VIVA 🔥 "DON'T TURN YOUR LOVE AWAY" (x4 Re-Mixes) 1985
Hi-NRG Italo Disco Eurobeat 12''/7'' Dance 80s
01 Viva - Don't Turn Your Love Away (Extended 12'' Maxi-Mix) (5.03) ℗ 1985
02 Viva - Don't Turn Your Love Away (Italo Disco Sleaze Extended Mix) (7.19) ℗ 1985
03 Viva - Don't Turn Your Love Away (Single 7'' Mix) (3.42) ℗ 1985
04 Viva - Don't Turn Your Love Away (Durbs Re-Mix) (3.48) ℗ 1985
"Hi NRG Italo Disco Eurobeat inspired synthpop from Durban's own Mike Durandt, it follows the tried and tested formula of potent synths and sultry, effeminate vocals over uptempo rhythms that conjure images of sweaty aerobics studios and suburban discos. It's either generic or timeless, depending on your memories of the era. This is the original South African 12'' Maxi release, with the Italo Disco sleaze bootleg 12'' mix, + both mixes (sides A & B) from the original S.A. 7'' single release. Later also released in Canada on Power Records."
Produced by Kevin Mason at Coastal Recording - Durban, South Africa
The band was the brainwave of multi-instrumentalist/singer and producer Costa Anadiotis, formerly of "Fantasy", the late 70s disco rock band.
The first song to be produced was a cover of Jefferson Airplane's "Somebody to Love" in 1984, using the vocals of Julia Jade Aston.
The song was received well internationally (released worldwide by Passion Records UK) because of its Hi-NRG-driven baseline popular at the time.
The band and their S.A. record company wanted the next release to be an original composition, "I'm On The Loose".
Passion Records UK wanted another dance hit cover, and went with "Relight My Fire"
("I'm On The Loose" was notreleased)
The Dan Hartman song "Relight My Fire", which utilized the vocals of Lolly Peterson and Anneline Malebo.
Released in the UK, Germany, Mexico and S.A. Other than being a dance hit in Mexico, the song received mediocre response, but featured worldwide on many compilation albums,
Then in 1985 when the Video Kids refused to release their song "Woodpeckers From Space" in South Africa due to the political situation in the country at the time,
"Woodpeckers from Space" was a Number 1 hit in South Africa in July 1985 and stayed on the Top 20 for 19 weeks, 8 of which were at the Number 1 position.
The Extended Vocal version of "I'm On The Loose" was included on this album, and features Penny Lane on vocals.
2020 (35 years later...)
So for the first time in 35 Years, here is the ORIGINAL 12'' Vocal and Dub mix parts together for this unreleased electro Hi-nrg Italo disco "Hard-To-Find" gem 💎
"I'm On The Loose" (presented & pictured in 12'' Disco Single format!)
Label: Passion (UN-RELEASED) Current Copyright Unclaimed Unknown
(Principal Records S.A. / or reverted back to producer Costa Anadiotis) Format: Vinyl, 12", Maxi-Single Country: South Africa / UK Date: 1985 Genre: Electronic Style: Disco, Hi NRG, Italo Disco, Eurobeat
(03) Hiroshima (Never Too Late For Tears) (12'' Extended Mix) 5.17
(04) Fighting For Our Lives (12'' Version) 6.23
(05) Reincarnation (Coming Back For Love) (12'' Version) 7.03
(06) Restless Hearts (12'' Version) 5.47
(07) Midnight Lover (12'' Version) 7.01
(08) Deliverance (12'' Version) 6.59
(09) Reincarnation (Coming Back For Love) (12'' Instrumental Mix) 6.54
(10) Midnight Lover (Instrumental Version)4:47
(11) Fighting For Our Lives (12'' Instrumental Mix) 5.48
(12) Deliverance (12'' Instrumental Version)5:18
All Lead Vocals 🎙 by Cindy Dickinson
South African Hi-NRG act around Paul Crossley and Terry Owen.
