August 10, 1985: John Morales on remixes, Howard Johnson, Lukk featuring Felicia Collins, Harleqiun Four’s, Colonel Abrams, Universal Robot Band


LATEST REMIXES include Lisa Lisa in a (0-)117bpm Shep Pettibone mix with typically drawn out intro and a more densely hip hop 116bpm Full Force remixed flip, Barbara Pennington (already the third version!) in a much altered acappella introed 105½bpm John Morales remix with a smoothly chugging Jocelyn Brown beat, Phil Fearon in a musically unnecessary percussively rippling now 113½bpm John Morales remix flipped by the previously withdrawn partly Spanish 125½bpm Manana Mix of ‘You Don’t Need A Reason’, Melba Moore in two supposedly promo only 105½bpm ‘Caribbean Queen’-ish and sparse dub remixes, while Total Contrast is indeed due in a superior “US Remix” (sold with the original as a bonus twofer) and Peter Royer is being re-edited to bring Dexter Wansel’s piano into the A-side too . . . Grover Washington Jr’s appearance is on the more instrumental 114½bpm Long Hot Soulful Summer Mix and (only briefly) the good sparse wriggly 114¼bpm Philadelphia Remix of Five Star . . . Loose Ends ‘Golden Years’ is now flipped by the brand new frantic 138½bpm ‘Turn The Lights Down’, of dubious dance appeal, while their current US hit ‘Choose Me’ has just been remixed there — they’ve also produced Julie Roberts’ next solo single . . . The Cool Notes have signed a major deal with Arista in the States . . . Larry Blackmon while in London has also been working on LW5, remixing a Paul Hardcastle production — now there’s a turnaround! — Paul himself less surprisingly having topped the UK Chart Performance Survey for the last quarter, April-June . . . Streetwave took my tip and have picked up Royalle Delite, only about a year after it came out . . . LPs now on UK release include Cheryl Lynn (CBS 26497), 9.9 (RCA PL89685), Carl Anderson (Epic EPC 26591) here adding ‘Buttercup’ . . . PRT have issued a Chess Mini Masters series of 7in EPs, by (listed in order of probable usefulness) Ramsey Lewis, Chuck Berry, Fontella Bass, Bo Diddley, ‘The Blues’ (Williamson/Wolf/Walter/Waters), Billy Stewart, Clarence Frogman Henry, Etta James, ‘Soul Sisters’ (Joy Lovejoy etc), Dells . . . Midas Media are starting a DJ mailing list at 25 Rose Street, Long Acre, London WC2 (01-836 4853) . . . Animal Nightlife’s first album has a special late night launching party this Friday (9) at Kings Cross Scala Cinema with hip flicks showing, Jay Strongman & Julian Palmer jocking, the band mingling . . . Newcastle Upon Tyne’s Metro Radio has finally started a soul show hosted by Ian Hughes Mondays 6.20-8pm, produced by the Walkers Club Café team Phil ‘What’s Cookin’?’ Mitchell & Bill Walker, with Chris Hill already a special guest during its first fortnight . . . Steve Allen has added an extra black music show on Hereward Radio Thursdays 6.20-10pm, featuring reggae, rap, afro, soca and more, as well as the soul ‘n funk heard also on his Saturday 6-9pm slot . . . Steve Walsh (back from the States and enthusing, like so many before him, about the fast stuff heard on radio there) is now sitting in for Steve Collins on Capital Radio Sundays 1-5am — which must cut into his gig income! . . . RECORD MIRROR contributor Damon Rochefort, whose mouthings and music are a must on Horizon Saturday teatime, should note the Cool Notes promise their follow-up will be much harder! . . . Solar last Thursday night played back the whole of Radio London’s recording of the New York Jazz Explosion Hammersmith concert — not only naughty, but plain silly considering their quest for legality . . . Home Secretary Leon Brittan in another radio experiment has also decided to allow for one year whenever appropriate up to 10 hours a week of split frequency broadcasting by ILR stations Leicester Sound, Marcher Sound, Piccadilly, Capital, Viking & Wiltshire Radio, so they can put out separate programmes simultaneously on VHF and MW, the additional service to include classical concerts, sport, specialist music and ethnic programming (BBC Radios Nottingham & Leicester will be similarly broadcasting specifically Asian programmes) — at least the Government is trying . . . ‘Ghost Catchers’ last Friday on BBC2, music historians should note, included Ella Mae Morse singing about “a solid rhythm I can rock” — in 1944 . . . Berry Gordy’s ‘The Last Dragon’ seems about to have a sequel filmed next month, but minus Vanity . . . British viewers may not necessarily know them but such black actors as Tommy Wright & Debbie Morgan from US TV’s ‘All My Children’ soap, Maurice Hines, Larry Fishburne & Wynonna Smith from ‘The Cotton Club’ flick, and Savion Glover from ‘The Tap Dance Kid’ show all appear in Cameo’s ‘Attack Me With Your Love’ video . . . Jeff Young’s