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Julee Cruise Floating Into The Night

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Floating Into The Night

Julee Cruise

10 SONGS • 48 MINUTES • SEP 12 1989

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Floating Into The Night

Julee Cruise

10 SONGS • 48 MINUTES • SEP 12 1989

• TRACKS TRACKS
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With her hauntingly beautiful voice, Julee Cruise gave the worlds director David Lynch and composer Angelo Badalamenti created with Blue Velvet and Twin Peaks their souls before making more personal and wider-ranging music. Cruise thought of herself as a Broadway belter, but the plaintive, unearthly performance she created for "Mysteries of Love" from Lynch's 1986 film Blue Velvet revealed entirely new dimensions to her voice. The song's alluring, mysterious mix of dream pop, jazz, and innocent romance of 1950s and early '60s pop led to the creation of 1989's Floating into the Night and 1993's The Voice of Love, albums that influenced dream pop for years to come while connecting Cruise to Lynch and Badalamenti's other projects -- most notably Twin Peaks, which transformed her single "Falling" into an international hit in 1990. However, Cruise spent much of her career developing the other sides of her music. She showed off her vocal chops as a touring member of the B-52's, collaborated with Pharrell, and scored hits with Hybrid (1999's "If I Survive") and Khan (2002's "Say Goodbye"). Her later albums, 2002's The Art of Being a Girl and 2011's My Secret Life, blended dance and lounge with jazz-inflected vocals that emphasized the breadth of her artistry and her dedication to making music on her own terms.

Born in Creston, Iowa, Cruise's musical career began with childhood French horn lessons. As a teen, she also took flying lessons, ultimately obtaining her pilot's license. Though Cruise earned a degree in the French horn from Des Moines' Drake University, after graduation she decided she'd rather sing and act for a living. A move to Minneapolis led to a few years performing with the Children's Theater Company, and by the early '80s, Cruise was in New York City. She appeared in off-Broadway productions of Little Shop of Horrors, A Little Night Music, and Beehive, a revue in which she played Janis Joplin.

Cruise's time as a chorus girl in a country-and-western musical connected her with composer Angelo Badalamenti, and the pair became friends. In 1985, Badalamenti was working on David Lynch's film Blue Velvet; when the rights to use This Mortal Coil's version of "Song to the Siren" were too expensive for the movie's budget, the director and composer wrote a similarly haunting and romantic song, "Mysteries of Love." Badalamenti's search for the right vocalist ended when Cruise -- who was working as his talent scout at the time -- offered her skills. Using the delicacy and restraint of her French horn technique to guide her performance, her airy vocals were the perfect fit for "Mysteries of Love." The song's dreamy blend of synths, strings, and Cruise's voice made it a cult favorite and set the tone for her further collaborations with the composer and director. First up was Cruise's debut album, September 1989's Floating Into the Night. Including "Mysteries of Love" along with nine other songs featuring music by Badalamenti and lyrics by Lynch, the album's blend of dream pop and jazz didn't make much of an impression until Lynch and Mark Frost's cult classic TV series Twin Peaks -- which used an instrumental version of the Floating single "Falling" as its theme song -- premiered in April 1990. In the wake of the stylish mystery's success, Floating Into the Night reached number 74 on the Billboard 200 Albums chart in the U.S., and also charted in Canada, Australia, New Zealand, and Sweden; in the U.K., it was eventually certified silver by the British Phonographic Industry. Meanwhile, Cruise's version of "Falling" topped the Australian charts, became a Top Ten U.K. hit, and peaked at number 11 on the Billboard Alternative Airplay chart. Cruise also had a small recurring role in the series as a singer at the Roadhouse bar, and the Twin Peaks soundtrack, which featured three songs from Floating ("Falling," "Into the Night," and "The Nightingale") along with Badalamenti's moody score, went gold in the U.S. (additionally, the instrumental version of "Falling" won the Grammy Award for Best Pop Instrumental in 1991). Other songs from Floating Into the Night appeared in Lynch's 1990 avant-garde musical Industrial Symphony No. 1, in which Cruise portrayed the Dreamself of the Heartbroken Woman suspended 80 feet from the stage in a prom dress.

