Now '86 roundup

Since I've just written about the four exclusive songs on Now '86 and tagged the relevant tracks from Now 8, it seemed fitting to put up an index post to link back to the songs I wrote about on Now 7 as well. So here follows the sequence of the apostrophe album, with credit again to A Pop Fan's Dream:

1. Queen 'A Kind Of Magic'
2. David Bowie 'Absolute Beginners'
3. Peter Gabriel 'Sledgehammer'
4. Pet Shop Boys 'West End Girls'
5. Level 42 'Lessons In Love'
6. Communards 'Don't Leave Me This Way'
7. Diana Ross 'Chain Reaction'
8. Jermaine Stewart 'We Don't Have To...' [sic]
9. Gwen Guthrie 'Ain't Nothin' Goin' On But The Rent'
10. Sly Fox 'Let's Go All The Way'
11. UB40 'Sing Our Own Song'
12. Tears For Fears 'Everybody Wants To Run The World'
13. Status Quo 'In The Army Now'
14. Cutting Crew '(I Just Died) In Your Arms'
15. Patti LaBelle and Michael McDonald 'On My Own'
16. Boris Gardiner 'I Want To Wake Up With You'

Whether this is a reasonable summary of pop in 1986 is a matter of opinion: it certainly differs from the retrospective double-CDs released in 1993 and 1999, and from the current downloadable Now That's What I Call 1986, but of course corporate changes in the record industry have affected what's available to them, and they were presumably constrained by the need to save some big tracks for the Now 8 CD. Still, they seem to have scraped the first four tracks of Now 7 without much thought, even though Sly Fox and UB40 seem a little out of place in retrospect, especially at the expense of 'Holding Back The Years', 'When The Going Gets Tough' and anything involving Wham! or George Michael. On the positive side, at least there's no Chris De Burgh.
Bearing in mind the relatively high retail price of a CD back then, releasing this compilation as a double CD presumably wasn't considered, though it was only about a year later than Now 10 became the first double Now CD. That's presumably part of the reason why there wasn't a Now '87 at the time, although this album didn't sell particularly well anyway, peaking only at 65 on what was then a combined album chart. Since the CD versions of the early Now albums were combined with the chart runs of their vinyl and tape equivalents we can't really see how much they sold, but I'm guessing the answer is not much, hence their relative scarcity.

Since there's no official playlist for the album I've created my own versions on Spotify and Deezer. No Peter Gabriel but everything else is there.


Available on: Now That's What I Call Music '86

Tears For Fears 'Everybody Wants To Run The World'

Chart Peak: 5
YouTube

No, I didn't get the title wrong. As most people will know, Tears For Fears had topped the US chart in 1985 with 'Everybody Wants To Rule The World' (also a massive UK hit) but this is the less remembered re-recording released as the official single for Sport Aid. Big names at the time, TFF had not been directly on Band Aid (though some of the drums on 'Do They Know It's Christmas' are apparently sampled from 'The Hurting') and famously pulled out of Live Aid at the eleventh hour, so they were under pressure from Bob Geldof to contribute something to his latest charity appeal.

Possibly because they were working under duress (and in fairness may not have been given a lot of time for the project) they seem to have made a fairly minimal effort - I'm not sure if it's re-recorded entirely from scratch or just re-vocalled, but the only change to the arrangement is the addition is a very of-its-time brass section. There are no new lyrics save for the two-letter change in the chorus: they simply drop some of the more jarring ones, including the entire second verse which is left instrumental. Their commitment didn't extend to the video, which leaves Midge Ure, Geldof and some celebrity supporters to take their places. It all sounds a bit odd and is not often mentioned these days. In fact, it inadvertently gave Now '86 a minor place in history as for over 25 years it was the only known CD release of this track. This was finally rectified with the latest re-issues of Songs From The Big Chair compiled with assistance from Paul Sinclair of Super Deluxe Edition, who evidently recognised that all the tracks should be available and it is a bit silly to have a Top 5 single unavailable, even if it's not that good. Whilst I'm giving credits, I should also thank A Pop Fan's Dream for posting the details of Now Apostrophe 86.