listeners-voted Soul Poll on his Saturday lunchtime Radio London show last week certainly reflected the previous night’s ‘6.20 Soul Train’, which had been one of the strongest and tightest to date: this Friday’s beach party edition has Lisa Lisa, Five Star, Shannon, Billy Ocean, No Way Jose, Commodores, Bloodstone) . . . Eugene Wilde sensibly didn’t use the UK remix of ‘Chey Chey Kule’ when wailing it up on TV — and who were those foxes behind him?! . . . Jeffrey Daniel, despite earlier speculation, is with this current series until the end . . . Mike Allen is running a competition on Capital Radio to find a hip hop poster for his electro shows, the best design winning a trip for two to visit KISS-fm in New York — check his weekend last evening progs for full details . . . New York’s once urban contemporary radio station WKTU (“Disco 92”) has switched to playing Album Orientated Rock and the new name WXRK (however WBLS remains true to its roots) . . . Tony Prince, Ceri Berry and I have ended up the only members of the Disco Mix Club’s trip to the New Music Seminar next month, the outing seemingly being too expensive for other DJs . . . Aretha Franklin topped US Black 45s and Club Play, while Madonna’s ‘Angel’/’Into The Groove’ coupling returned (displacing ’19’) atop 12in Sales . . . Five Star ‘All Fall Down’ has hit the lower end of the US Black chart . . . Atlantic in the States belatedly picked up the Paul Simpson Connection, and ‘It’s That East Street Beat’ by the re-spelt Chocolette . . . Evelyn Thomas has a terrific Instant Funk-‘Got My Mind Made Up’-inspired ‘Cold Shoulder’ in the can, although a remake of the Supremes ‘Reflections‘ has been set for single instead . . . Kerry Delius’s song gets it right as Tricky Dicky dodges the rain with a stall in the alleyway outside his Record Cellar shop (around the corner from Leicester Square station), selling not only Hi-NRG but also loads of 99p soul LPs from an incognito DJ’s collection — his Disconet, Hot Tracks and boots will be on sale next month . . . Top 3 Hi-NRG monsters in small gay clubs without the Heaven effect are Maria Vidal, Modem Rocketry, Lime . . . Jonathan King (or is he Jo King?) last week dedicated Miquel Brown’s old ‘So Many Men So Little Time’ to Rock Hudson . . . Cliff Richard’s next single in September, ‘She’s So Beautiful‘, will be prod/penned and totally played by Stevie Wonder — could this be the seventh number one single he blesses? — taken from a concept album and future stage show called ‘Time’, masterminded by ‘Mr Ready Steady Go’ Dave Clark and involving such other stars as Dionne Warwick, Ashford & Simpson, Julian Lennon . . . Capitol’s next mistake could be not to release Brass Construction’s ‘Give And Take‘ as their single here — shaping up as another ‘Solid’, it sounds especially good on radio, with wide appeal as suspected . . . Maze ‘Twilight’ is this generation’s ‘Beat The Street’, to judge from all the jocks using it in mixes . . . Princess is now in danger of premature death from over exposure — about the only place you won’t hear it is in elevators, so far! . . . Average White Band’s ‘If I Ever Lose This Heaven‘ seems to be getting more radio play than Billy Griffin now . . . Madonna, Simply Red, Sister Sledge, Pointer Sisters and now No Way Jose have all been slipping into normally soulful playlists — what’s causing this reverse crossover? . . . ‘You’re So Vain’ could be the theme song for all the DJs who immediately assumed my comment about Trans-X applied to them — honestly, so many jocks claim to be behind its success that I wasn’t singling out any one! . . . ‘Holiday’ was originally laid down for the group Pure Energy before being heard and bought by Jellybean so that he could add Madonna’s vocal to the original track . . . Sylvia Bennett has more than a vocal similarity with the RAH Band, she’s no brunette . . . Oliver Cheatham plays Yeovil Electric Studio Thursday (8) with Graham T & Chris Dinnis, the latter souling Torquay Monroes every Friday . . . Rick Robinson (call him “Dad”), souling Beckenham Harriet’s Sat/Sun, takes time out to join Kev Hill and Claudia at Harlow Whispers next Saturday (17), with coaches organised for his newsletter-receiving Soul Patrol on 01-771 1761 . . . Gilberto Gil ‘Toda Menina Baiana‘ is causing a storm at last the second (or third?) time around for Steve Glover at steaming Bournemouth’s Zig Zag . . . Disco 85 breakers include Spliff Riff, Percy Larkins LP, Mary Jane Girls, Collage, Shirley Brown, Mercy Mercy, Nat Augustin B-side, Chaka Khan, Sly & Robbie 12in, Dante, Sugarfoot LP, Bobby Womack 7in — the chart’s currently got a queue! . . . I wonder how long it’ll be before people start saying Luther V looks like Danny D, rather than the other way around? . . . MUSIC FOR MUSIC’S SAKE!

