Super Popoid Grooves : A Complete List of Win Singles

“Unamerican Broadcasting” 7” Single
Format :7” single
Label :Swamplands
Serial No :SWP 5
Date Of Release :March 1985 (see below)
Track Listing :

A : “Unamerican Broadcasting (Part One)”; B : “Unamerican Broadcasting (Part Two)”.

• Of “Unamerican Broadcasting”, Davey Henderson had this to say : “In its original form, it was stripped down and bare, like Prince’s “Dirty Mind””. Sounds’ Bill Black wrote of the track : “… the group stay true to the skeletal, scouring sound of Henderson’s voice and Burns’ guitar whilst grafting a solid sub-electro beat beneath them”.

• Blitz magazine excellently described the single as “… a portion of mucky funk, like Chic with sneers”.

• John Peel apparently deemed “Unamerican Broadcasting” unsuitable for his show! Russel said “Maybe Peel didnae like it – I mean, the political message isnae that heavy. In fact, it’s quite light”. This is strange because Peel apparently played the Fire Engines’ “Candyskin” and “Get Up And Use Me” to death.

• Davey on UA : “It’s about American imperialism, about being angry at America because everything we like about the place would probably have been judged ‘un-American’ during the McCarthy era. It’s not particularly important that the message gets across – it’s far more important that a record has a good tune, a string melody. The words could be about anything. But this is what I’m interested in writing about just now, so the words are based on being a paranoid commie!”.

• DH again on the single’s meaning back in ‘85 : “That was about the way American imperialism is sweeping the world in a really horrible way. A very topical song, at the moment! And it was written about four years ago. Aquarians are always at least half a decade ahead of their time!” And in another interview, on a similar tack : “The American influence is frightening, the way that it’s seeping into everybody’s existence and just eating away at them”.

• If you were thinking that the word ‘unamerican’ was an adjective straight from DH’s frontal lobes, then you’d be wrongski. Back in the 50s in the US, the ‘House Unamerican Activities Commitee’ was set up, headed by J Edgar Hoover, with a remit to root out supposed communists from positions of authority within American society and concentrated particularly on the ‘reds under the bed’ that plyed their trade in the American film industry. If you were deemed guilty of ‘unamerican activities’ then you were blacklisted and would find it impossible to get work within the Hollywood system. The HUAC essentially organised a spurious witch-hunt that persecuted anyone with political beliefs that lay to the left of John Wayne on the political horseshoe ie just about everyone.

• I don’t have a copy of this record so I can’t confirm what the exact A-side and B-side is, so if you’re the proud possessor of this record then drop me a line.

• I’m not sure of the exact date of release of this single : Brian Hogg’s Scottish music discog has it down as March ’84 whereas a NME discography has it at February ’85.

• Cherry Red Records maintain a list on their website of the Indie Charts going back to the Cretacous Period, and it was here that they had it that “Unamerican Broadcasting” spent 8 weeks on the indie chart, entering on the 6th of April ’85, and reached the respectable position of 15. There were no other entries given and I wonder if this was because they later departed Swamplands for mainstream labels London and Virgin, though it’s strange that the first release of “You’ve Got The Power” didn’t make it to the Indie charts because it was much better known and, more importantly, on a pre-shutdown Swamplands label. You can find this list at : http://www.cherryred.co.uk/books/indiehits/w.htm

“Unamerican Broadcasting” 12” Single
Format :12” single
Label :Swamplands
Serial No :SWX 5
Date Of Release :March 1985
Track Listing :

A : “Unamerican Broadcasting”; B : “Unamerican Broadcasting”.

• The 12” was released as a limited pressing of 10,000 copies, and came complete with a stuck-on stars and stripes in the same manner as Andy Warhol’s peel-off banana design that graced the cover of the first Velvet Underground album (I guess that this was the ‘ART WRAPPING’ on the promotional sticker mentioned elsewhere). The only way to find out what the record was called was to peel off this sticker, and the only way to find out who it was by was to look at the label! Although this device attempts to debunk any notion of artistic importance, you can’t help but feel that it must have ultimately damaged sales.

• The strange thing is that it doesn’t mention either the band or the track on the front and rear of the sleeve, nor on the spine – though possibly there might be such details under the flag sticker, something I am loathe to check. This promotional tactic must have cost the band some sales. On the sleeve reverse it does have the Swamplands cat , the serial number and the note : “Distributed by The Cartel”.