Also appearing on: Now 16
Available on: Songs From The Big Chair (Deluxe)

Gwen Guthrie 'Ain't Nothin' Goin' On But The Rent'

Chart Peak: 5
YouTube

Only seems like last week I was posting about Gwen Guthrie, probably because it was. Her signature hit is the only one of the four tracks unique to Now Apostrophe 86 that was actually a hit in the second half of 1986, but it was a summer hit so I suppose the inclusion of her later hit on Now 8 makes a bit of sense. Posterity certainly favours this single, particularly since the controversy around the lyric perceived as as demeaning to unemployed people has largely been forgotten. What remains is a solid club soul track written and produced by Guthrie herself, though it does quote from other song that would presumably have been familiar to fans of the genre.

It's actually a relatively minimal track which if anything sounds slightly underproduced, rather a rarity among big hits in this era. It's quite likable and undoubtedly catchy though it's one of those tracks that seems to sound better in my memory than when I'm actually listening to it.

Also appearing on: Now 8
Available on: Gold - '80s Soul

Diana Ross 'Chain Reaction'

Chart Peak: 1 [3 weeks]
YouTube

One of the biggest UK hits in the first half of 1986 and one of the most surprising absences from the main Now series - it was even on "home" label EMI - 'Chain Reaction' is one of the many hits in the 1980s written by the Bee Gees but not officially performed by them, though of course they add their usual prominent backing vocals. In fact, the Bee Gees scored only two UK Top 40 hits under their own name in the entire decade, and one of those was actually released in December 1979.

This song was apparently supposed to be some sort of Motown pastiche but while there are obvious elements of the beat, it is more unmistakably the work of Gibb Brothers, as much as 'Islands In The Stream'. It's mostly notable for the rather filthy lyric, which sailed entirely over my seven-year-old head at the time, but contains references to "after-midnight action" and "Your hand goes lower, you taste a little and you swallow slower". I'm not sure I wanted to think about Diana Ross and the Bee Gees having sex and the song doesn't really sound that good nowadays. The single was released twice in the US without making the Top 60 so maybe people in the US didn't want to think about it either.

Also appearing on: Now 21, 22, 44
Available on: Eaten Alive

Pet Shop Boys 'West End Girls'

Chart Peak: 1 [2 weeks]
YouTube

Well, as there's a bit of March left I thought I might as well wrap up the four songs that appear only on Now '86 (or Now Apostrophe86 as I've taken to calling it) and aren't drawn from Now 7 or Now 8. Three of them are from the first half of the year, so were perhaps considered too old to include on Now 8 - presumably both albums were being planned around the same time though Now '86 hit the shops a couple of weeks earlier - and the follow-up to the fourth is also on the vinyl and cassette Now 8. 'West End Girls' is the oldest of the quartet and was in fact released in October 1985 but topped the chart in January 1986; it later repeated that feat on the Billboard chart, making them one British act who had a US Number One that year and had topped their (or rather our) own chart too.

This version of 'West End Girls' is of course a re-recording of the original version that was produced by Bobby Orlando after Neil Tennant passed him a demo tape while in New York on assignment for Smash Hits. As well as dropping the clumsy lyric about "Joe Stalin", Stephen Hague's new production adds a smoothness that's rather effective in this case, setting a luxuriant backdrop for Tennant's deadpan vocal and complex lyrical ideas. Some elements, particularly the trumpet, are a little reminiscent of 'This Is Not America' by David Bowie and the Pat Metheny Group from earlier in 1985, though this may be coincidental. Even claims that this was the first rap Number One are a little stretched, it's a stylish launch to one of the most successful singles careers in British pop.

Also appearing on: Now 7, 8, 10, 11, 15, 18, 20, 26, 28 [as Absolutely Fabulous], 35, 72
Available on: Please

Cutting Crew (I Just Died) In Your Arms

Chart Peak: 4
YouTube

Charted at No. 74 on 12th August, had sped to No. 4 by 16th September to become Cutting Crew's first hit single.

Arguably the two most different tracks on Side Three are right up against each other at the end. One thing Cutting Crew do have in common with Billy Bragg is that neither of them graced the main Now series again, although they're not quite the one-hit wonders you might recall them as: 'I've Been In Love Before' had two runs in the Top 40 and peaked as high as 24.