Twin Peaks' status as an early-'90s pop culture phenomenon provided further opportunities for Cruise. In May 1990, she performed on Saturday Night Live when original musical guest Sinead O'Connor dropped out in protest of the episode's host, controversial comedian Andrew Dice Clay (to appear on the show, Cruise had to "call in famous" to her regular gig as a waitress). In 1991, she reunited with Lynch and Badalamenti to record a cover of Elvis Presley's "Summer Kisses, Winter Tears" for the soundtrack to Wim Wenders' film Until the End of the World, and appeared in an off-Broadway production of Return to the Forbidden Planet. Her performance in the show caught the attention of the B-52's, who enlisted Cruise as a touring replacement for Cindy Wilson from 1992 to 1999 while Wilson spent time with her family. She remained a part of Twin Peaks, appearing in the 1992 feature film Twin Peaks: Fire Walk With Me and working with Lynch and Badalamenti on her second album, October 1993's The Voice of Love, which continued the hazy sound of her debut and included versions of songs that appeared in Fire Walk With Me, Industrial Symphony No. 1, and Wild at Heart. She also performed with Bobby McFerrin's vocal group Voicestra/CircleSong.

In 1996, Cruise worked with the Flow on "Artificial World (Interdimensional Mix)," a song that appeared on the soundtrack to the hit horror film Scream and signaled the electronic direction her music would take later in the decade and into the 2000s. In 1999, she collaborated with DJ Silver on a pair of tracks ("I'm Your Girl" and a cover of the Eurythmics' "Sweet Dreams") that appeared on the album Don't Panic!, contributed vocals and lyrics to songs on Hybrid's debut album Wide Angle, including the charting U.K. single "If I Survive," and appeared on Khan's album 1-900-Get-Khan, establishing a long-standing partnership and friendship with the producer. The following year, she teamed up with B(if)tek for a version of Sir Cliff Richard's "Wired for Sound" that charted in the group's homeland of Australia, and featured on two songs from former Deee-Lite member Supa DJ Dmitry's album Scream of Consciousness, including a cover of David Bowie's "Space Oddity." In 2001, Cruise created two tracks for the soundtrack to An American Nightmare and reunited with Khan for the album No Comprendo, which spawned the European hit "Say Goodbye." She remained busy in 2002, working on singles with Moodswings and Eric Kupper and releasing her third album, August 2002's The Art of Being a Girl. Featuring production by Khan, Mocean Worker, and J.J. McGeehan, the album's slinky mix of chill-out and exotica was inspired by the music Cruise heard touring with Khan, while its lyrics drew from her time with the B-52's and her experiences as a woman and female artist.

As the 2000s unfolded, Cruise's career remained eclectic. In 2003, she appeared in Radiant Baby, a musical about visual artist Keith Haring in which she played his mother, a nurse, a Susan Sontag-like critic, and Andy Warhol. That year, she also began a collaboration with Pluramon's Marcus Schmickler, appearing on several songs on the project's third album Dreams Top Rock. Cruise then worked with Pharrell on the 2004 Handsome Boy Modeling School song "Class System" and with Atmo. Brtschitsch on "Everyday" from the album Change Your Life. Two years later, she contributed vocals to the experimental group Time of Orchids' fourth album Sarcast White and Kenneth Bager's debut album Fragments from a Space Cadet, which won an award from the Danish Arts Foundation. In 2007, she sang on Ror-Shak's album Deep and worked with Schmickler once more on the Pluramon album Monstrous Surplus. Cruise resurfaced in 2010, singing the theme song to the USA Network comedy/mystery series Psych on "Dual Spires," an episode that affectionately parodied Twin Peaks. Her fourth album, My Secret Life, appeared in 2011 and featured production by DJ Dmitry as well as a cover of Donovan's "Season of the Witch." Following the album's release, she toured with Khan and Kid Congo Powers.

As Cruise's systemic lupus -- an autoimmune disorder that severely impacted her mobility and caused her chronic pain -- worsened in the 2010s, her projects slowed. However, in 2017, she appeared in the 17th part of Twin Peaks' third season, performing a rendition of "The World Spins" that appeared on Twin Peaks [Music From the Limited Event Series]. In 2018, Sacred Bones released Three Demos, which collected early versions of "Falling," "Floating," and "The World Spins." Cruise died on June 9, 2022 in Pittsfield, Massachusetts at age 65. ~ Heather Phares

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Julee Cruise|Floating Into The Night

Floating Into The Night Julee Cruise

• Released on 01/01/1970 by 143 - Warner Records
• Main artists: Julee Cruise
• Distinctions: The Qobuz Essential Discography