• The vinyl has no details about who produced and engineered the tracks. Note that the two versions are both referred to as “Unamerican Broadcasting”.

• As with the 7”, I’m not sure of the exact date of release of this single : Brian Hogg’s Scottish music discog has it down as March ’84 whereas a NME discography has it at February ’85.

• The A side sounds very much like a live studio recording, with a driving bass guitar giving the track a much funkier feel, and with a lot more ironic use of the Speak And Spell device than on the album version. The B side sounds very much like a demo, with a basic tinny production, extra synths and more playful vocals.

• Brian Hogg’s excellent “All That Ever Mattered : The History Of Scottish Rock And Pop” includes a picture entitled : ‘Promotional sticker for Win’s ‘Un-American Broadcasting’ single’. At the bottom the sticker reads :

• This is curious because the single was ultimately given a serial number of SWX 5, and SWX6 turned out to be the 12” of Paul Quinn’s “Ain’t That Always The Way”, also released at the same time as UA (March 1985). No doubt either the sticker was wrong or the serial number was changed at the last minute.

• Now compare this info with this review from an unknown music magazine : "Refugees from the Fire Engines move away from their past abrasive fury into the realms of mutant funk with this hypnotic piece of alternative soul. Should do well on the Indie charts. Only available on 12" ". This is probably not the case - we have a serial number given - and yet I've never seen a copy of the 7" anywhere, other than the SWDJ5 promo.

• Another review of unknown provenence : "Smart return of Fire Engines' caustic 'Boy' Henderson, he who sings with a bad smell in his mouth and thoroughly undemocratic thoughts on his brain. More Young than Un-American (spot the Bowie 'quotes') but funky as only the Scots know how. Grab one today".

• The A side is also split across both sides of the 7” promo of “Un-American Broadcasting” (SWDJ 5).

• This 12” has the same serial number as the free one with the ltd ed of “You’ve Got The Power” (SWXX 8).

“You’ve Got The Power” 7” Single
Format :7” single
Label :Swamplands
Serial No :SWP 8
Date Of Release :June 1985
Track Listing :

A : “You’ve Got The Power” – produced by David Motion, engineered by Trigger; B : “In Heaven (Lady In The Radiator Song)” - produced by David Motion, engineered by Trigger.

• “In Heaven (Lady In The Radiator Song)” is credited to 2 non-Win personnel (Peter Ivers and David Lynch). Chris Ledger writes that it is a cover version of a song in David Lynch's muy bizarro 1977 film ‘Eraserhead’, in which there is a scene where a woman appears in a radiator and sings “In heaven, everything is fine....”. He also writes that this song was also sang by a live crowd of fans chanting on the first track of the Meteors psychobilly album 'In Heaven'. ……this album has been recently released on CD (May ‘05).

• According to the Internet Movie Database (at www.imdb.com ), “In Heaven Everything Is Fine” was also one of the film’s taglines.

• “In Heaven (Lady In The Radiator Song)” has also been covered by The Pixies.

• Talking to Sounds in November 1988, Davey says of the B side : “”Lady In The Radiator” is one of those strange, beautiful things that gets under your skin and says : ‘remember, you can go tomorrow’”. I think he means to kark it, to buy the farm, to shuffle off yer moital coil, and not about Alton Towers or some other duffo day-out destination.

• “You’ve Got The Power” was Record Mirror’s record of the year in 1985. It was also a NME Single Of The Week though I don’t know for which release (see the SWPP 8 single below for a possible copy of this review). From the photocopied press cuttings included with the "Uh! Tears Baby (A Trash Icon)" promo, there is this review from an unknown music mag that hands over a Single Of The Week award for this first issue of the single. "Yeees! A great, big, bothersome, uppity example of what sizeable, noisy pop records should be like in this day and age. ... Davey Henderson and his Winning cohorts have solved the ever present chart conundrum by whacking out a tune teetering between punky granite and populist slime. With their debut "Unamerican Broadcasting", Win were merely toying with the ingredients of their own particular Wall Of Sound, that they have captured and refined it to this fine, fine state so quickly conjures up staggering thoughts of what they will yet produce".

