In late 1984, Duran Duran unleashed “The Wild Boys,” a pounding, futuristic anthem that marked a darker turn for the band and became one of their most iconic singles of the era. The track was conceived as part of a proposed film project based on the William S. Burroughs novel The Wild Boys: A Book of the Dead, with the idea pushed by director Russell Mulcahy (who had helmed many of the band’s most lavish videos). While the film never came to fruition, the song and its accompanying video pushed boundaries—and budgets—at the time.

Produced by the legendary Nile Rodgers, “Wild Boys” was the only studio track on the band’s live album Arena and perfectly fused the band’s pop sensibility with Rodgers’ cutting-edge production and dancefloor sensibilities. The result was a sonic assault of heavy synths, aggressive guitar stabs, tribal drums, and Simon Le Bon’s defiant vocal delivery.

The Extended Mix takes the drama up several notches, building the tension with a long, cinematic intro that recalls the dystopian atmosphere of the video. The breakdowns and effects-laden passages give the song more room to breathe and further highlight Rodgers’ intricate production.

Chart-wise, “Wild Boys” was a smash. It reached #2 in both the US and UK, blocked from the top in the US by Hall & Oates’ “Out of Touch.” It also gave Duran Duran their first #1 in Germany and South Africa, proving the band’s international staying power as they transitioned from New Romantic heartthrobs into global pop powerhouses.

Fun fact: Simon Le Bon nearly drowned during the filming of the video, which featured the band tied to a windmill and submerged in a water tank. It’s a miracle the band made it out intact—both literally and figuratively.

“Wild Boys” remains a touchstone of mid-80s maximalism: all attitude, danger, and style. It’s the sound of a band pushing their limits—and taking us along for the ride.

SIDE A:

The Wild Boys (Wilder Than Wild Boys) (Extended Mix) 8:00

SIDE B:

The Wild Boys (45) 4:18

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Today marks the 40th anniversary of the recording of Band-Aid’s iconic charity single, “Do They Know It’s Christmas?”.

Written in 1984 by Bob Geldof and Midge Ure, the song was created to raise funds for the 1983–1985 Ethiopian famine relief efforts. Recorded in just one day at Sarm West Studios in Notting Hill, London, on November 25, 1984, the session brought together a supergroup of prominent British and Irish musicians assembled by Geldof and Ure.

Released in the UK on December 7, 1984, “Do They Know It’s Christmas?” made an immediate impact, debuting at number one on the UK singles chart and holding the top spot for five weeks. It became the fastest-selling single in UK history at the time, moving one million copies in its first week. By the end of 1984, it had sold over three million copies in the UK and topped the charts in 13 other countries. In the United States, despite limited radio play, the song sold approximately 2.5 million copies by 1985. Globally, it reached 11.7 million in sales by 1989, and its UK sales alone stood at 3.8 million by 2017.

The single raised £8 million within its first year, far surpassing Geldof’s initial expectations. Due to its success, “Do They Know It’s Christmas?”was reissued on November 29, 1985, featuring an updated B-side titled *”One Year On (Feed the World).” This version included a spoken message from Geldof and Midge Ure and highlighted the tangible impact of the funds raised, listing the resources and aid provided. Notably, this updated version was only ever released on vinyl.

“Do They Know It’s Christmas?” remains a testament to the power of music to inspire change and unite people for a common cause.

SIDE A:

Do They Know It’s Christmas? (12″ Mix) 6:17

SIDE B:

One Year On (Feed The World)+ 4:34

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“Are You Ready for Freddy” is a single by the Fat Boys, released in 1988 to coincide with the release of “A Nightmare on Elm Street 4: The Dream Master.” This unique collaboration merges hip-hop with horror, as the song features Robert Englund himself, in character as Freddy Krueger, delivering his iconic lines. The track features the Fat Boys’ trademark humor and beatboxing style, making it both catchy and eerie.

In the song, Freddy raps alongside the Fat Boys, warning listeners to be “Ready for Freddy” as he claims his next victims. It’s a playful take on the horror genre, mixing Freddy’s menacing persona with the Fat Boys’ fun and energetic delivery.

In the video, Prince Markie Dee’s “Uncle Frederick” has died, and his lawyer (Bert Remsen) meets the group outside the Nightmare on Elm Street house. The lawyer informs Markie that he must spend the night inside Uncle Frederick’s home to earn his inheritance, so the group enters. Not long after, Freddy Krueger appears and begins to chase the band throughout the house, slashing with his claw while stopping to rap.

This track remains a memorable example of how hip-hop crossed over with other genres and pop culture phenomena in the 80s, creating unexpected and memorable pairings.

The song was also included in the Fat Boy’s LP “Coming Back Hard Again”.

SIDE A:

Are You Ready For Freddy (12″ Version) 7:00

SIDE B:

Are You Ready For Freddy (7″ Version) 3:34

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“A Nightmare on My Street” is the third single from DJ Jazzy Jeff & The Fresh Prince’s second studio album, He’s the DJ, I’m the Rapper. The song became a crossover hit in the US, reaching #15 on the Hot 100. The song was released as a single in early 1988. The single was released on vinyl and audio cassette tape. The song humorously describes an encounter with the horror film villain Freddy Krueger and was considered for inclusion in the movie A Nightmare on Elm Street 4: The Dream Master, but the producers of the film decided against its inclusion.

New Line Cinema, copyright holders of the A Nightmare on Elm Street film franchise, sued DJ Jazzy Jeff & The Fresh Prince’s record label for copyright infringement, forcing the label to destroy a music video produced for the song (though a copy of the video did survive and is available online. Both sides eventually settled out of court, but as a result, vinyl pressings of the album He’s the DJ, I’m the Rapper contain a disclaimer sticker that says, “[This song] is not part of the soundtrack…and is not authorized, licensed, or affiliated with the Nightmare on Elm Street films.” The song samples Charles Bernstein’s musical motif from A Nightmare on Elm Street.