JOHN MORALES, currently the hyperactive half of the famous M&M Mix partnership, makes such a good living from remixing records that at first he may seem an unlikely ally in my campaign to halt remix mania. However, he has this foreboding that a big change is coming — brought upon themselves by the record companies, whose present course if unchecked will kill the goose that lays the golden eggs.

“All these re-remixes are jeopardising my future livelihood, especially when record companies don’t care what they sound like so long as they’ve got something different to sell again. I want to be hired because I do good work and people trust me, but now I’m being hired just because I’ve got a bit of a name. If they see my name splattered over all these remixes people will say I’m only doing it for the money and don’t care any more. I’ve turned down more work than I’ve done but even so on this trip to London I’ve remixed 11 records in just two weeks. When I do a remix I deliver the remixed A-side, a 7in edit, and a different dub version for the B-side — all of which would be on the same 12in in the States, but in Britain the B-side dubs are being held back for use as another later A-side or at least part of the follow-up. This is not what I intended. It gives the wrong impression to the public who will think it’s me who’s exploiting them because my name is on more releases than it should be.”

John agrees that if the companies don’t already they’ll soon realise that all the different mixes are costing them more (in goodwill as well as money) than any short lived marketing advantage is worth. He reckons shops no longer want to order 500 copies of a record in case they’re left on the shelf when a remix arrives, so instead they order fewer copies of the successive remixes that the companies will soon be in the position of having to put out just to sell records at all. (In practice the best serviced chart-return shops have bargaining power and can swap unsold mixes, but that adds up to an even bigger waste and loss even if a doubtful status quo is maintained in the chart.)

We both say, the rot has got to stop! On a lighter note, before returning to join Sergio Munzibai in New York remixing DeBarge’s ‘You Wear It Well’, John confided that the only remixer he rates in Britain is Paul Hardcastle. He’s had his name splattered about in even larger letters than M&M!


HOWARD JOHNSON: ‘Stand Up’ (A&M AMY 266)
Rock solid rather than inspired, this wailing forceful 111½bpm thumper is all beat and feel (flipped by the classic old 0-113bpm ‘So Fine’ and 102½bpm ‘Keepin’ Love New’), whereas on his LP ‘The Vision’ (A&M AMA 4982) the Jam & Lewis-prod/penned outstanding 0-108¾bpm ‘Knees‘ really refreshes jaded ears with its adventurous loose combination of English accented chat-up lines, female whispers and climax moans, pent up stereo multi-tracked gurgling and yodelling, all wriggling and weaving through a lopsided beat that’ll truly make it the ‘Encore’ of ’85. Flyte Tyme also supply the sharply jolting 109bpm ‘Older Girl‘, but disappointingly routine are other teams’ 118bpm ‘So Tuff‘, 118½bpm ‘Show Me How‘, 113bpm ‘Outta My Head‘, 0-60½bpm ‘All We Have Is Love’, 131bpm ‘You’ve Got A Lot To Learn’.