With the additional vocal talents of Cindy Dickinson the group achieved a surprising measure of worldwide success in the mid-80s. Cindy Dickinson married, now Cindy Guselli
PEOPLE LIKE US, a South African Hi-NRG act around Paul Crossley and Terry Owen that formed out of the ashes of dance group Shiraz.
With the additional vocal talents of Cindy Dickinson the group achieved a surprising measure of success in the mid-80's with their Hi-NRG tracks, "Deliverance"; "Midnight Lover"; "Fighting For Our Lives"etc.
After Paul Crossley's death in 1989, Terry Owen briefly teamed up with Robin Hogarth and recruited vocalist Angie Gold but didn't repeat the same level of performance.
Label: Passion – PASH 12 68 Format: Vinyl, 12", 45 RPM Country: UK Released: 1987 Genre: Electronic Style: Hi NRG
Tracklist:
A. Deliverance(Remix) 8:06
Executive-Producer – Paul Crossley, Terry Owen Producer – Hilton Rosenthal, Paul Crossley Remix – Chris Lucas, Paul Crossley Written-By – H. Rosenthal, P. Crossley, T. Owen
B. Midnight Lover(Remix)7:30
Producer – Bobby Summerfield, Paul Crossley, Pepino Cotummaccio, Terry Owen Remix – John Davies, Paul Crossley Written-By – B. Summerfield, P. Crossley, P. Cotummaccio, T. Owen
Published By – Passion Music Ltd. Published By – H.R. Music B.V. Published By – Skratch Music Manufactured By – PRT Records Manufactured By – Passion Music Ltd. Marketed By – Passion Music Ltd. Distributed By – PRT Records Licensed From – H.R. Music B.V. Mastered At – Musitech Pressed By – Damont
Artwork – Offbeat Design Featuring – Cindy Dickinson Mastered By – JA
Labels: Published by: Passion Music Ltd. / H.R. Music B.V. (Side A) & Skratch Music H.R. Music B.V. (Side B) Manufactured and distributed by PRT Records
Cover: Manufactured and marketed by Passion Music Ltd., South Bank House, Black Prince Road, London SE1 7SJ, Telephone: 01-735 8171 Both tracks on license from H.R. Music B.V., Holland
The durations are from the computer recording. Stamper/metalwork by Musitech, High Wycombe
Matrix / Runout (Runout Groove Side A): PASH-12-68-A1 1 MT. DAMONT JA Matrix / Runout (Runout Groove Side B): PASH-12-68-B1 1 MT. DAMONT B Matrix / Runout (Record Label Side A): PASH 12 68 A Matrix / Runout (Record Label Side B): PASH 12 68 B
2019 HQ WAV AUDIO:
"To date, all 12'' versions of 'DELIVERANCE' (remix) and 'MIDNIGHT LOVER' (remix) available online / digitally have been of low to average audio quality. [compilation CDs have usually only made use of the original 'more flat' studio/LP versions]
This is a WAV HQ quality version available from original UK Remix 12 Inch)
02. Disco Rock Machine - Living For The City (1978) 7:19
03. Hot R.S. - House Of The Rising Sun (1977) 14:35
04. People Like Us - Hiroshima (1987) 6:39
05. Rouge - Eloise Concerto (1978) 17:32
06. Neil Cloud - Time Of The Season (1978) 6:33
07. John Ireland - Living Inside My Head (1978) 6:25
08. Hot R.S. - In-A-Gadda-Da-Vida (1978) 7:47
09. Disco Rock Machine - You Really Got Me (1978) 7:12
10. Buffalo - Born To Be Wild (Medley) (1978) 14:07
11. Neil Cloud - Reflections (1978) 17:38
12. Hot R.S. - Delta Queen (1977) 7:49
13. Disco Rock Machine - Time To Love (1978) 7:18
14. Harari - Give (1980) 5:16
15. Hot R.S. - Money Runner (1980) 6:28
16. Disco Rock Machine - Loving Styles (1978) 7:15
17. Sipho "Hotstix" Mabuse - Burn Out (1984) 4:57
RARE 2CD SET RELEASED FOR A LIMITED TIME July 1999, Gallo, CDREDD 627
Credits:
Thanks to: John Ireland, Brian 'Vagabond' Currin, Dion Singer, Gary Van Riet, Lana-Jane Miller, Terry Owen, the good people at EMI, Peter Pearlson (Forest Studios) for all his hard work, Terry Fairweather, the crowd at Apula and everybody else who made this compilation possible.