I must admit that it never occurred to me until now that Cutting Crew could be any nationality other than American, but apparently they were mostly British though ultimately more successful in the USA. This single was recorded there and certainly has every hallmark of being aimed at radio stations in that market: it's almost a textbook example of every mid-80s soft-rock cliche. Keyboard pads, a bit where it goes slightly quiet and builds up again, a "polite" guitar solo exactly where you expect it to be, endless repetitions of the big chorus... in fact only a few minutes after listening to it I'm already struggling to remember the verses but they're not really the point. Singer Nick Van Eede, a man clearly unfamiliar with the concept of "too much information", explains that he had the idea for the song title while having sex with his girlfriend and wrote it down for future use. His girlfriend's reaction to this, or indeed to the chorus lyric "I should have walked away" is not recorded. The record has a remarkable inert quality, as if it's trying to bypass any need for anyone to actually like it and heading straight to being a hit (in fairness it did succeed). Several of the band were successful session musicians and with all due respect to that trade, they sound like session men on this track too.

Available on: The Best Of Cutting Crew

Status Quo 'In The Army Now'

Chart Peak: 2
YouTube

Quo's twentieth (Yes, twentieth) UK Top 10 hit since 1968 and one of their biggest to date, 'Army' charted at No. 29 on 30th September and had shot to No.2 by 28th October.

I don't think "shot to No.2" is supposed to be an army-based pun but you can't be sure can you? Although Side 3 is obviously supposed to be the "rock" side of the album, there's a bit of a contrast between the different styles. Not that Status Quo don't have a sense of humour - though I think it was less in evidence in the 1980s than it is now - but they're not noted for being subtle or trying to sneak in challenging political ideas. In fact, 'In The Army Now' is an atypically serious song from them, although few in Britain would have noticed that it is in fact a cover of a 1981 single by the Dutch duo Bolland (who were born in South Africa, so there's some connection to the Madness song after all) and if anything the Quo version is a little toned-down in its content: they drop the admittedly dated references to Vietnam for a start. By 2010, they re-recorded an even more pro-military version in collaboration with the actual army, and I'm sure somebody could write a whole thesis about changing attitudes to the armed forces in 21st-century Britain.

The 1986 recording is notable as the biggest Quo hit that deviates from the archetypal sound they discovered in the early 1970s, and a rare example of them covering a song in a style closer to the one it was originally in than to their own. Unfortunately this means it shares the great failing of the Madness track (in that it sounds very dated now) but it's also quite bland and has a pseudo-serious mood it can't live up to, however catchy the chorus is.

When I first started writing this and looked the song up on YouTube, I thought it was actually more interesting than I remembered. It turned out that I'd actually found the video for the 12" mix, which is rather more dramatic and less monotonous. I might have given that version a better review.

Also appearing on: Now 4, 14, 18, 33 (with the Beach Boys), 53
Available on: In The Army Now

Boris Gardiner 'I Wanna Wake Up With You'

Chart Peak: 1 [3 weeks]
YouTube

Charted at No. 50 on 22nd July, had rocketed to No. 1 by 19th August where it stayed for 3 weeks. The follow-up 'You're Everything To Me' made the Top 20 in October.

The odd one out among the three chart-topping singles on Now 8 as the only not to show up on a CD spin-off. EDIT 21st of March: That previous sentence was entirely wrong, but I'm not pretending I didn't make the mistake so I've just crossed it out - this is in fact the closing track on Now '86.
Needless to say, when I was eight years old I didn't entirely grasp the implications of the song but I did think this song was the soppiest load of nonsense possible. I must be getting old because I think I've warmed to it a little over the years. Mind you, I think that may be less because of the song itself - which borders on the inane and certainly doesn't have enough to it to justify a four-minute running time - than because I quite like the idea of a man having his first Number One single at the age of 43. It does have a certain sweetness about it, but it'd be very generous to say I actually liked it.

Available on: Reggae Collection [+digital booklet]

Jermaine Stewart 'We Don't Have To...'

Chart Peak: 2
YouTube

Charted at No. 68 on 5th August, made No. 2 for 2 weeks from 16th-29th September... Jermaine at one time was a backing singer with Shalamar

Two things to start with: I promise it's a coincidence that this particular song crops up on Valentine's Day; and yes that is how the title is listed on the Now 8 sleeve (and if I remember correctly the original UK single). Evidently even a song about not disrobing was considered too edgy in mid-80s Britain because it implied that you could do so.

