Count Coolout - Rhythm Rap Rock

Can we copy "The Sugarhill Gang" and have a hit ourselves? That is exactly what Count Coolout did with this club hit from 1981.

Listen to this track and I'm sure you will think that your listening to Rapper's Delight (except without the Chic sample.

Count Coolout is really James Minor, who was born in Brooklyn. His style was heavily influenced by Jimmy Spicer and began his career as a background singer for him.

His first record came out in 1980 on Boss Records and was produced by Billy Nichols & the Count. He also recorded on WMOT records.

Although "Rhythm Rap Rock" and "Here To Stay" were his two big records, only Rhythm Rap Rock charted on the dance chart.

As of Summer 2003 he is running his old label, Jathom Records, with product to be released prior to the end of this summer. He is even got some new music of his own in the works.

Taken from the original 12" single on Boss 73
Count Coolout - Rhythm Rap Rock (12" Version) 12:43
Song charted on January 31, 1981. Spent 2 weeks on the chart and reached #82

ABBA - Lay All your Love On Me-Super Trouper-On And On And On

The most commercially successful pop group of the 1970's, the origins of the Swedish superstars ABBA dated back to 1966, when keyboardist and vocalist Benny Andersson, a onetime member of the popular beat outfit "The Hep Stars," first teamed with guitarist and vocalist Bjorn Ulvaeus, the leader of the folk-rock unit "The Hootenanny Singers." The two performers began composing songs together and handling session and production work for Polar Music/Union Songs, a publishing company owned by Stig Anderson, himself a prolific songwriter throughout the 1950's and 1960's. At the same time, both Andersson and Ulvaeus worked on projects with their respective girlfriends: Ulvaeus had become involved with vocalist Agnetha Faltskog, a performer with a recent Number One Swedish hit, "I Was So in Love," under her belt, while Andersson began seeing Anni-Frid Lyngstad, a onetime jazz singer who rose to fame by winning a national talent contest.

In 1971, Faltskog ventured into theatrical work, accepting the role of Mary Magdalene in a production of Andrew Lloyd Webber's "Jesus Christ Superstar;" her cover of the musical's "I Don't Know How to Love Him" became a significant hit. The following year, the duo of Andersson and Ulvaeus scored a massive international hit with "People Need Love," which featured Faltskog and Lyngstad on backing vocals. The record's success earned them an invitation to enter the Swedish leg of the 1973 Eurovision song contest, where, under the unwieldy name of Bjorn, Benny, Agnetha & Frida, they submitted "Ring Ring," which proved extremely popular with audiences but placed only third in the judges' ballots.

The next year, rechristened ABBA (a suggestion from Stig Anderson and an acronym of the members' first names), the quartet submitted the single "Waterloo," and became the first Swedish act to win the Eurovision competition. The record proved to be the first of many international hits, although the group hit a slump after their initial success as subsequent singles failed to chart. In 1975, however, ABBA issued "S.O.S.," a smash not only in America and Britain but also in non-English speaking countries such as Spain, Germany and the Benelux nations, where the group's success was fairly unprecedented. A string of hits followed, including "Mamma Mia," "I Do, I Do, I Do, I Do, I Do," "Fernando," "Take A Chance On Me," and "Dancing Queen" (ABBA's sole U.S. chart-topper and first promotional-only 12" single), further honing their lush, buoyant sound; by the spring of 1976, they were already in position to issue their first "Greatest Hits" collection.

ABBA's popularity continued in 1977, when both "Knowing Me, Knowing You" and "The Name of the Game" dominated airwaves. The group also starred in the feaure film "ABBA-The Movie," which was released in 1978. That year Andersson and Lyngstad married, as had Ulvaeus and Faltskog in 1971, although the latter couple separated a few months later; in fact, romantic suffering was the subject of many songs on the quartet's next LP, 1979's "Voulez-Vous." "Voulez-Vous" was the groups second promotional-only 12" single. Shortly after the release of 1980's "Super Trouper," which contained the double-sided hit promotional-only 12" single of "On And On And On" and "Lay All Your Love On Me" (which thanks to a Disconet Remix propelled them to number one in the clubs.) Andersson and Lyngstad divorced as well, further straining the group dynamic. "The Visitors," issued the following year, yielded yet another promotional-only 12" single of the title track, and was the final LP of new ABBA material. The release of "Abba-The Singles The First Ten Years" contained two new tracks "The Day Before You Came" and "Under Attack" and the foursome officially disbanded in late 1982.

Although all of the group's members soon embarked on new projects & both Lyngstad and Faltskog issued solo LPs, "Somethings Going On" and "Wrap Your Arms Around Me" respectively, while Andersson and Ulvaeus collaborated with Tim Rice on the musical "Chess" � none proved as successful as the group's earlier work, largely because throughout much of the world, especially Europe and Australia, the ABBA phenomenon never went away.