• Here’s a quote from Davey Henderson on the Flake-eating baby cover of the single : “We had to get Cadbury’s permission to use that. We had to play them the song before they’d agree to it. We had to edit out words like ‘drug’ and ‘revolution’ or they’d never have let us!”. The group apparently hoped for some sort of sponsorship deal with Cadbury’s which involved them doing jingles for the confectionary manufacturer!

• So, what’s the song about then, DH? : “It was about, um, having … power”. Cheers for clearing that one up, fella! In another interview, he commented : “We wrote it in minutes, just like "Candyskin", latching together a simple tune for a chorus and a set of words with nowhere to go”.

• An article in Melody Maker (May ‘87) included the fascinating detail that interest in the original “You’ve Got The Power” boomed after the memorable McEwan’s advert was first shown but, due to a strange tactical move on the part of the record company, this resulted in all copies being withdrawn from shops, and as such the expected hit never materialised.

• Compare the white background behind the baby to the blue one on later releases.

“You’ve Got The Power” 2 x 7” Single
Format :2 x 7” single
Label :Swamplands
Serial No :SWDX 8
Date Of Release :June 1985
Track Listing :

Single No.1 : A : “You’ve Got The Power” – produced by David Motion, engineered by Trigger; B : “In Heaven (Lady In The Radiator Song)” - produced by David Motion, engineered by Trigger.

Single No.2 : A : “Unamerican Broadcasting (Part 1)”; B : "Unamerican Broadcasting (Part 2)".

• The serial number of this double single pack is the same as the poster that came free with the German “Uh! Tears Baby (A Trash Icon)” LP and “You’ve Got The Power” 2 x 12” (SWXX 8).

• This item might well be a limited release – it’s as rare as hen’s teeth. I don’t have a copy, and have never even seen one for sale.

“You’ve Got The Power” 12” Single
Format :12” single
Label :Swamplands
Serial No :SWX 8
Date Of Release :June 1985
Track Listing :

A : “You’ve Got The Power (Chocolate Thrills Mix)” – produced by David Motion, engineered by Trigger; B : “You’ve Got The Power 7” Version” - produced by David Motion, engineered by Trigger; “In Heaven (Lady In The Radiator Song)” - produced by David Motion, engineered by Trigger.

• With the Lynchian B-side in mind, here’s Davey Henderson back in 1985 on the subject of doing cover versions : “Well, we have been asked. But, we believe it’s a waste of money and ear time baby, plus it’s not much of a challenge. Most importantly, people will cover Win songs one day. Tom Jones hopefully, someone of quality, you know?”

• Accused of "You've Got The Power" being too commercial, the singer answered : "In a lot of ways it's quite sickly, but it's meant to be pop. Saccharine mash."

“You’ve Got The Power” 7” Single
Format :7” single
Label :Swamplands
Serial No :SWPP 8
Date Of Release :1986 (but see below)
Track Listing :

A : “You’ve Got The Power” – produced by David Motion, remixed by Mark Berry; B : “Unamerican Broadcasting (7” Edit)” – produced by Win.

• This “You’ve Got The Power” 7” has a serial number of SWPP 8, and a year of 1986 on the actual 7”, and the Sounds review of the 12” (see below) confirms that this is a rerelease. 1986 would put this release as after the departure of Alan Horne from Swamplands, and yet the single has a Swamplands serial number (complete with the stalking black cat symbol) and not a London number which most post-Horne releases had. “The Great Scots Musicography” has the release date the same as all the other YGTP offerings – that of June 1985.

• Davey H had this to say about the rerelease of the single : “You can look at it in retrospect and see what went wrong but it’s pointless. You have to do it right first time. When I heard the mixes of “You’ve Got The Power”, I thought “fucking hell! I’m going to be on ‘Top Of The Pops’, what am I going to wear?””

• So Davey, how many times was this single actually released? : “…. About 200,000 times! Well, three actually. And it still only made No.82!”. (I’m not sure which chart this was referring to – not the national one according to the charts I’ve seen). “We didn’t want to make it a wee enigma of a product”. Now, if you look at the release dates of the various “You’ve Got The Power” singles, you’ll see that there is only two dates given : June 1985 and sometime in 1986. Bearing in mind the earlier comment of the record company bafflingly yanking copies of the singles at a time when the public’s interest was heightened because of the McEwan’s advert, I would guess that there were two back-to-back releases around June ’85 that counted as two separate releases, even though there were with the same 7”, 2 x 7”, and 12” singles.