Compiled by Derek Smith
Digitally re-mastered at Forest Studios by Peter Pearlson.
Reviews:
In the late 70s disco music internationally was dominated by such artists as The Bee Gees, Donna Summer, Chic, Gloria Gaynor, Village People, etc. The rhythm was everything and musicianship was secondary.
In South Africa, however, disco seemed to take on a distinct harder edge, with a number of classic hard rock and heavy metal songs being given the disco treatment.
Ex-Rabbitt, Trevor Rabin with his Disco Rock Machine recorded the Kinks' 'You Really Got Me' while his colleague, Neil Cloud (Rabbitt's drummer), covered 'Time Of The Season' originally done in 1968 by Rod Argent's Zombies.
All these tracks and others (like John Ireland's 'Living Inside My Head') are on this Gallo collection compiled by Derek Smith. -- Brian Currin, 1999
Even if one did not care overmuch for disco, he or she should be able to find enough songs on this double CD to make at least a 90 minute tape. In Texas we spend much time in our cars so road tapes, for me anyway, are important. This is good music to use to thump one's way across Texas. When done South African style, and that's with a bit more rock thrown in, one wonders if the disco genre is undervalued. Here are the songs of Disco Fever: all disco or dance, though some do rock:
'Magic Carpet Ride' by Buffalo is a strong opener, and in its way, "Ooh, ooh, carpet ride!" is a fine basic rock lyric. Nice musical frills here, the song is imaginative despite the dominant disco beat that can easily become moronic if not decorated creatively, as it is here. I hear a couple of lyrics differently on the original, but this is really a strong song.
'Living for the City' by Disco Rock Machine is a nice disco-fied cover of Stevie Wonder's song, and one faithful enough to the original, yet different and so eminently danceable that I can imagine Stevie himself might like it.
'House of the Rising Sun' by Hot R.S. A good version of one of my favorite rock standards, though the young lady singing really over-emotes how glad she feels, and she carries on disturbing the neighbours for quite a while.
'Hiroshima' by People Like Us has nice singing and is interesting lyrically, more than I-love-you-baby lyrics, yet it is a more straight-forward disco song than the first two songs on this double CD set.
'Eloise Concerto' by Rouge starts out as a readily recognizable disco song, with horn accents, and moves into a lo-o-ong and rather mellow interlude. The song is pleasant, with several movements, and comes across more as listening disco than dancing disco. If I were to hear it in a club I might think differently, though. The pleasantness of the song is borne out by the fact that it does not seem to last 17 minutes and 32 seconds.
'Time of the Season' by Neil Cloud has the same eerie mood of the original, but with a more obvious beat. The original was a favorite song, this version is too.
'Living Inside My Head' by John Ireland is my favorite song on 'Disco Fever'. Maybe early in childhood I was entranced by 'Greensleeves', which I feel sure Henry the VIII did not write, despite his claim. Anyway, John Ireland does a much better job than Henry could have with this beautiful melody and original lyrics. Absolutely lovely.
'In-a-Gadda-da-Vida' by Hot R.S. rocks, or is it that maybe the original wasn't too far from being a disco number itself? Whichever the case, this is a good version of a classic song that everyone pokes fun at, but one which everyone knows nonetheless.
That's disc one, some good pure disco, and some disco with a definite rock edge.
Disc two: 'You Really Got Me' by Disco Rock Machine (featuring Trevor Rabin) is only barely disco. It's disco in a hard rock mode, go-ahead rock with a cranking guitar. This is a loud disco cover of The Kinks song with a disco beat in the back and a wailing guitar up front in the lead.