Nonetheless, radio seemed unafraid of playing the track and it remains so familiar I was tempted to slip relistening to it for the purposes of this post. As that probably implies, I'm not that keen on the song, because even though I sort of appreciate the sentiment behind it it's too silly to be convincing (unless "cherry wine" is some obscure euphemism I'm unaware of) but not quite silly enough to be funny as a novelty. Apparently the song was interpreted in some quarters as a response to the AIDS crisis, although there's an obvious tragic irony that Jermaine Stewart himself did die as a result of the disease. Producer (and co-writer) Narada Michael Walden has some great funky basslines to his name, including 'Jump To The Beat' and his own 'I Shoulda Loved Ya' but his inspiration seems to have dried up here and the effect it frankly a bit cheap and tacky. I wasn't best pleased that it it returned to the chart in 2011 after it was used in an advert, although that was better than the cover by forgotten reality TV irritant Lil Chris. And even that was better than the Gym Class Heroes song that samples it.

Also appearing on: Now 11, 12
Available on: We Don't Have To Take Our Clothes Off

Communards 'Don't Leave Me This Way'

Chart Peak: 1 (4 weeks)
YouTube

Charted at No. 28 on 19th August, had shot to No. 1 by 9th September where it remained for 4 weeks. The previous (1977) hit versions were by Harold Melvin And The Bluenotes and Thelma Houston.

The first of three Number One singles on Now 8, which doesn't seem a lot for a year with only two volumes but there are always contractual concerns (and the last four chart-toppers of the year all ended up on Now 9 anyway). At least this proved to be the biggest single of 1986, something of a crossover success for the policitised synth-pop duo. I'm not sure whether they covered this as a commercial move, or in attempt to make some sort of point by recasting a disco hit into a Hi-NRG one, though the effect seems to have been the same either way. In the longer term, though, because they repeated the formula to only slightly lesser success with 'Never Can Say Goodbye' it wasn't really until I started doing this project and immersing myself more in 80s music that I realised there was actually more to the Communards than cover versions. It took me long enough to find out that "Communards" was an actual word before they named the band after it.

I'm pretty sure that 'Don't Leave Me This Way' is the first record I can remember hating; if it wasn't that, it was the aforementioned 'Never Can Say Goodbye', but I think I remember the offending track being announced as a Number One before I started shouting "WHAT A LOAD OF RUBBISH". Quite a surprising reaction, but I suppose I was emerging from the childhood stage where I liked everything that was on the radio, or at worst was simply bored by it. I can't remember at all why I was so offended by this of all tracks, when I can't have expressed a preference for the original(s) or anything like that and I didn't mind plenty of other music from that era that was similar in style and production. I'm sure I wouldn't even have known that the Communards were gay at that age, even if I had been the sort of child who would have objected to that and I'd like to think I wasn't. Almost thirty years on, my critique of this song is a more nuanced one - I certainly don't hate it, I wouldn't even say I dislike it, I just find it a bit weak. Obviously I have over the years acquired a preference for the Philly soul style of the Harold Melvin original and the disco style of Thelma Houston's version over the style of this current version, and I find the arrangement here a bit too simplistic and the production too glossy and harsh, maybe a bit too upbeat and celebratory for the mood of the lyric. I don't think it's a good showcase for the soul of Jimmy Somerville's voice either, and it only really catches fire when he's duetting with the contrasting vocal of Sarah Jane Morris (credited on the single sleeve but not here). Perhaps they could have worked that section up into something more interesting in its own right but the rest of the track is a bit dull.

This is the first track from the vinyl/cassette Now 8 not to show up on the CD version, as it had appeared a few weeks earlier on the CD-only release Now '86 [note the apostrophe, distinguishing this from the Now 86 that was released in 2013] alongside four others that would cross over with the main analogue volume.

Also appearing on: Now 6, 9, 10, 12
Available on: The Platinum Collection

Patti LaBelle & Michael McDonald 'On My Own'

Chart Peak: 2

YouTube

'On My Own' charted at No. 19 on 29th April and had sped to No. 2 by 13th May. Patti and Michael were kept in the runner-up spot for three weeks by 'The Chicken Song'

I was all set to put the "from the movies" tag on this entry until I went to look up exactly which film it was from, and found out it wasn't actually in one at all. I'd always thought it was but I suppose it just sounds like the sort of track that would be used in a mid-80s movie. Apparently the song was previously recorded for, but omitted from, a Dionne Warwick album.