• The tracks above are written as they are on the vinyl. The sleeve’s rear has the tracks listed as : “You’ve Got The Power (Remixed By Mark Berry)” and “Unamerican Broadcasting”, which obviously differs from the actual 7”.

• A biography of lounge / exotica / electronics DJ Mark Berry can be found at :

• Mark Berry also remixed the “You’ve Got The Power (Remix)” which is one of the bonus tracks on the cassette and CD of the first album.

• The front cover is the standard Flake-chomping baby, on the same blue background as double 12” SWXX 8 which was also released in 1986. No apostrophe in “You’ve…” either on the front cover, as is the case with all other editions of this single.

“You’ve Got The Power” 2 x 12” Double Pack
Format :2 x 12” single, separate sleeves, plus poster
Label :Swamplands
Serial No :SWXX 8 (but see below)
Date Of Release :1986 (but see below)
Track Listing :

Single No.1 : A : “You’ve Got The Power U.S. Dance Mix” – produced David Motion, remixed by Mark Berry; B : “In Heaven (Lady In The Radiator Song)” - produced by David Motion, engineered by Trigger; “Unamerican Broadcasting (7” Edit)”.

Single No.2 : A : “Unamerican Broadcasting”; B : “Unamerican Broadcasting”.

• In Sounds (08/03/86) there is a review of this 12” of “You’ve Got The Power” that seems to confirm that this is a rerelease. The reviewers name is bizarrely Dave Henderson! It reads thus “Re-mixed, packaged, pressed and all that kind of thing. A free poster, a free copy of Win’s first single, too. London are really trying and Win can easily provide the goods – free gifts or not”. There is a year of 1986 on the actual 12”, which confirms this. Again, as mentioned for the 7”, 1986 would put this release as after the departure of Alan Horne from Swamplands, and yet the single has a Swamplands serial number and not a London number which most post-Horne releases had. As with the 7”, “The Great Scots Musicography” has the release date the same as all the other YGTP offerings – that of June 1985.

• The front cover is identical to the standard 12” release (SWX 8) except that the photographic background is light blue and not white.

• My accompanying “Unamerican Broadcasting” single came in a separate plain white and blank sleeve (which fits in the other single’s sleeve – in other words, this is not a gatefold), and has a serial number of SWX 5 (and hence is a free copy of the basic “Unamerican Broadcasting” 12”) which is different to the “You’ve Got The Power” 12”. There is no information on the single about production, engineering, or remix personnel, and no indication as to the differences in the two versions of “Unamerican Broadcasting” (other than a standard side naming convention of an A and a B, with London serial numbers of respectively ZPMSC 10634 and ZPMSC 10635). The year is also given as 1985 which again differs from the companion 12”.

• The poster that is included in this set is double-sided and even has a differing serial number to that of the 12” : that of SWDX 8, which is also the serial number of the double 7” of YGTP! The front shows a montage of someone diving into a swimming pool, and reads : “WIN YOU’VE GOT THE POWER – REMIX Includes FREE 12” Single – UNAMERICAN BROADCASTING PLUS COLOUR POSTER!”. The reverse has a B&W shot of three of Win and a line from “Unamerican Broadcasting” that reads : “…it’s chewing gum baby for the ears a dashing young valium to soften the fear”.

• The fact that there is a US Dance Mix implies that some Win material has been released in the States; at the very least, some promo material could be expected.

• I've come across a photocopied review (in the "Uh! Tears Baby (A Trash Icon)" promo LP) from an unknown music magazine that had this reissue as their Single Of The Week (probably the NME, as I've seen mention of this elsewhere). "Reissued and deservedly so. A right punchy little hussy of a pop song. So catchy, I'd dare not wear my best nylons to listen to it. Are they all deaf out there? - it has hit smacked on every groove! Swamplands may rest in peace but this sparkling little gem will nestle fondly in my record collection forever. I name this Ms Page's and my theme song ... altogether now! "YOU'VE GOT THE POWER, TO GENERATE FEAR!"".