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Hardcore David Lynch fans knew the album cut "Mysteries of Love" thanks to its appearance in the middle of Blue Velvet but otherwise, Julee Cruise and her singing abilities were total unknowns when Floating into the Night surfaced in 1990. When Twin Peaks took off, however, the album became more or less its unofficial soundtrack thanks to the instrumental adaptation of "Falling" that served as the theme song. Other cuts, like the haunting, moody "Into the Night," and "Rockin' Back Inside My Heart" turned up on the show as well; but as a beautiful, mysterious stand-alone effort, Floating is still that best of surprises, a left-field hit that loses nothing thanks to its fame. The combination of Cruise's sweet, light tones, Lynch's surprisingly affecting lyrics, which play just enough with clichés so as not to seem willfully ironic, and Angelo Badalamenti's combination of retro styles and modern ambience, is a winner throughout. The feeling is one of a '50s jukebox suddenly plunged into a time warp, dressed with extra sparkle and with a just-sleepy-enough, narcotic feeling. At its most upfront, the music can get downright raunchy -- check out the big band/sax blasts on the strutting tearjerker "Rockin' Back Inside My Heart," or the sudden orchestral blast three minutes into "Into the Night." Cruise herself has a wonderfully slow, burning passion that surfaces as well, such as in her whispers on "Floating." But mostly everything is just sedate enough, crystalline rockabilly guitar playing gentle riffs with a slow slinkiness, Cruise's multi-tracked backing vocals and more combining beautifully. "Falling" remains the most well-known number, and a winner it is, too; Badalamenti's synth orchestrations are so affecting that Moby ended up sampling them for "Go," kickstarting his own career. But songs like the just-spooky-enough "The World Spins," and "The Nightingale," with a great performance all around, ensure Floating's success as a through-and-through listen. © Ned Raggett /TiVo

Floating Into The Night

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Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

© 2006 Warner Records Inc. ℗ 1989 Warner Records Inc.

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Tenor Saxophone - Angelo Badalamenti, Composer, Piano, Writer, Synthesizer - Art Pohlemus, Engineer - David Lynch, Composer, Lyricist, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Badalamenti, Writer - David Lynch, Producer, Writer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Composer, Piano, Writer, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Composer, Producer, Writer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Synthesizer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Producer, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Eddie Dixon, Electric Guitar - Time Leitner, Mixer - Julee Cruise, Vocals, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Piano, Synthesizer - Art Pohlemus, Engineer - Badalamenti, Writer - David Lynch, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Lynch, Writer - Mike Krowiak, Mixer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar

Eddie Dixon, Electric Guitar - Julee Cruise, MainArtist - Albert Regni, Clarinet, Saxophone - Angelo Badalamenti, Composer, Piano, Synthesizer - Art Pohlemus, Engineer - David Lynch, Lyricist, Producer - JAY HEALY, Mixer - Kinny Landrum, Synthesizer - Stephen Marcussen, Masterer - Vincent Bell, Electric Guitar - Tim Leitner, Mixer

Album review

About the album.

• 1 disc(s) - 10 track(s)
• Total length: 00:47:04
• Composer: Various Composers
• Label: 143 - Warner Records
• Genre: Pop/Rock Pop

© 2006 Warner Records Inc. ℗ 2006 Warner Records Inc.

Distinctions:

• The Qobuz Essential Discography

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Floating Into the Night

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Pop/R&B

Sacred Bones

August 9, 2023

When she was in high school in Creston, Iowa, Julee Cruise was a popular girl with a host of deep-rooted suburban fears—boys, cars, getting sucked down the bathtub drain—and a secret pastime that even those closest to her never knew about: making prank phone calls. “I’d call people if I was angry at someone and wanted to scare them. Or I’d call and not say anything at all,” she reflected in a 1990 interview. “There’s something kinda voyeuristic about doing something like that.”

Eventually, Cruise made contact with the world. First in Blue Velvet and most prominently throughout Twin Peaks , she sang the eerie, beautiful songs that reached from the screen and pulled you inside David Lynch ’s mind, giving voice to the complex web of emotions that kept his characters suspended in time. Her debut record, 1989’s Floating Into the Night , is the latest from the Lynch universe to receive a welcome vinyl reissue from Brooklyn label Sacred Bones. And while the lyrics were written by Lynch with music composed by his right-hand-man Angelo Badalamenti , and most of the songs will forever be associated with his work, Cruise’s album stands proudly on its own.