It's fair to say, I think, that the big revival of Burt Bacharach's reputation about ten years ago was not centred on this song, but he did indeed write it alongside his then-wife Carole Bayer Sager; they later divorced, which is ironically appropriate given the song's subject matter. Perhaps it could be argued that this song does provide a convincing portrayal of the despondent atmosphere after a failed relationship: but if so it achieves that largely by being dull and unemotive. Indeed, even the production team seem to lose interest in the song and fade it out at a seemingly arbitrary point while they're still singing.


It makes for an underwhelming end to an album that actually started quite well: the first disc was generally quite good but Side Four is almost a total washout.
If you want to draw your own conclusions, here's my usual embed:

Free music - Now 7

And if you prefer Spotify, the official Now Music team have compiled the playlist.

Next album starts in August.

Available on: The Ultimate Collection

Queen 'A Kind Of Magic'

Chart Peak: 3

YouTube

You see, that's what makes Now 7 different from every other album in the series - it's the only one I know of that features a hidden track. Presumably they only got permission to include this song after the sleeve had gone to press. And Queen's punishment for this brinkmanship was demotion from their usual spot at the very start of the album to the back end of Side 3.

I'd entirely forgotten that this song appears (in a somewhat different form) in the film Highlander; though I do remember seeing the film at school a few years later I'd presumably lost interest by this point. It's obvious once you know though, with the various lyrical references like "there can be only one". In 1986 it was just a song to me, and one I could hardly fail to remember. Listening to the two versions now I have to award a lot of the credit to Freddie Mercury for restructuring and re-arranging Roger Taylor's song from the film version to the more familiar production featured on the single and album (and here of course). Though hardly revolutionary, it's a well-constructed pop record and on that basis one of my favourite Queen hits. Ironically, it's Taylor's dull click-track drumming that's the weakest point in the finished article.

Also appearing on: Now 2, 3, 4, 6, 15, 16, 19, 21, 25 [with George Michael], 32, 33, 54 [with Vanguard]
Available on: The Platinum Collection

David Bowie 'Absolute Beginners'

Chart Peak: 2

YouTube

Bowie not only had a No. 2 hit in March 1986 with 'Absolute Beginners' but also played the part of Vendice Partners in the film.

It probably seemed like a good idea at the time. OK, I admit I've never actually seen the film of Absolute Beginners, but nobody seems to have a good word for it; not even Paul Weller who was such a big fan of the book he named one of his own songs after it and crops up on the film soundtrack as a member of the Style Council. Nonetheless the title song gig went to Bowie, who makes his last Now! appearance towards the end of his eighties commercial revival. As it turns out he only had one more Top 10 single to come (1993's 'Jump They Say') but this followed his chart-topping charity duet with Mick Jagger - indeed both tracks come from the same session, but this had to be held back to match the film release date.

A big hit then, and given the response to the film presumably on its own merits, but I have to admit I've never been a huge fans of this track. It's full of good ideas and romantic intent but somehow between producers Langer & Winstanley (a few years on from their best work with Madness et al) and the group of session musicians assembled, all the life seems to have been sucked out and it's a ponderous thing; even the 7" edit featured here clocks in at 5:37 and the full-length version will take up more than eight minutes of your time. It's all well done and not as bad as I believe the film is, but far from his best work of even the decade.

Also appearing on: Now 2, 5 (with Pat Metheney Group)
Available on: The Best Of 1980/1987

Level 42 'Lessons In Love'

Chart Peak: 3

YouTube

'Lessons In Love' became Level 42's biggest UK hit to date when it reached No.3 for three weeks in May 1986.

And indeed it was to remain their biggest British hit, and one of their biggest in the US. A work colleague of mine was a big fan of the band in their heyday, and we have a sort of running gag every time one of their songs comes on the radio while he's away from his desk.

"Guess which Level 42 song you just missed?"
"Was it 'Lessons In Love'?"
"Yes."

OK, occasionally it's 'Something About You', but it is almost always this one. And it's a song I know well anyway, having heard a lot of the Running In The Family album where it ultimately appeared the following year.

It's obviously one of their most pop-oriented songs from the times when they sought (and got) major mainstream success but I don't object to that on principle, especially as I'd only have a limited interest in funk jams. If anything, this isn't quite pop enough for my adult self; there's still a bit too much showiness which fails to gel somehow with the slightly daft lyric and the vaguely contrived way Mike Lindup has to get a little solo singing spot. In fact the phrase that springs most readily to mind is "watered down", with co-producer and -writer Wally Badorou trying to replicate a less dramatic version of the squelchy sounds he contributed to Talking Heards records earlier in the decade. I don't want to be too negative about this record when I don't actually dislike it, but it's somehow a bit too half-hearted to inspire enthusiasm.

