Beautiful, Pe. I love how you connected your memory of the record with the story and history behind it. One never stops learning. Our records always have something to teach us. This is a powerful message.
Thanks, Andy. The fun part of writing these weekly episodes is that, by researching and writing them, you get to relive the period. And every now and then, something suddenly comes back to me that I thought I’d completely forgotten. 😁
I don't remember this being a minor hit in the UK, but I just checked and it seems we got an orange transluscent 12 inch over here which would have been nice for the collection, although no doubt of appalling sound quality like my Glow in The Dark copy of the Moving Targets album from punk legends Penetration from the year before!
I can understand why you thought this was of US origin for so many years, not only because of the sound and its debt to Chic but also because of the colourful but aggressive artwork with its reference to dystopian sci fi like the film Death Race 2000. I know this track was released the same year as Disco Demolition Night, so the use of American sports imagery, although obviously a blatant attempt to appeal to the US market, seems particularly ironic in light of the backlash kicking off in a baseball stadium!
Just checked the label that had the UK rights: Flamingo. One of those short-lived disco labels that appeared out of nowhere and disappeared almost as quickly. Definitely one I should look into! 😁
Well, Paul, you’ve made an interesting connection concerning the cover. I hadn’t thought about that. I chose this one simply because it was the most striking, and I didn’t really check where it was used. My own copy has a different cover. As it turns out, this was the French cover, so it wasn’t used in the US.
The Bombers were on West End in the US, and West End didn’t do many specific covers. Most releases came in the generic twelve-inch sleeve, certainly when there was no crossover success.
Thanks for reading, Paul. Have a great start of the week!
Beautiful, Pe. I love how you connected your memory of the record with the story and history behind it. One never stops learning. Our records always have something to teach us. This is a powerful message.
Thanks, Andy. The fun part of writing these weekly episodes is that, by researching and writing them, you get to relive the period. And every now and then, something suddenly comes back to me that I thought I’d completely forgotten. 😁
Really enjoyed this track and reading the story behind it! Looking forward to the B Side!!
Thanks for reading & your support Mark. I'm glad you liked the episode. Have a great rest of the week.
I don't remember this being a minor hit in the UK, but I just checked and it seems we got an orange transluscent 12 inch over here which would have been nice for the collection, although no doubt of appalling sound quality like my Glow in The Dark copy of the Moving Targets album from punk legends Penetration from the year before!
I can understand why you thought this was of US origin for so many years, not only because of the sound and its debt to Chic but also because of the colourful but aggressive artwork with its reference to dystopian sci fi like the film Death Race 2000. I know this track was released the same year as Disco Demolition Night, so the use of American sports imagery, although obviously a blatant attempt to appeal to the US market, seems particularly ironic in light of the backlash kicking off in a baseball stadium!
I still have my UK orange pressing and actually the sound quality is top-notch, on a par with the West End 12”. Always loved this track.
Just checked the label that had the UK rights: Flamingo. One of those short-lived disco labels that appeared out of nowhere and disappeared almost as quickly. Definitely one I should look into! 😁
Well, Paul, you’ve made an interesting connection concerning the cover. I hadn’t thought about that. I chose this one simply because it was the most striking, and I didn’t really check where it was used. My own copy has a different cover. As it turns out, this was the French cover, so it wasn’t used in the US.
The Bombers were on West End in the US, and West End didn’t do many specific covers. Most releases came in the generic twelve-inch sleeve, certainly when there was no crossover success.
Thanks for reading, Paul. Have a great start of the week!