LUKK Featuring FELICIA COLLINS: ‘On The One’ (US Easy Street EZS-7518)
One of those natural monsters that sound right in the pocket on first hearing, a languidly rolling 104¼bpm jiggler like Five Star singing to a Jocelyn/Jenny-ish backing, nagging as hell (inst/edit flip).

HARLEQIUN FOUR’S: ‘Set It Off’ (US Jus Born Prod JB 003)
That’s the spelling! Strafe’s original was weird enough last year and this cover, although clarified, is equally odd — a constant cymbal shushed 111½bpm mesmeric pulsing rhythm eventually reaches some subduedly mixed chicks chattering and hissing, then finally trumpet and piano (dub flip), the basis for a million mixes (Gullivers Graham Gold synchs with ‘Single Life’) which looks like being massive after breaking first in Manchester. I have to mention that as they’re point scorers up there!

Now out here and rhythmically rather Harleqiun Four’s-like, the huskily souled churningly jiggling 115bpm hot leaper (in five mixes) has old fashioned jazz-funk appeal.

UNIVERSAL ROBOT BAND: ‘Barely Breaking Even (’85 Club Mix)’ (Streetwave MKHAN 48)
The enthusiastic chap worried and chanted sweat popping friskily jittering jerky 114-115-114bpm busy bounder never came out here in 1983 but remains familiar and has now been remixed by John Morales for UK release (inst/edit flip).

BILLY PAUL: ‘Lately’ LP (US Total Experience TEL8-5711)
Welcome strong label debut (even though the husky romancer wobbles at times) with a usefully blatant 93bpm Marvin clone in ‘Sexual Therapy’, typically nice (0-)105bpm ‘Fire In Her Love‘, lovely exotically lurching 98½bpm ‘Me And You‘, chunkily throbbing 110bpm ‘I Search No More‘, sensual 77bpm ‘Get Down To Lovin’, smoochy 66½bpm ‘Let Me In’, oddly balanced 119bpm ‘Hot Date’, his 61bpm ‘I Only Have Eyes For You’ being not unlike Heaven & Earth’s from 1979.

SKOOL BOYZ: ‘This Is The Real Thing’ LP (US Columbia BFC 40045)
Selling strongly for the polished young soul trio’s 110bpm ‘Superfine‘ hit too, the set’s other standouts are the Willie Hutch-ish 115bpm ‘Give Me That Lovin’ and Jeannie Tracy duetted sultry crawling 44bpm ‘You Are My Love‘, while the lush 73bpm ‘Never Need Another Love‘, beefy 115bpm ‘Can We Do It Again‘, cool 110bpm ‘Feel Like I’m In Love‘ are good too, the 118bpm title track and 118bpm ‘She’s Still My Girl’ more bland.

GOODIE: ‘I Wanna Be Your Man’ LP (US Total Experience TEL8-5706)
Although the chix chorused 109½bpm ‘Ready Or Not‘ has current impact, far more satisfying on a strong “black” set are the haunting stately 77½bpm ‘Because Of You’ with soprano sax and piano, great simple jiggly swaying (0-)91bpm ‘Special Lady‘ (also on 12in), densely driving slow groove 91bpm title track, mournful 78bpm ‘It’s Too Late’, slushy 0-78/39-0bpm ‘Being Here With You’, while he reverts to P’funky roots for the 0-111½bpm ‘Fun Freaks‘, 116¾bpm ‘Females‘, 123½bpm ‘I’ll Scratch Your Back‘.