Also appearing on: Now 4, 7, 10, 13, 14
Available on: Lessons In Love: The Collection

Sly Fox 'Let's Go All The Way'

Chart Peak: 3

YouTube

Originally charted back in May, climbed steadily at first and then raced to No 3 by 15th July

I'm not sure whether the big crashing sythesised drums and the weirdly disembodied semi-human voice chanting "zhum zhum zinny zinny" are supposed to represent the soul-crushing daily urban life that this song is supposed to be about escaping from, or whether they just thought you had to sound like that to get played on the radio in the mid-eighties. Either way, the production (complete with wacky stereo effects) is probably the most interesting element of this record, which fails to live up to its title: somehow it never quite seems to get into gear once it's started.

The chorus is catchy enough that it's not surprising that this became a major hit:  I thought I remembered the song but like a lot of songs from this time, it's blander than I thought. Evidently, for all its success it didn't seem to build up much of an audience for their other singles or the album, all of which sank without trace. I've never been to New York City, by the way, but I don't think it really resembles an applecore.

Available on: This Is... 1986

UB40 'Sing Our Own Song'

Chart Peak:

YouTube

The follow-up to 'Don't Break My Heart' had sped to No. 6 by 15th July after just two weeks on release.

The title seems almost like a joke given the band's success with cover versions, but this is a self-composed song which sounds like an attempt to return to the socially-conscious roots of their earliest material. I'd forgotten the song until I played it and then it sounded vaguely familiar but it's not one that seems to have been played much in the last 25 years or so.

I'm not that surprised it's not more remembered though, as it does seem to run out of steam very early on and plods for most of the 3:53 that this single edit lasts: apparently the album cut runs more than seven minutes but I decided that would be beyond the call of duty.

Also appearing on: Now 1, 4, 6, 9, 13, 17, 18, 26, 41, 56
Available on: The Very Best Of

Peter Gabriel 'Sledgehammer'

Chart Peak: 4

YouTube

Hi-ho, it's back to the 1980s we go for the first time in what seems like ages. I've got quite a few eighties albums queued up here, but for now let's wind the clock back a quarter of a century (less a couple of months) with an album that's unique in the entire series for one reason that I shall reveal in due course.

Sleevenotes aren't quite as exciting here as they are the later albums of the 1990s, but let's plunge in to get a flavour of the style, and justify my 99p.

Peter's biggest hit since 'Games Without Frontiers' in March 1980, 'Sledgehammer' made No. 4 for 4 weeks in May/June 1986

Curiously, the notes don't mention the other notable achievement of this single: it was Gabriel's first (and so far only) US Number One single, which of course is one more than he's managed in his home country. Admittedly, this isn't really a qualification for inclusion on a UK compilation, but it'd seem like a point of interest to buyers. The other thing they don't mention is the video that's surely the first thing many of us think of when this song is mentioned: so much so that I contemplated looking for a YouTube link that didn't include it.
As this blog isn't about videos I don't intend to say much about it except that I do remember seeing a lot of it at the time, exceptionally so for the days when we only had four TV channels. I even remember seeing that bit at the start with the sperms, not that I knew that was what they were when I was eight.

By the same token, I didn't recognise what Gabriel was singing about - the song is a parade of more or less subtle sexual innuendos. Of course, the other effect of being the age I was is that I didn't know who he was, so I didn't expect him to be singing about hobbits or whatever early Genesis songs were supposed to be about. Nor did I know until much more recently that he was initially a reluctant singer who took to songwriting before performance: his vocal on this particular track is impressively direct, and though confident it's more like a soul singer than a rock frontman which makes the lyric rather more palatable. The music beneath it combines elements of jazz, African music and old-fashioned RnB in a way that is, with hindsight, not entirely unlike the sort of thing Talking Heads were doing around the same time. I went through a long phase of not liking this record, even giving away the copy of the single I bought by mistake, but I rather enjoy it now.

Also appearing on: Now 8, 23, 24
Available on: Shaking The Tree - Sixteen Golden Greats