemand von Euch schon solche Videos gesehen?
“A kid called Chris Martin was reaching out for music and A-ha became part of his story”: The deep connection between modern rock giants Coldplay and ’80s pop legends A-ha
By Paul Elliott
“Chris has been instrumental in introducing us to a new generation”
A-ha in 1987 (from left): Morten Harket, Magne Furuholmen, Paul Waaktaar-Savoy (Image credit: Getty Images/Dave Hogan)
They had their biggest hits in the ’80s, but when A-ha made their comeback in the 2000s they enjoyed a level of critical acclaim they’d never had before – with a little help from some famous fans.
The Norwegian trio – singer Morten Harket, guitarist Paul Waaktaar-Savoy and keyboard player Magne Furuholmen – had become one of the world’s leading pop acts in the ’80s with hits including Take On Me, The Sun Always Shines on TV, Hunting High And Low, I’ve Been Losing You and The Living Daylights.
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.But there was always tension between the three musicians on a personal level – exacerbated by the pressures of fame, teen fandom and intense media attention.
As Harket said: “I remember when I was young, seeing pop stars who looked really cool and had an aura, and I responded to that too, but only if their music did something to me. But with all the commercial teeny glossy magazines, it was all about teenage girls and that’s what we were faced with.”
He added: “I never would have minded the hysteria if there had been some balance, but in the media there was never anything else, because that’s where the media makes its money. When you talk about nonsense 24 hours a day you get sick of it!”
In the early ’90s, after the hysteria had died down, A-ha had quietly disbanded. But in 1998 they performed in public again, and in 2000 the comeback album Minor Earth Major Sky was released.
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Three more albums followed in that decade: Lifelines (2002), Analogue (2005) and Foot Of The Mountain (2009).
Compared to the synth-pop hits of old, Analogue was a more rock-oriented album that really put A-ha back in the limelight and restored their credibility. Foot Of The Mountain was a return to their signature sound, and for this album’s release the trio spoke about A-ha’s renaissance and how it had happened.
“We’ve had a very strong response to all our albums in the later years since 2000,” Harket said.
“It’s a great feeling to have such good response and to hear kind words coming from critics,” Waaktaar-Savoy added. “That really gave us a boost.”
They discussed the songwriting process for Foot Of The Mountain and how it compared to their past.
“My writing goes in waves,” Harket explained. “I do write, but to do that in this band is not cultivated by the others – and not by me either.
“There have been exceptions. On some albums there has been more of me. But on this album it’s essentially the other two.”
“We rarely write together,” Waaktaar-Savoy revealed. “Even when we lived under the same roof, writing together was never the norm.”
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Furuholmen was more dramatic. “I had to fight very hard for the direction I believed in,” he said. “That’s nothing new, but this one took all my strength.
“We started up with a conscious effort to work together. It lasted long enough to produce some interesting results. Some songs, especially at the beginning, happened by sitting together with a keyboard and a guitar – but most were written individually.
“I wrote a lot of songs early on, but as the A-ha process took way too long, I ended up releasing much of the material I had written for A-ha as a solo album in the meantime.”
The solo album he refereed to was A Dot Of Black In The Blue Of Your Bliss, released under the name Magne F, and with an alternative rock flavour similar to the title track from Analogue.
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Furuholmen said of his influences: “For a few years I was deeply into singer songwriters, like Sufjan Stevens. Also, Mark Oliver Everett always inspires.”
Returning to the subject of Foot Of The Mountain, he added: “Some songs are made up of parts from two different songs juxtaposed.”
Furuholmen explained why A-ha could never make an all-out rock record: “The rock aesthetic and its penchant for the ‘authentic’ booze and cigarettes- driven narrative is completely at odds with Morten’s high-strung passionate choirboy voice.”
He also spoke of his commitment to his art.
“When you write something you can’t help feeling personally invested,” he said. “That’s why you do it.”
Harket described Foot Of The Mountain as a more upbeat A-ha album, but conceded: “I wouldn’t call it extrovert. A-ha has always had a tendency to go introvert.
“At times, some of our music has maybe emphasised the introverted aspect a little more than I would say is balanced. This album is going in the opposite direction.”
At this time, Furuholmen was also working with Coldplay bassist Guy Berryman on a project named Apparatjik. This group’s debut album We Are Here was eventually released in 2010.
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.Coldplay singer Chris Martin was an A-ha fan in his youth. He has since performed A-ha songs both solo and with his band.
Furuholmen acknowledged: “Coldplay have played an active part in a causing a reappraisal of A-ha. Chris Martin is one of a generation of musicians who grew up loving A-ha, not for the image, but for the music.”
“It took a long time to shake off that teen pop image,” Waaktaar-Savoy said, “and Chris Martin has been instrumental in introducing us to a new generation of listeners.”
External Content www.youtube.comContent embedded from external sources will not be displayed without your consent.Through the activation of external content, you agree that personal data may be transferred to third party platforms. We have provided more information on this in our privacy policy.“The value of the respect is the same no matter where it comes from,” Harket stated. “It means you’re communicating with somebody out there. In this case it was a kid called Chris Martin. He was reaching out for music and A-ha became part of his story.”