“Shampoo Tears” 7” Single
Format :7” single
Label :London
Serial No :LON 85
Date Of Release :March 1986
Track Listing :

A : “Shampoo Tears” – produced by David Motion, engineered by Trigger; B : “Empty Holsters” - produced by Win.

• “Shampoo Tears” is credited to Henderson / Morrison but there is no clue on the sleeve as to who this Morrison is. I am 99% sure that it is ex-Flowers vocalist Hilary Morrison who David Henderson briefly worked with in the outfit Heartbeat (and reserve the 1% of uncertainty that the mysterious Morrison was something to do with the Bryan Morrison Music Ltd who had the copyright on the track “Tightrope” by Everest The Hard Way).

• According to an article in Melody Maker, “Shampoo Tears” was supposedly inspired by the picture of a tear on the side of a shampoo bottle (I’m thinking maybe’s Vosene, hair products fans …. Nah, s’gotta be Johnson’s Baby Shampoo – which reminds me of : “What’ll You Do ‘Til Sunday Baby? (Johnson’s Baby Mix)”).

• While promoting “Shampoo Tears”, the band were asked what they would do if the track made it to the top of the hit parade. Note the pragmatism of the ‘riddim’ section!

Davey H : “I’ll buy a hairdresser’s shop. I’ve always wanted to be a hairdresser – ‘cuppa tea madam? And I’ll buy a shoe shop. And a big house and a big car and a new pair of Cuban-heeled boots and a gold toothbrush”
Ian S : “I’ll get my teeth fixed”
Russell B : “We’d like enough money to buy a cup of coffee. We’re skint”

“Shampoo Tears” 12” Single
Format :12” single
Label :London
Serial No :LONX 85
Date Of Release :March 1986
Track Listing :

A : “Shampoo Tears” – produced by David Motion, engineered by Trigger (but see below); B : “Empty Holsters”; “The Slider” – written by M. Bolan, produced by Win.

• M. Bolan is of course glam rock icon Marc Bolan, and is a cover version of the title track off one of Bolan’s later albums.

• Al Crawford, currently living over the pond in the US, says that the original Marc Bolan version of "The Slider" is being used in a Coke ad. He adds : " It just sounds *wrong*, I've grown so used to the Win cover of it".

• According to both the back cover of the sleeve, and the single itself, there is just the one track on the A side, that of “Shampoo Tears”. However, there are in fact two distinct versions of “Shampoo Tears” – the first in the remix found on the cassette and CD versions of “Uh! Tears Baby”, and the second is detailed on a white circular sticker on the front sleeve that reads “LONX 85 includes BONUS TRACK MCHAEL BRAUER DUB MIX OF “SHAMPOO TEARS””. This dub mix comes complete with vocals!

• Dave explains the background to “Shampoo Tears” : “Well, it’s basically about how the AIDS virus was intentionally started in the darkest corridors of power in America. We reckon there’s a room with no doors on and a man sitting inside saying ‘it’s worked!’ It was started to get rid of society’s basic undesirables – the homosexuals and heroin addicts. Edinburgh’s got the highest rate of AIDS in Europe – four out of ten people are carrying it. This conspiracy theory might just be my paranoid commie pinko sensibility, but I think these things are possible”.

“Super Popoid Groove” 7” Single
Format :7” single
Label :London
Serial No :LON 128
Date Of Release :March 1987
Track Listing :

A : “Super Popoid Groove” – produced & arranged by David Motion, mixed by Phil Harding; B : “Baby Cutting” - produced & arranged by David Motion, mixed by Michael Brauer.

• “Super Popoid Groove” actually charted, entering the national charts on April 4th 1987, and eventually reached the dizzy heights of number 63. The track was in the charts for a total of 3 weeks.

• Jeremy Kay of PopMagzUk (http://myweb.tiscali.co.uk/popmagzuk/collection.txt) says that Phil Harding who remixed the 7” and 12” of “Super Popoid Groove” was at the time a mixer in the PWL stable – PWL being of course of Stock Aitken and Waterman fame. He also writes “It's a strange one actually because Phil Harding is normally credited "for PWL" (ie, "Mixed by Phil Harding for PWL"). On this record, PWL is not mentioned but Phil was certainly working at PWL in 1987”. It was one of the earliest singles remixed by the PWL collective (23rd out of 304).