Medley: 'Born to Be Wild', 'Gimmy Gimmy Good Lovin'', 'Mony Mony', and 'Born to Be Wild' by Buffalo works, flowing from one song to another. Inspirational rock in that it lifts me up like good music is supposed to do. Nice and long at 14 minutes and 7 seconds, too.
Medley: 'The Good, the Bad, and the Ugly' and 'Reflections of My Life' by Neil Cloud also mixes different songs and it works, moving from the universally known "Good, Bad, and Ugly" theme to lyrics of Marmalade's reflective song to disco dance rhythm and back to the two pop songs -- it really works. Also nice and long at 17 minutes and thirty-eight seconds.
'Delta Queen' -- Another song with a vocal woman disturbing the neighbors. This starts out dance-worthy with a nice yearning mood, then it mellows to become a softer disco song, with a build meant to symbolize something going on. This is a disco song of movements and parts, good to listen to aside from the young lady's histrionics, which in the song, as in real life, are distracting.
'Time to Love' by Disco Rock Machine is a good disco song with a moderate beat and some electronic fills. Pleasant and acceptable, but it doesn't really stand out.
'Give' by Harari is not what I'd call a disco song, but rather it is a timeless dance number, and a catchy and good one. The few songs I've heard by Harari make me want to hear more.
'Money Runner' by Hot R.S. combines disco, horns, and hip lyrics in an anthem to the almighty buck. This song has a driving tempo and in a club was likely to cause everybody to move in unison.
'Loving Styles' by Disco Rock Machine is a quirky song, slow in tempo with a stop-start rhythm. While I can see where some might enthuse over this one it's another that didn't hit me. It's not obvious disco, but definitely a song to dance to. Okay, it has interesting guitar extrapolations.
'Burn Out' by Sipho "Hotstix" Mabuse is a nice and gently chugging dance song, and another without the obvious disco beat. The melody and beat work precisely together here. The vocals carry the tune but are not dominant, they work with the instrumentation. A pretty song, appropriate for a closing set for lovers to dance close to before going home together.
My take on over 150 minutes of South African disco music, untinged by nostalgia, is to wonder: can it be that South Africa improved on disco? I conclude: Yes.
About a third of the musical contents of these two discs is disco for rock fans, so rockified that one might ask, "Disco? What disco?" Many of the songs are untypical of an undervalued genre. The couple of songs that I didn't respond to as strongly as others most certainly don't detract from the whole. All in all, another case of my Dollars-into Rands being well-spent.
-- Kurt Shoemaker, Blanco, Texas, 2000
Various – Disco Fever Label: Gallo – CDREDD 627, Gallo Special Projects – CDREDD 627 Format: 2 × CD, Compilation, Stereo Country: South Africa Released: 1999 Genre: Electronic Style: Disco
"An extremely RARE OFFICIAL 2CD Disco Rock compilation"
"A Very Rare South African 80s Hi-Nrg Italo Disco Electro Record from 1984"
I recently found out that the artist Ashleigh Sendin who sang ‘(Ha Ha) Here I come’ on the South-African compilation album High Energy Double Dance - Vol 2 (1984) and ‘Who needs it’ (Eurobeat 3 - 1987) is a South-African. She has been living in the UK for the past twenty years having had a rewarding career on stage and are currently the headmaster of an Acting school. I contacted her and asked her about her life in South-Africa and UK.
DJ Radcliff: How did you end up recording ‘(Ha Ha) Here I Come’ with the legendary Patric van Blerk and Fransua Roos? Ashleigh: I met them through a record company called Principal Records for whom I had recorded another single called Rebecca (sort of Kate Bush style ballad).
DJ Radcliff: Was ‘Here I come' released in other markets other than South-Africa? Ashleigh: To the best of my knowledge none of the tracks were released outside South Africa.
DJ Radcliff: Did you record any other tracks with them during this period? Ashleigh: I recorded another track which was used on a dance compilation called ‘Who needs it’. They used my name although I recorded it as a session. That was in 1987 just before I left for the UK.