VAL YOUNG: ‘Seduction’ LP (US Gordy 6147GL)
Although Rick James himself only prod/penned the title track powerful rolling 117¾bpm echo of his own style, he obviously now sees blonde tressed Val as his Sheila E, to offset the Mary Jane Girls as his Vanity-cum-Apollonia 6, everything else here being pale shadows of his usual formulae with just the 88bpm ‘Tellin’ Me Lies‘ another ‘All Night Long’ (or rather ‘Risin’ To The Top’!).

SLY AND ROBBIE: ‘Language Barrier’ LP (Island ILPS 9831)
Herbie Hancock joins the super-sessioning Jamaican rhythm duo alongside such as Bob Dylan and Afrika Bambaataa, and especially on ‘Bass And Trouble’ Manu Dibango and Doug E Fresh the human beat box for an 110½bpm remake of ‘Rockit’, no less. Ryddims vary little though the trimmings are ever inventive through the scat started 112bpm title track, chanted throbbing 113bpm ‘Get To This, Get To That‘ (also on remixed 0-113bpm 12in, 12IS 238 with dub flip), 114bpm ‘Make ‘Em Move‘, only the piping 126bpm ‘Miles (Black Satin)‘ approaching reggae — from a Zappa direction. Quite mind expanding.

DISCO TOP 85 – August 10, 1985

01 01 TWILIGHT, Maze featuring Frankie Beverly, Capitol 12in
02 10 SAY I’M YOUR NUMBER ONE, Princess, Supreme Records 12in
03 02 ROUND AND AROUND, Jaki Graham, EMI 12in
04 06 ON A CROWDED STREET, Barbara Pennington, Record Shack 12in
05 03 TURN IT UP, Conway Brothers, 10 Records 12in
06 14 BREAK THE ICE, Michael Lovesmith, Motown 12in
07 12 INTO THE GROOVE, Madonna, Sire 12in
08 04 SILVER SHADOW, Atlantic Starr, A&M 12in
09 05 DANCIN’ IN THE KEY OF LIFE (REMIX), Steve Arrington, Atlantic 12in
10 07 GENIE, B B & Q Band, Cooltempo 12in
11 09 IN YOUR CAR, The Cool Notes, Abstract Dance 12in
12 11 STRONGER TOGETHER, Shannon, Club 12in
14 27 TAKES A LITTLE TIME, Total Contrast, London 12in
15 08 ATTACK ME WITH YOUR LOVE, Cameo, Club 12in
16 13 GLOW, Rick James, Gordy 12in
17 18 KEEP ON JAMMIN’/IN AND OUT, Willie Hutch, Motown 12in
18 19 HAPPY FEELING, Aurra, 10 Records 12in
19 45 STAND UP, Howard Johnson, A&M 12in
20 16 MOVIN’, 400 Blows, Illuminated 12in
22 57 TEQUILA (KNOCKOUT MIX)/INSTRUMENTAL, No Way Jose, 4th & B’way 12in
23 33 MAMA SAID, Oliver Cheatham, Move Records 12in
24 37 SUPERFINE (FROM BEHIND), Skool Boys, US Columbia 12in
25 54 I WONDER IF I TAKE YOU HOME, Lisa Lisa and Cult Jam with Full Force, CBS 12in
27 24 THIS KIND OF LOVE, Phil Fearon & Galaxy, Ensign 12in
28 — (JOY) I KNOW IT, Odyssey, Mirror Records 12in
29 21 ALL OF ME FOR ALL OF YOU, 9.9, RCA 12in
30 31 IN YOUR CAR (LONDON MIX), The Cool Notes, Abstract Dance 12in
31 28 CHEY CHEY KULE (UK REMIX), Eugene Wilde, 4th + B’way 12in
32 62 WHEN YOU LOVE ME LIKE THIS (REMIX), Melba Moore, Capitol 12in