• The “Super Popoid Groove” is slightly different to the album mix – the industrial intro of the album version is missing on the single (which prefers a more sussinct stab of Syndrums), and the single has a fade out with extra Sinatra-stylee ‘doobie-do-ow’s’! On the single there’s also a middle eight Beach Boys-stylee harmony of the chorus.

• Davey on the main track : “”Super Popoid Groove” comes from being really pissed off with the likes of Duran Duran and Spandau Ballet, ‘cause it was written when they were really big, and now they were turning out so much dross that was nowhere near pop. It was a sort of angry thing, but through that anger it came out as a total celebration of the things we liked from the past… like Jimmy Saville, and Mike Mansfield, and things like that. And Marc Bolan getting out of a rickety wee spaceship on the ‘Supersonic’ set. All the good things in pop”.

• DH again on the single : “It’s basically wanting and needing something of quality in groove allegiance to the funky cause, baby. It started off as a slagging, but turned into a celebration of pop”.

“Super Popoid Groove” Limited 2 x 7” Double Pack
Format :2 x 7” single, limited edition, in a gatefold sleeve with white individual single covers
Label :London (but see below)
Serial No :LONG 128
Date Of Release :March 1987
Track Listing :

Single No.1 : A : “Super Popoid Groove” – produced & arranged by David Motion, mixed by Phil Harding; B : “Baby Cutting” - produced & arranged by David Motion, mixed by Michael Brauer.

Single No.2 : A : “You’ve Got The Power” – produced by David Motion, engineered by Trigger; B : “In Heaven (Lady In The Radiator Song)” - produced by David Motion, engineered by Trigger.

• Despite the single having a London Records serial number on its gatefold sleeve, the “You’ve Got The Power” single is a Swamplands single and has a serial number on it of SWP 8 (ie the same as the June 1985 7” release); the “Super Popoid Groove” single has a London serial number of LON 128 (ie the same as the 7”) on it which differs to that on the gatefold sleeve (ie LONG 128).

• The back cover shows the picture of a baby eating a Flake with the white background, which matches that of the standard 12” single (SWX 8), though it too has the London serial number LONG 128 – this gives the impression of two separate singles joined at one edge. The gatefold centre shows a scene of a shrine complete with candles, religious images and statuettes, communist insignia, plastic flowers, and the like. The upper text on the front of the single reads as : “Two record gatefold set featuring * SUPERPOPOID GROOVE * YOU’VE GOT THE POWER”.

“Super Popoid Groove” 12” Single
Format :12” single
Label :London
Serial No :LONX 128
Date Of Release :March 1987
Track Listing :

A : “Super Popoid Groove (12 Inches for Love God)” – produced and arranged by David Motion, mixed by Phil Harding; B : “You’ve Got The Power” - produced and arranged by David Motion; “Baby Cutting” – produced and arranged by David Motion, mixed by Michael Brauer. (See below for further details on track names).

• The tracks above are copied directly from the 12” and are slightly different to what is actually written on the front sleeve, which lists as follows : * SUPER POPOID GROOVE 12 inch * YOU’VE GOT THE POWER 12 inch original * BABY CUTTING

• The mix of YGTP is the same as the mix on the Record Mirror “Spools Paradise” cassette. Mick Garside mentioned on the vinyl as with the tape?

• The rear cover is identical to the standard 12” release of “You’ve Got The Power” (SWX 8) – in other words, the Flake-eating baby on a white photographic background.

“What’ll You Do Til’ Sunday Baby” 7” Single
Format :7” single
Label :Virgin
Serial No :VS 1121
Date Of Release :November 1988
Track Listing :

A : “What’ll You Do ‘Til Sunday Baby” – produced by Zeus B Held, engineered by Stephen Chase, mixed by Bryan “Chuck” New; B : “Trigger Happy” - produced by Stephen Chase & Win, engineered by Stephen Chase.

• In Sounds in November 1988, Davey compares “In Heaven (Lady In The Radiator Song)” to “What’ll You Do ‘Til Sunday Baby?” : “”… Sunday” has got the same blackness and that’s intended. However straight we write a song, we always feel the need to say, in a way other than lyrically, that it’s not all hunky dory. Don’t get too comfortable, people. I can’t sing, but I think I can get a performance across – it’s like assuming a character. At the same time, you could do “… Sunday” as a straight song”.

