This new version received good reviews but constituted a shift into pop music that did not interest the patrons of trendy London nightclubs that Spandau Ballet originally intended to represent.

The band tried continuing their work with Horn on the songs for their next album but came to an impasse with him and moved on to a successful relationship with producers Steve Jolley and Tony Swain.

[6] Producer Martin Rushent was fresh off his success with the album Dare by the Human League, but Kemp explained to New Sounds New Styles magazine in 1982 that the band felt they "couldn't" have him do the remix because it "would have been such an obvious thing to do".

[7] Bucks Fizz mastermind Andy Hill was also considered for the job,[5] but they settled on Buggles founder Trevor Horn based on the work he had done with the UK pop vocal group Dollar.

[7] Transitioning to a more mainstream sound worried Kemp since Spandau Ballet initially intended to create music that represented the trendy club scene in London.

"[10] Ian Birch of Smash Hits predicted that Horn would improve Spandau Ballet's situation with his addition of "all those magical ingredients like synthesised drum cracks and chattering percussion.

She added, "There's a feeling of space about it, too, a Horn trademark, as are the breathy backing vocals" and noted that Hadley had toned down his performance, all contributing to make this the "best Ballet 45... to date.

He wrote, "The main hook is in the Earth, Wind & Fire-style horn section, ... but the heart of the song is Martin Kemp's surprisingly limber, almost funky bassline, which blends with the Latin percussion to make a dancefloor-friendly groove.

[24] Spandau Ballet resumed their partnership with director Russell Mulcahy for the "Instinction" music video but told him there would be no nightclub setting as they had in the clip for "Chant No.

"[33] Dagger suggested producers Tony Swain and Steve Jolley, who had recently worked with Bananarama, so the band presented the duo with several songs Kemp had finished writing.

[34] The plan was to have them produce just one single to get a sense if they were right for the group before committing to anything more, and although "Communication" was considered, the song Jolley chose for their assignment was the "up-tempo, more obvious pop sing-along" titled "Lifeline".