Over the past three decades, Floating Into the Night has remained one of the benchmarks that all dream-pop artists are measured against. It set the standard for several reasons. One, of course, is that its songs were paired with some of the most unforgettable, vividly rendered dream sequences ever caught on camera: from the foggy, rainy vistas of Twin Peaks to its dusky barrooms, sepia-toned living rooms, and demonic purgatories. If you have any relationship to the images these songs accompanied, then just hearing the opening baritone-guitar pulses of “Falling” or the wheezing gramophone band of “Floating” can elicit an intense rush of emotions.

Even stripped of this context, Floating Into the Night captured something important about dreams that plenty of other artists in the genre have ignored. Like most dream-pop records, it has the ability to wash over you, misty and serene, with a late-’80s synth gloss that made one of Cruise’s friends dismiss it as “white wine Muzak.” But Cruise and her collaborators also had the ability to shake you awake, to twist an image that should be pretty into something broken and grotesque. There are obvious examples: the nightmarish orchestral stabs that interrupt the whispered revery of “Into the Night,” the hellish fade-in crescendo of “I Remember,” or the disorienting drone and piano solo in “I Float Alone.” Lynch and Badalamenti shared a penchant for long, simmering builds and sudden cuts, dives into sentimentality harshened by pure horror. Their music together accomplishes a similar effect, never allowing you to feel fully at ease.

Cruise was a natural collaborator, able to skate along gracefully without stumbling around these turns. It’s hard to think of another singer who could find so much space and resonance in words like “dark” or “alone,” and by subduing her musical-theater belt into a curling wisp of smoke, her mezzo-soprano takes on a haunted, slow-motion quality: If you close your eyes, you can almost see each word forming as she sings them before dissolving into blackness.

The initial inspiration for “Mysteries of Love,” Cruise’s first collaboration with Lynch and Badalamenti, was This Mortal Coil ’s “Song to the Siren,” and you can hear what they admired in the recording: its sparse alien landscape, and the sense of longing in Elizabeth Fraser ’s crystal-clear voice cutting through the mix. But they quickly evolved into their own sound, evoking a less heavenly tableau with more smoke in the air. Within this setting, Cruise favored a hushed delivery in layers and layers of multi-tracked harmony and unison vocals, like Christmas carols by ghostly choirs on deserted streets. (“This will be a very expensive tour because Julee will have to hire nine backup singers,” Lynch jokes in a priceless clip from the recording sessions.)

Both Cruise and Lynch spoke of America in the 1950s as an enduring influence, and the songwriting spans aspirational jazz standards like “The World Spins”—a recording that, no matter how you listen, seem to play on a format that must be handled gently so as not to shatter—to early rock’n’roll throwbacks like “Rockin’ Back Inside My Heart.” In the latter, Cruise remembered Lynch instructing the sax player to conjure “big chunks of plastic” from his instrument, suggesting the visceral, physical thrill they still found in music from this era.

Even with these specific reference points, there is no true precedent for Floating Into the Night , and its greatest asset remains its timelessness. Describing her inspiration, Cruise pinpointed the feeling of paranoia that accompanies any surge of joy or new love. “There’s always that voice that says, ‘It’s going to go away,’” she explained. “That voice can be very disturbing and destructive, and that voice is talking all through the album.” If Lynch’s work remains a confounding acquired taste for some, then Floating Into the Night is a record that anyone can at least understand . It is the sound of a burgeoning crush accompanied by the quickening realization of their power to hurt you; it is your hometown at night, with a familiar stillness so quiet it can keep you awake; it is the voice on the other line, distant and mysterious, but close enough so you can hear every breath.

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Forgotten Classic: Julee Cruise ‘Floating Into The Night’

Despite the Korean war, the Suez crisis, and the Cuban revolution, the 1950s is often remembered as America’s age of innocence. Thanks to a growing middle class and a consumerist boom many citizens of the United States felt a sense of security in their socially conservative society, threatened only by the steady eastern breeze of communism. Rock ’n roll had broken into mainstream media, and, with it, the romantic notions of teenage lust, love and rebellion that would come to define youth culture in the 20th century.

Although often contemporary in their setting, the films of David Lynch bask in the rose-tinted haze of sleepy small-town living. In his alternate universe, time seems to fold in on itself, collapsing the years onto one another until an eerie temporal disorientation is achieved. But it’s not simply innocence that Lynch is interested in – rather the corruption of it, his work pitting clean-cut characters against a world filled with misery and perversion; blurring the lines until morality becomes terrifyingly hard to discern.