• Melody Maker review in the 12/11/88 edition : “This is desperate. If you want intelligent pop look to Green Gartside. Better still, buy anything by the Pet Shop Boys. This is clueless, it sounds like the puzzled yelps of Cheryl Baker and Bobby Gee sitting a premature Philosophy GCSE. Oh and, by the way guys, with the release of every single, and there’ve been a fair few, Win is steadily becoming a more ridiculous name. Face it, you’re losers”. Bitchy stuff, and the last thing some people called the Stud Brothers should do is slag others names. “Puzzled yelps” though is priceless!

• I’ve come across an old advert online with details of a 7” promo of this track. It purports to have a ‘DJ EDIT’ on the single and have a serial number of INVS1121DJ.

“What’ll You Do Til’ Sunday Baby” 3” CD Single
Format :3” CD single, in 3” cardboard sleeve
Label :Virgin
Serial No :VSCD 1121
Date Of Release :November 1988
Track Listing :

1. “What’ll You Do ‘Til Sunday Baby? (Johnson’s Baby Mix)” – produced by Zeus B Held, engineered by Stephen Chase, mixed by Bryan “Chuck” New
2. “What’ll You Do ‘Til Sunday Baby? (7” Version)” – produced by Zeus B Held, engineered by Stephen Chase, mixed by Bryan “Chuck” New
3. “Trigger Happy” – produced by Stephen Chase & Win, engineered by Stephen Chase
4. “Peace On Egg” - produced by Terry Adams & Win, engineered by Terry Adams.

• Terry Adams is also on the ‘Thanks to…’ list on the first Win album.

• Note that on the actual 7”, the A side is listed on both the sleeve and the vinyl as “What’ll You Do ‘Til Sunday Baby”, whereas on this CD its called “What’ll You Do ‘Til Sunday Baby? (7” Version)”. But is it the same song?

• Listen carefully to the Johnson’s Baby Mix and you’ll faintly hear the line, “living is easy with eyes closed”, which comes from the classic Beatles track “Strawberry Fields Forever”. It sounds more like a direct sample rather than an imitation, but there’s no credit on the sleeve. Bearing in mind Davey’s previous comments concerning using the M&Ms jingle on “Peace On Egg” without permission, then this could be another example of sampling naughtiness!

“What’ll You Do Til’ Sunday Baby” 12” Single
Format :12” single
Label :Virgin
Serial No :VST 1121
Date Of Release :November 1988
Track Listing :

A : “What’ll You Do ‘Til Sunday Baby (Johnsons Baby Mix)” – produced by Zeus B Held, engineered by Stephen Chase, mixed by Bryan “Chuck” New; B : “What’ll You Do ‘Til Sunday Baby (7” Version)” ” – produced by Zeus B Held, engineered by Stephen Chase, mixed by Bryan “Chuck” New; “Peace On Egg” - produced by Stephen Chase & Win, engineered by Stephen Chase.

• The tracklisting on the back sleeve has the two versions of the title track with question marks, but neither the vinyl record nor the front cover does.

• If you look closely at the front cover, you can see that amidst the personal hygiene paraphenalia, there’s a bottle of Johnson’s Baby Oil!

“Love Units” 7” Single
Format :7” single
Label :Virgin
Serial No :VS 1157
Date Of Release :January 1989
Track Listing :

A : “Love Units (Edit)”; B : “Scary, Scary”.

• I don’t have a copy of this single so I can’t confirm about the exact version of the B side.

“Love Units” 12” Single
Format :12” single
Label :Virgin
Serial No :VST 1157
Date Of Release :January 1989
Track Listing :

A : “Love Units (12” Mix)” – produced by Zeus B Held, engineered by Steve Chase, mix by Bryan “Chuck” New; B : “Love Units (Edit)” – produced by Zeus B Held, engineered by Steve Chase, mix by Bryan “Chuck” New; “Scary,Scary” - produced by Terry Adams and Win, engineered by Terry Adams.

• “Scary, Scary” lifts wholesale from the much-mangled and mis-remembered New Year’s Eve classic “Auld Langs Syne”. Think Prince meets Rabbie Burns!