Repackaged hits compilations and live collections continued hitting the charts long after the group's demise, and new artists regularly pointed to the quartet's inspiration: while the British dance duo Erasure released a covers collection, "ABBA-esque," an Australian group called Bjorn Again found success as ABBA impersonators. In 1993, "Dancing Queen" became a staple of U2's "Zoo TV" tour � Andersson and Ulvaeus even joined the Irish superstars onstage in Stockholm, while the 1995 feature "Muriel's Wedding," which won acclaim for its depiction of a lonely Australian girl who seeks refuge in ABBA's music, helped bring the group's work to the attention of a new generation of moviegoers and music fans.

ABBA recently turned down an offer of one billion dollars (yes, one billion) to reform for a 2000 world tour. Instead, Benny and Bjorn unveiled a new musical set to ABBA's music to great success entitled "Mamma Mia!"

Today, I'm posting every song that charted by this group. First off, three songs from the SUPER TROUPER LP. Billboard listed all three as one entry. They also listed the LP as the source so today's post is all LP Versions. You all probably have these versions but since it charted I'm posting it.

Taken from the orginal LP Super Trouper on Atlantic 16023
Lay All Your Love On Me - 4:34
Super Trouper - 4:14
On And On And On - 3:40
Songs charted on January 24, 1981. Spent 28 weeks on the chart and reached #1

B-52's - Party Mix (all cuts)

TAKEN FROM THE OFFICAL B-52'S WEB SITE.....

It has been said that the B-52's are as quintessentially American as the Beach Boys. And thirty years and over twenty million albums into their career, they remain the among the most beloved rock stars ever. Known as “the world’s greatest party band,” the B-52’s have attracted legions of faithful, fun-seeking fans with their unique sound and electrifying stage show.

Formed on an October night in 1976 following drinks at an Athens, GA, Chinese restaurant, the band played their first gig at a friend's house on Valentine's Day 1977. Naming themselves after Southern slang for exaggerated 'bouffant" hairdos, the newly-christened B-52's (Fred Schneider, Kate Pierson, Keith Strickland, Cindy Wilson and Ricky Wilson) began weekend road trips to New York City for gigs at CBGB's and a handful of other venues. Before long, their thrift store aesthetic and genre-defying songs were the talk of the post-punk underground. A record deal soon followed and their self-titled debut disc, produced by Chris Blackwell, sold more than 500,000 copies on the strength of their first singles, the garage rock party classic "Rock Lobster," and "52 Girls." The B-52's had tapped into a growing audience for new music that was much larger than anyone could have anticipated. “We’ve always appealed to people outside the mainstream,” says Kate Pierson, “and I think more people feel they’re outside the mainstream these days.”

With the release of their second studio effort, Wild Planet (1980), the B-52's and co-producer Rhett Davies proved their success was no fluke with hits with "Private Idaho," "Give Me Back My Man" and "Strobe Light." In just two albums, the B-52's created a lexicon of songs, styles, phrases and images which would set the standard for the development of the 'alternative music scene.' The success of Mesopotamia, produced by David Byrne (1982), and Whammy! (1983) positioned the B-52's as MTV regulars as well as alternative radio staples.

At the time of their greatest achievements, however, they suffered their greatest tragedy — the death of guitarist Ricky Wilson from AIDS. "He really had a vision…," said sister Cindy Wilson. "He was one of the strongest elements of the B-52's from the beginning." Ricky Wilson's passing in 1985 came just after the sessions for Bouncing Off The Satellites (1986). The album, dedicated to Wilson, had taken nearly three years to complete but was worth the wait, serving up the fan favorites "Summer of Love" and "Wig." After a period of mourning, Keith, switching from drums to guitar, gradually resumed writing music for a new album. Working together on vocal melodies, lyrics and arrangements for the new tracks, Keith, Kate, Fred and Cindy re-emerged with the Don Was/Nile Rodgers co-produced Cosmic Thing (1989). The album yielded their first-ever Hot 10 hits — "Love Shack" and "Roam" and a Top 40 hit with "Deadbeat Club." Its success propelled the band to international superstardom.

After an exhaustive 18-month tour in support of Cosmic Thing, Cindy amicably left the band. "I'd been a B-52 for a long time, and it just felt like time for a change," said Cindy. Before long, Wilson had successfully completed her first solo project — a baby girl. Meanwhile, Kate collaborated with other artists, including Athens compatriots R.E.M., for whom she guest-starred on their 1991 album Out of Time. She also scored a hit with fellow CBGB's alum Iggy Pop on his lovelorn duet "Candy." Fred, meanwhile started work on a solo project, Just Fred (1996), with producer Steve Albini, his second solo project following the release of 1984’s Fred Schneider and the Shake Society.