33 70 KNEES/OLDER GIRL, Howard Johnson, US A&M LP
34 41 TRAPPED, Colonel Abrams, MCA 12in
35 53 IF YOU WERE HERE TONIGHT/SOFT VERSION, Alexander O’Neal, Tabu 12in
36 23 BABY DON’T HOLD YOUR LOVE BACK, Bridge, Atlantic 12in
37 17 MONEY’S TOO TIGHT (TO MENTION) (CUTBACK MIX), Simply Red, Elektra 12in
38 30 YOU’RE THE ONE FOR ME (PAUL HARDCASTLE REMIX), “D” Train, Prelude 12in
39 35 LONG TIME, Arrow, London 12in
40 25 FIDELITY, Cheryl Lynn, CBS 12in
41 39 TAKE YOUR HEART AWAY/CALL MY NAME, Kleeer, Atlantic 12in
42 44 I’LL BE GOOD/YOUR SMILE, Rene & Angela, Club LP
43 43 AIN’T NOTHIN’ LIKE IT, Michael Lovesmith, Motown LP
44 22 MUTUAL ATTRACTION (REMIX), Change, Cooltempo 12in
45 59 LOVE IS IN SEASON/INSTRUMENTAL DUB, Peter Royer, Club 12in
47 20 LET ME BE THE ONE/ALL FALL DOWN (M&M DUB MIX), Five Star, Tent 12in
48 47 SHACK UP (REMIX), Banbarra, Stateside 12in
49 26 AXEL F (M&M REMIX), Harold Faltermeyer, MCA 12in
50 36 LOVER UNDERCOVER, Fatback, Cotillion LP
51 72 YOU MAKE ME HAPPY (SHOP GIRL REMIX), Hi Tension, Streetwave 12in
52 46 DARE ME, Pointer Sisters, RCA 12in
53 74 GOLDEN YEARS (REMIX), Loose Ends, Virgin 12in
54 49 FINESSE (REMIX VERSION), Glenn Jones, US RCA Victor 12in
56 61 ROCK ME TONIGHT, Freddie Jackson, Capitol 12in
57 68 ON THE ONE, Lukk featuring Felicia Collins, US Easy Street 12in
59 55 LET’S TALK (REMIX), Carl Anderson, Epic 12in
60 81 THE PLEASURE SEEKERS, The System, US Mirage 12in/Boiling Point promo
62 75 DISRESPECT (CLUB MIX), Gap Band, US Total Experience 12in
64 67 IT’S OVER NOW (DANCE REMIX), Luther Vandross, Epic 12in
65 — HOT SPOT, Dazz Band, Motown 12in
66 80 PARTY PEOPLE, Danny D & Collusion, Elite 12in
67 78 THIS IS FOR YOU/BIG CITY BEAT, The System, US Mirage LP
69 65 TREAT HER SWEETER, The Paul Simpson Connection, 10 Records 12in
70 73 RIPE FOR THE PICKING (REMIX), LW5, Virgin 12in
72 — SET IT OFF, Harlequin Four’s, US Jus Born Prod 12in
73 85 BARELY BREAKING EVEN (’85 CLUB MIX), Universal Robot Band, Streetwave 12in white label
74 re DON’T GO/DANCE MIX, Precinct, Calibre 12in
75 69 CLOSE TO PERFECTION (REMIX), Miquel Brown, Record Shack 12in
78 — GIVE AND TAKE, Brass Construction, US Capitol 12in
79 — BASS AND TROUBLE/MAKE ‘EM MOVE, Sly & Robbie, Island LP
80 60 ON THE SHELF/MAIN ATTRACTION, B B & Q Band, Cooltempo LP
81 52 LONG TIME (THE ‘HOT’ MIXTURE), Arrow, London 12in
82 — BODY AND SOUL (REMIX), Mai Tai, Virgin/Hot Melt 12in
83 re PICK UP THE PIECES, JoAnne Gardner, Boiling Point 12in
84 76 MY BABY LOVES ME, Harry Ray, US Panoramic 12in
85=re YOU BLEW IT, The World Famous Mad Lads, US Express Records Inc 7in
85=84 (I’LL BE A) FREAK FOR YOU, Royalle Delite, US Skyview 12in