“Love Units” 3” CD Single
Format :3” CD single, in 3” cardboard sleeve
Label :Virgin
Serial No :VSCD 1157
Date Of Release :January 1989
Track Listing :

1. “Love Units (Edit)” – produced by Zeus B Held, engineered by Steve Chase, mix by Bryan “Chuck” New
2. “Scary,Scary” - produced by Terry Adams and Win, engineered by Terry Adams
3. “Love Units (12” Mix)” – produced by Zeus B Held, engineered by Steve Chase, mix by Bryan “Chuck” New
4. “Pull My Daisy” - produced by Terry Adams & Win, engineered by Terry Adams.

• Its interesting to note that there is a track called “Pull My Daisy” on a Nectarine No.9 album called “Guitar Thieves”. I understand that it is a cover of this B-side (see Al Crawford’s review at http://www.awrc.com/review/n/guitar_thieves.html). “Pull My Daisy” is the title of a movie featuring beat-poet Allen Ginsberg and Jack Kerouac, author of the generation-defining “On The Road” – the Nectarines’ version is credited to Ginsberg - Kerouac.

“Dusty Heartfelt” 7” Single
Format :7” single
Label :Virgin
Serial No :VS 1178
Date Of Release :May 1989
Track Listing :

A : “Dusty Heartfelt” – produced by Michael Baker & Alex Kröll, engineered by Mark Plati; B : “Peace On Egg” – produced by Terry Adams & Win, engineered by Terry Adams.

• The 12” has a track called “Dusty Heartfelt (7” Mix)” but the A side of this 7” is called just “Dusty Heartfelt”, even though it’s the same track

• The photographed Win logo is credited on the reverse of the 3” CD single to none other than Pop : Aural’s Bob Last.

• Davey Henderson said : “The gothic love of “Dusty Heartfelt”, that’s what we’re about, baby. Dusty Springfield is an immensely gothic figure who sings or delivers the most extreme songs. Songs with a real dark side to them”.

“Dusty Heartfelt” 12” Single
Format :12” single
Label :Virgin
Serial No :VST 1178
Date Of Release :May 1989
Track Listing :

A : “Dusty Heartfelt (Extended Remix)” – produced by Michael Baker & Alex Kröll, engineered by Mark Plati; B : “Dusty Heartfelt (7” Mix)” – produced by Michael Baker & Alex Kröll, engineered by Mark Plati; “Peace On Egg” – produced by Terry Adams & Win, engineered by Terry Adams.

• In an interview, Davey answers a question about the legality of sampling and whether Win had ever had related copyright problems: “No, but maybe we’ll have a problem with our latest song. We’re using the M&Ms ad jingle in ‘Peace On Egg’. In Scotland, a piece is a sandwich and, as you know, the egg is a symbol for everything. Pretty clever guys, eh? And just think, we haven’t got an O-level between us”. (Incidentally, my mate Glasgow Harry confirms that ‘piece’ is indeed a Scots term for what we south of the border would call a ‘sarnie’ or a ‘butty’, and says that you would use the word ‘on’ in the same format as this songtitle : for example, a ‘jam sarny’ would be called a ‘piece on jam’).

• How’s this for spodlike observation – on this 12” single’s front cover, there are 7.5 Win logos, whereas the 7” single has but 6 Win logos. Yeah, I should probably up my daily intake of sunlight and Niacin or summat!

“Dusty Heartfelt” 3” CD Single
Format :3” CD single, in 3” cardboard sleeve
Label :Virgin
Serial No :VSCD 1178
Date Of Release :May 1989
Track Listing :

1. “Dusty Heartfelt (7” Mix)” – produced by Michael Baker & Alex Kröll, engineered by Mark Plati
2. “Dusty Heartfelt (Extended Remix)” - produced by Michael Baker & Alex Kröll, engineered by Mark Plati
3. “Peace On Egg” – produced by Terry Adams & Win, engineered by Terry Adams
4. “Deep Throat” - produced by Terry Adams & Win, engineered by Terry Adams.

• “Deep Throat” is written by Robert Whitaker and Bob Hilliard, and it is assumed that this is theme music to the infamous 70s porn film! There’s a biography for a Bob Hilliard at www.imdb.com where it lists him as a songwriter, composer and author, and I’ve found elsewhere a mention that he wrote a song called “The Theme From Deep Throat”, which I guess is the same as this one. He also wrote material with Burt Bacharach.

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