The original track as included on the original LP and cassette pressings of the album He’s the DJ, I’m the Rapper ran 6:09. However, the entire album could not fit onto compact discs of the time, so for the CD release, many tracks were shortened; the single version “A Nightmare on My Street” was used in place of the original. This version is not simply an edit of the original album cut, as it included different lyrics in certain sections. The version included on DJ Jazzy Jeff & the Fresh Prince’s Greatest Hits album is not the original single version. Although it is labeled “Single Edit” and runs the same length, it is simply an edited version of the original recording and does not include the different lyrics recorded for the single.

SIDE A:

A Nightmare On My Street (Extended Mix) 6:13

A Nightmare On My Street (Single Edit) 4:53

SIDE B:

A Nightmare On My Street (Instrumental) 6:13

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“Theme from S-Express” is a defining track in the acid house genre, showcasing the innovative sampling techniques of the late 1980s. Released by S’Express, the song features a catchy blend of samples, particularly drawing from Rose Royce’s “Is It Love You’re After” and TZ’s “I Got the Hots for You.” The use of the hi-hat from an aerosol spray adds a unique touch.

The title references the 42nd Street Shuttle in New York City, linking the song to urban culture. While it achieved significant success in the UK, hitting number one for two weeks, its performance in the US was more modest, peaking at number 91 on the Billboard Hot 100 but reaching the top of the Hot Dance Club Play chart. The track also made an international impact, ranking well in Australia and West Germany. Its influence remains evident in the dance music scene today.

In the U.S.A. versions, an unnamed vocalist provided replacements for some of the vocal samples (“Uno, dos, uno dos tres quatro!”, “No, that’s good!”, and scream for daddy near the end that turned into “scream for mommy”.)

PLATFORM 1:

Theme From S-Express (12″ U.S.A. Mix)* 5:57

PLATFORM 2:

Theme From S-Express (7″ U.S.A. Mix) 3:56

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“Casanova” is a 1987 single by American R&B group LeVert, written and produced by Reggie Calloway. It reached number five on the Billboard Hot 100 and number nine on the UK Singles Chart, marking LeVert’s only Top Ten hit. The song was the first new jack swing track to top the Billboard Hot Black Singles chart, holding the number one spot for two weeks. It became popular with New Orleans brass bands, especially after being adopted by the Rebirth Brass Band. “Casanova” also appeared in the films “The Pick-Up Artist” and “Fatal Beauty”, both released in 1987.

The song’s lyrics deal with a man confessing that he’s been a bit of a “Casanova” in the past but now wants to change his ways for the right woman.

“Casanova” helped establish LeVert as a key player in the R&B scene of the late 1980s. The group, led by brothers Gerald and Sean Levert, was known for its smooth vocals and energetic performances. Gerald Levert later had a successful solo career before his untimely death in 2006.

This song is often remembered for its infectious hook and danceable beat, contributing to its longevity in the world of classic R&B.

SIDE A:

Casanova (Extended Mix Version) 8:00

SIDE B:

Casanova (Dance Mix) 5:00

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“Mickey” (originally titled as “Kitty”) is a song recorded by American singer and choreographer Toni Basil for her debut studio album, Word of Mouth (1981). It was first recorded by the pop group Racey. Mike Chapman and Nicky Chinn wrote the song, while production was helmed by Greg Mathieson and Trevor Veitch. Basil’s version is new wave, featuring guitar, synthesizers and cheerleading chants. It garnered a mixed response from music critics, with some critics praising the radio-friendly nature of the song, while others described some of the lyrics as obscene.

The song was originally performed by British pop group Racey, with the title “Kitty”, and was included on their debut studio album Smash and Grab in 1979. The original Racey song did not include the “Oh Mickey, you’re so fine” chant, which Basil added.

For years, it was rumored that the name was changed to Mickey because Basil developed a crush on the Monkees’ drummer and lead vocalist Micky Dolenz, after meeting him on the set of their movie, Head, for which she was the choreographer. However, that claim has been denied by Basil, who has said that she “didn’t really know Micky at all”. In January 2020, Basil released a re-recording of the song as “Hey Mickey” to digital and streaming platforms.

On August 31, 2017, Basil filed a multi-claim lawsuit against Razor & Tie Direct, Forever 21, Disney, Viacom, VH1, and South Park. Basil alleged that the defendants had commercially used the song “Mickey” without a license and damaged her right of publicity, claiming excess of $25,000 in damages. Basil also filed a lawsuit against AMC on May 12, 2020, for the unauthorized use of “Mickey” in a trailer for Preacher. On August 27, 2020, a California state of appeals court affirmed dismissal of Basil’s case.

The music video was directed, produced and choreographed by Basil herself. The cheerleaders featured in the video were members of a championship squad from Carson High School in Carson, California. The cheerleading uniform Basil wore in the music video was the one she actually wore in high school. According to Basil, “They didn’t put anything in the budget, I did everything myself. And this is the actual cheer sweater from Las Vegas High.”

“Mickey” was Basil’s only U.S. Billboard Top 40 single.

SIDE A:

Mickey (Special Club Mix) 5:57

SIDE B:

Mickey (Spanish Version) 5:13

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“Suspense” is a song performed by the American singer-songwriter Toni Basil. Chrysalis Records released it as the second single from her eponymous second album. “Suspense” peaked at #8 on the US dance chart on January 5, 1985.

SIDE A:

Suspense (Club Version) 6:57

SIDE B:

Suspense (Dub Version) 6:05

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