Read: The Story of Aretha Franklin ‘I Never Loved A Man The Way I Love You’ and ‘Lady Soul’

If you know the imagery of Lynch, you know the sound of Julee Cruise. Alongside the instrumental work of Angelo Badalamenti, her voice has been a cornerstone of the filmmaker’s soundscape since lending its ethereal tone to ‘Mysteries of Love’ – a song written to replace This Mortal Coil’s ‘Song to the Siren’ in Lynch’s 1986 suburban nightmare, Blue Velvet . Taking a prominent place in the film’s final scenes, the dreamy composition earned a cult following and struck on a near-perfect symbiosis of image and sound.

Iowa-born Cruise had met Italian-American composer Badalamenti in a Broadway theatre workshop, both being veterans of performance and having helped stage a Janis Joplin revue together. Badalamenti had previously soundtracked films such as Gordon’s War and Law And Disorder in the 1970s and received little acclaim, but in 1986 an opportunity arose when he was hired by Lynch as a vocal coach to Blue Velvet ’s seductive star Isabella Rossellini. Throughout production Cruise’s talent became an essential part of the director and composer’s nascent mythology that would later reach its zenith on the cult TV series, Twin Peaks .

Sensing they were onto something special, the trio combined forces to help create polymath Cruise’s first full-length musical release. Lynch, who claimed to have “$700,000 in the bank” following Blue Velvet, hoped to creatively shape the album by contributing his lyrics and ideas. As Cruise recalls, his direction was a necessary influence: “When David came into the studio it made a big difference. It was really a great team because Angelo and I are so malleable and so good at being chameleons.” Lynch’s lyrical style drew on the romantic, lonely, and slightly surreal atmosphere he had honed on his recent masterpiece – often dwelling on themes of abandonment and lust leading naïvety astray.

Read: The Story of Sade ‘Stronger Than Pride’

Album opener ‘Floating’ benefits particularly from the unique strengths of each contributor. Cruise’s somnambulant croon is a siren call, obscured by an impenetrable mist that only heightens her ethereality, whilst Lynch’s fatalistic lyrics toy with the well worn cliché of love as a burning, mesmerising flame. Meanwhile, the phantasmagoria of Badalamenti’s music takes the listener into the heart of the Overlook ballroom, evoking a sense of faded revelry that would later become a hallmark of his lounge jazz compositions such as ‘Audrey’s Dance’ and ‘Dance of the Dream Man’. The overall effect is arresting, tapping into a nostalgia for a time that, for many of us, is completely unknowable.

Floating Into The Night ’s most popular song, ‘Falling’, would be the gateway to Lynch’s next major project. Badalamenti had created the melodramatic musical sequence that would become the Twin Peaks title theme in response to the directors prompt of a young girl alone in the woods at night. In its album incarnation (released before the show) Cruise’s voice blends seamlessly with the synthetic bliss of Badalamenti’s composition, embodying the sweet vulnerability of teenage bewilderment. After its Grammy-winning instrumental became an iconic introduction to the show in 1990, the singer’s original became an unexpected global success, charting in fourteen countries worldwide, including Australia, where it peaked at number one in April 1991.

For better or worse, Twin Peaks would come to define the legacy of Floating Into The Night and the future of Cruise’s professional life. She appeared in the surreal soap-opera herself several times as a musical guest at the town’s smokey nightspot, The Roadhouse, and subsequently became a cult figure for diehard fans of the show (which was cancelled after just two seasons). Cruise has since held a complicated relationship with its legacy, grateful for the continued fanaticism of its audience yet wary of the pressures Twin Peaks has placed on her: “I don’t want that responsibility”. But despite the overbearing influence of Lynch and Badalamenti on her initial two album run, Floating Into The Night is undoubtedly Cruise’s shining moment. A captivating and evocative vocal talent, she imbues its leading role with the beguiling quality that makes the trio’s work so incredibly singular.

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Floating Into the Night

September 12, 1989 10 Songs, 48 minutes ℗ 2006 Warner Records Inc.

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• Julee Cruise

Julee Cruise ’s 1989 album Floating Into the Night is a hauntingly beautiful, critically ac-claimed work that showcases her unique vocal style and the atmospheric, dreamlike music of composer Angelo Badalamenti . The album was produced by Badalamenti and David Lynch , who had previously worked together on the soundtrack for Lynch’s film Blue Velvet . Today in the wake of both Julee Cruise and Angelo Badalamenti’s passing its important to honor their musical legacy and contribution to both the sonic and cinematic landscapes.

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