01 01 ENDLESS ROAD, Time Bandits, CBS 12in
02 02 HOMOSEXUALITY/CUBA LIBRE, Modern Rocketry, US Megatone LP
03 03 CLOSE TO PERFECTION (REMIX), Miquel Brown, Record Shack 12in
04 — VANITY, Carol Jiani, Record Shack 12in white label
05 04 ENDING UP ON A HIGH, Seventh Avenue, Record Shack 12in
06 10 DON’T LEAVE ME THIS WAY (SYLVESTER MIX), Jeanie Tracy, US Megatone 12in
07 05 THE EASY WAY OUT, Miquel Brown, Record Shack LP
08 06 THEY SAY IT’S GONNA RAIN (REMIX), Kerry Delius, Arrival 12in
09 — CRYING MY HEART OUT, Madleen Kane, US TSR 12in
10 — IF LOOKS COULD KILL (REMIX), Pamala Stanley, US Mirage 12in
11 — REINCARNATION, People Like Us, Passion 12in
12 09 I BELIEVE IN DREAMS, Jackie Rawe, Fanfare 12in
13 12 UNEXPECTED LOVERS, Lime, Boiling Point 12in
14 07 BIT BY BIT, Stephanie Mills, US MCA Records 12in
15 — HEAVEN MUST BE MISSING AN ANGEL (1985 BEN LIEBRAND REMIX), Tavares, Dutch Capitol 12in
16 11 TAKE ME TO FOREVER, Lydia Steinman, Long Island Sound 12in
17 15 BODY ROCK (REMIX), Maria Vidal, Dutch Chart 12in bootleg
18 19 NO CREDIT CARD, Amanda Lear, German ZYX 12in
19 — WALK AWAY SATISFIED, Zino featuring Jayne Edwards, US Pacific Records 12in
20 — KILLER INSTINCT, Robey, US Silver Blue 12in
21 13 LAW OF THE LAND, The Professionals, Belgian ARS 12in
22 28 STREETFIGHTER, Frankie Valli & The Four Seasons, US Curb 12in
23 08 BLACK KISSES, Curtie & The Boom Box, Dutch RCA 12in
24 — SLIP AWAY, Shirley Lites, US Atlantic 12in
25 14 IN THE HEAT OF THE NIGHT, Debbie Jacobs & Jo-Lo, Fantasia 12in
26 21 NO WAR NO MORE, Mirage, Proto 12in
27 29 SO MACHO/SHOWDOWN, Sinitta, Fanfare 12in
28 22 STRANGER IN DISGUISE, Marsha Raven, Record Shack 12in
29=— IF YOU LEAVE ME NOW, Shirley Ross, German ZYX 12in
29=23 THE BIG HURT (REMIX), Marianna, Fantasia 12in
29=25 HARMONY, Slip, German Chateau 12in


Beats Per Minute for last week’s Top 75 entries on 7in (endings denoted by f/r/c for fade/resonant/cold):

Madonna ‘ITG’ 116¼f, Bruce Springsteen 117½f, UB40 86½f, Nik Kershaw 113f, Madonna ‘H’ 115½f, Prince 120½f, Go West 69½-0r, New Model Army 0-136r, Princess 104f, Divine 137f, Barbara Pennington 105½f, Mai Tai 0-111f, Total Contrast 111f, No Way Jose 186f, United Kingdom Symphony Orchestra 0-67-0-70-0r.

3 thoughts on “August 10, 1985: John Morales on remixes, Howard Johnson, Lukk featuring Felicia Collins, Harleqiun Four’s, Colonel Abrams, Universal Robot Band”

  1. It’s funny, the things you remember, but James’s insistence on replicating the “Harleqiun Four’s” typo in all future mentions of the act is very much in character!

    Universal Robot Band “Barely Breaking Even”, already a re-release, is another solid gold classic that – like Mercy Mercy from a couple of weeks ago – would hang around until the end of the decade (and beyond); I remember dancing to it in London in 1989.


  2. I don’t know if it’s surprised these typos get through all the different stages of a release or if it’s amazing there are so few.

    Aside from harlequin 4s I can only think of the big Italian tune from the early 90s Everybody Let’s Somebody love by Frank K featuring Wiston Office which amazingly as 2 there’s no need for the s in let’s and it should be winston – obviously you can’t expect Italians to all write perfect English but the English release kept the mistakes

    Then there’s Extacy by Shades of Rhythm which they said was because they didn’t know the exact spelling of ecstasy so write anything on the tape thinking the record company would sort it out only for the record company to use their spelling!


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