DJ Radcliff: High Energy was really big during this period, even in South-Africa; did you ever get to meet any other High Energy artists? Ashleigh: When I released ‘Here I come’ I was part of a High Energy dance music concert tour. A group of Dance music recording artists from the US and UK came over for the tour. Evelyn Thomas, Miquel Brown, Marsha Raven, Earlene Bentley and Barbara Pennington. I worked with Earlene on my first job in the West End, ‘Blues in the Night’ at the Piccadilly Theatre, and then worked with Sinitta a recording artist whose mother is Miquel Brown in ‘HAIR’ at the Old Vic. Small World!
DJ Radcliff: You were also credited in a 1979 movie of South-African director Percival Rubens called Midnight Caller (aka The Demon and The Unholy) How old were you when you appeared in this slasher flick and did you feature in any other films? Ashleigh: I was 15 in that particular film and was also in a couple of other equally dire South African films one was the ‘Lions Share’ and the other was ‘Follow that Rainbow’.
DJ Radcliff: Would you mind giving us some more information on your life in South-Africa, like what schools you attended, and what local productions you were involved with? Ashleigh: I grew up in Bryanston and Fourways –when fourways was just veldt. I went to Bryanston Primary and then Bryanston High School. I started professionally at age 13 playing ‘Annie’ for Joan Brickhill and Louis Burke. I did ‘Wizard of OZ’,’ Robin Hood’, ‘Hans Christian Anderson’ and ‘Judy’ for Napac. ‘Godspel’l and ‘My name is Alice’ for Des and Dawn Lindbergh and ‘The Hollow’ and ’The Real Thing’ for Pieter Toerien, among others. For the SABC I did ‘The Settlers’,’ The Danny Bickett Show’,’ Inspector Carr investigates’ and various commercials etc. I was working solidly from the age of 13 so chose not to go the university route.
DJ Radcliff: You have been in the UK for almost 20 years now, do you still have ties with South-Africa and when was the last time you visited our shores? Ashleigh: My family are all still in SA. I was over only a month ago as my Mum passed away.
DJ Radcliff: Please tell us how you ended up in The West End, what did you do when you first went to the UK? Ashleigh: I was very lucky in respect of timing when I got to the UK. The West End was experiencing a boom and I was able to get an agent and get work within 6 months of arriving in the UK. My first job was understudying the girl and the woman in ‘Blues in the Night’. I played the Juve lead in ‘Anything Goes’ with Elaine Paige. On ‘Saturday Night’ I achieved a lifelong ambition which was to meet Stephen Sondheim.
DJ Radcliff: As mentioned before you were involved in many musicals on the West End, give us a brief list of you proudest achievements? Ashleigh: Some I have already mentioned but will give a brief list. ‘Blues in the Night’ at the Piccadilly theatre, ‘Anything Goes’ at the Prince Edward theatre, ‘Lady in the Dark’ at The National, ‘Hair’ at the Old Vic. ‘Promises, Promises’ and Sondheim’s ’Saturday Night’, The obligatory pantomimes if living in the UK, ‘Cinderella’ and ‘Aladdin’. Several seasons of ‘Lost’ musicals at the Barbican-Concert Productions of musicals from the 30’s to the 50’s mainly. I performed in seven of those over five seasons. Several concept albums for projected musicals which I still do occasionally and session work i.e. backing vocals for demos also for ITV’S Spitting Image. I performed with the cast of ‘Anything Goes’ for The Queen Mothers 90th Birthday at the London Palladium as well as several Charity performances for Crusade and the Princess Diana Fund also at the Palladium.
DJ Radcliff: You are currently the principal of a company called ‘Stagecoach’ What exactly is ‘Stagecoach’ and what other projects are you currently working on? Ashleigh: Stagecoach is a large organization with Theatre schools all over the UK and the World. I bought the franchise for Penzance so own the business for that territory. Basically I am the principal and I employ 4 teachers and an assistant. It’s pretty much what I do full time. I got tired of doing 8 shows a week I had been working in Musicals for 25 years!
DJ Radcliff: Thank you for chatting to us; it was really interesting to find out what Asleigh Sendin has been up to the past 24 years since High Energy Double Dance Vol 2 came out. Keep well! RETRO DISCO Hi-NRG