As a trio, Fred, Keith and Kate re-enlisted the tag team of Was and Rodgers to produce the energetic Good Stuff (1992). With its popular title cut and concert favorite "Is That You Mo-Dean?," the album stands as the group's most overtly political album. "We're out there to entertain people," said Fred, "but it's great to get people thinking and dancing at the same time."

In 1998, reuniting permanently with Cindy, the B-52's wrote and recorded two new tracks that fit perfectly into Time Capsule, a stellar collection of greatest hits. The first single from the collection, "Debbie" was a metaphorical tribute to band friend and supporter Debbie Harry and the whole CBGB's scene of the late '70s. With the release of the two-disc collection Nude on the Moon: the B-52's Anthology (2002), the B-52's took much-deserved credit for a body of work that is unique, beloved and timeless in its own way. The B-52's have always cut a wide path through much of so-called 'modern rock' — from the low-fi efforts of nouveau garage bands to the retro-hip of ultra-lounge, to the very core of dance music itself. "We've always just done our own thing, which is a combination of rock 'n 'roll, funk, and Fellini, and game show host, and corn, and mysticism," says Fred. “Maybe people are beginning to pick up on what we’ve been doing all along,” muses Keith. “The underlying message of the B-52’s is that it’s ok to be different.”

The B-52’s have just completed recording a brand new album, their first in 15 years, with producer Steve Osborne (KT Tunstall, New Order, Manic Street Preachers) and programmers Damian Taylor (Bjork) and Pete Davis (New Order). Set for an early 2008 release, it maintains the band’s classic party vibe, but with a more modern direction. "There's more electronica on it," he said. "It's up-tempo and a bit sexed-up. It's sexier than ever,” says Fred.

There’s no doubt that fans are looking forward to this new release. Thirty years into their career, the B-52’s continue to keep the party going, serving up their own unique blend of music and showmanship to millions of people worldwide, and with no signs of slowing down.

This mini-album is one of the first REMIX albums to chart on Billboards Top 200 Album chart. This album, reaching #55 on the Top 200 chart, contains 6 remixes of previous songs. Side 1 contains 3 songs from "Wild Planet", while side 2 contains 3 songs from their debut album "The B-52's" Enjoy

Songs taken from the original LP PARTY MIX on Warner 3595
Download PARTY MIX in one zip file
A1. Party Out Of Bounds - 5:12
A2. Private Idaho - 4:04
A3. Give Me Back My Man - 7:02
B1. Lava - 6:08
B2. Dance This Mess Around - 2:59
B3. 52 Girls - 2:58
Entire LP charted on August 29, 1981. Spent 4 weeks on the chart and reached #55

Visage - Moon Over Moscow / Tar

The new romantic dance-rock group from England known as Visage. The memebers consisted of Steve Harrington (vocals), Midge Ure, John McGeoch (guitar), Billy Currie (violin), Dave Formula (keyboards), And Rusy Egan (drums). Ure and Currie were later members of Ultravox.

Visage signed to Radar Records and released their first single, "Tar" (which was originally composed whilst Steve was in 'The Photons') in September 1979.

The following year saw the release of their self-titled debut album, which sold extremely well and raised the band's popularity mainly because of the single "Fade to Grey". The single quickly became a huge hit, went to number one in 21 countries and marked an imminent commercial breakthrough for electronic music and the whole New Romantic movement, for which the first Visage album became a kind of soundtrack.

Billboard, for some reason, listed both songs as one entry on the Dance Chart. There were no 12" singles for either of these tracks, so Billboard listed the LP as the source. These versions are included in today's post.

Even though club's would play other Visage songs, including "Night Train" and "Pleasure Boys", this was the only time that Visage made this chart.

Songs taken from the original LP VISAGE on Polydor 6304
Moon Over Moscow - 4:00
Tar - 3:31
Both songs charted on January 10, 1981. Spent 11 weeks on the chart and reached #40

Gayle Adams - Love Fever

Gayle Adams first broke on the scene in 1980 with the release of her self titled debut. In 1981, she stirred dancefloors with the LP "Love Fever", which included today's post.

The 12" single of "Love Fever" preceded the album. With it's urban funk appeal, it quickly shot up the club charts. It also faired well on the Urban Chart reaching #24.

Another song from her sophomore effort, Baby I Need Your Loving, received airplay at the clubs, yet never charted. Other than this song, no other song charted. With disco in a turmoil in the early 80's and her label, Prelude, at a loss on how to handle her success, she was forced out of what could have been a more successful career.

Here is Love Fever in it's entirety

Taken from the original 12" single on Prelude 618
Gayle Adams - Love Fever (Vocal Version) 7:07
Song charted on November 14, 1981. Charted for 16 weeks and reached #6