The Beat

The Beat was an English new wave band that emerged on the Birmingham ska scene with a 1979 cover of The Miracles classic “Tears of a Clown” on The Specials‘ 2 Tone label. They formed their own label, Go-Feet Records, for the 1980–1982 albums I Just Can’t Stop It, Wha’ppen?, and Special Beat Service. The albums appeared on I.R.S. in the U.S., where they billed themselves as The English Beat. Their popular songs include “Mirror in the Bathroom,” “Hands Off…She’s Mine,” “Twist and Crawl,” “Too Nice to Talk To,” and the eighties evergreen “Save It for Later.” 

Singer–guitarist Dave Wakeling and toaster–singer Ranking Roger made two subsequent albums as General Public, which scored a 1984 hit with “Tenderness.” Bassist David Steele and guitarist Andy Cox later teamed with vocalist Roland Gift in the Fine Young Cannibals, which acheived global stardom in the late eighties.

Members: Dave Wakeling (vocals, guitar), Andy Cox (guitar), David Steele (bass), Everett Moreton (drums), Ranking Roger (vocals), Saxa (saxophone)


The Beat assembled in Birmingham in late 1978 as a four-piece consisting of singer–guitarist Dave Wakeling, guitarist Andy Cox, bassist David Steele, and drummer Everett Moreton, all newcomers to the scene. On March 31, 1979, they made their live debut at the Mattador Club as the opening act for the Dum Dum Boyz, a punk band fronted by sixteen-year-old Ranking Roger (aka Roger Charlery). That night, The Beat — introduced as “the hottest thing since the Pennsylvania meltdown” in reference to the then-recent Three Mile Island nuclear disaster — impressed Roger, who soon joined the band as co-singer and toaster.

The Beat honed their mix of reggae, ska, and New Wave rock while on tour with another up-and-comer, The Selecter. This led to a deal with 2 Tone, the ska label started by Selecter associates The Specials. Before they entered the studio, The Beat added Jamaican saxophonist Saxa (b. 1930), whose background included gigs with Laurel Aitken, Prince Buster, and Desmond Dekker. 

“Tears of a Clown”

On November 19, 1979, The Beat debuted with “Tears of a Clown,” a cover of the Miracles classic backed with “Ranking Full Stop,” a group-written number. 

A. “Tears of a Clown” (2:39) originated as an album track on the 1967 Tamla release Make It Happen by Smokey Robinson & The Miracles; composed by Stevie Wonder and Hank Crosby with lyrics by Robinson.

B. “Ranking Full Stop” (2:47)

On this and subsequent sessions, The Beat worked with producer Bob Sargeant, a onetime member of Tyneside mods the Junco Partners who recently entered production with credits on 1978–79 punk and post-punk singles by The Buzzards, The Carpettes, The Cravats, pragVEC, and The Transmitters.

“Tears of a Clown” was the fifth 2 Tone release, slotted between The Specials second hit “A Message to You, Rudy” and their first No. 1 “Too Much Too Young.” The Beat entered the UK Singles Chart at No. 27 with “Tears of a Clown,” which climbed to No. 6. They mimed it on the December 13 broadcast of the BBC music program Top of the Pops, which also featured end-of-year hits by ABBA (“I Have a Dream”), Blondie (“Union City Blue”), Paul McCartney (“Wonderful Christmastime”), Pink Floyd (“Another Brick In the Wall”), The Pretenders (“Brass In Pocket”), and Status Quo (“Living on an Island”). In The Beat’s segment, Wakeling sports a gray mod suit and strums a Vox Mark VI Teardrop guitar (strapped upside-down to suit his left-handedness).


The Beat ushered the new decade with an encore appearance for “Tears of a Clown on the January 3 TotP, which also featured hits by The Clash (“London Calling”), Chic (“My Feet Keep Dancin”’), David Bowie (“John I’m Only Dancing” disco version), Madness (“My Girl”), Rose Royce (“Is It Love You’re After”), and the duet between Billy Preston and Syreeta (“With You I’m Born Again”). In this appearance, The Beat wear all black inside a pink stage contraption with a backdrop that reads “1980.”

Inspired by The Specials’ 2 Tone arrangement with Chrysalis, The Beat started their own label, Go-Feet, distributed by Arista. Its first release was the February 1980 second Beat single “Hands Off…She’s Mine” (b/w “Twist and Crawl”), followed in April by “Mirror in the Bathroom” (b/w “Jackpot”). Birmingham artist Hunt Emerson designed the label’s beat girl mascot and illustrated the band’s first two album covers.

I Just Can’t Stop It

The Beat released their first album, I Just Can’t Stop It, on May 23, 1980, on Go-Feet (UK, Australia) and Sire (US). Sire copies add both sides of the 1979 single.

I Just Can’t Stop It is the first of two Beat albums with the six-piece lineup of singer–guitarist Dave Wakeling, toaster–singer Ranking Roger, guitarist Andy Cox, bassist David Steele, drummer Everett Morton, and saxophonist Saxa. This is their only self-contained album.

The Beat group-composed eight songs on I Just Can’t Stop It, which also contains covers of rocksteady chestnuts by The Pioneers (“Jackpot”) and Prince Buster (“Whine & Grine,” “Rough Rider”), plus a ska update of the much-covered Andy Williams oldie “Can’t Get Used to Losing You.”

1. “Mirror in the Bathroom” (3:10)
2. “Hands Off…She’s Mine” (3:01)
3. “Two Swords” (2:19)
4. “Twist & Crawl” (2:35) features lyrics by British barman Dick Bradsell, a boyhood friend of Wakeling.
5. “Rough Rider” (4:53) originated as a 1967 President Records b-side by The Four Gees, a pseudonym for The Equals; written by frontman Eddy Grant with bandmates Dervan and Lincoln Gordon and Eddy’s father Patrick Grant. In 1968, “Rough Rider” reappeared as a Fab–Stateside a-side by the Jamaican rocksteady band Prince Buster & the All Stars.
6. “Click Click” (1:28)
7. “Big Shot” (2:34)
8. “Whine & Grine/Stand Down Margaret” (3:51) “Whine & Grine” originated as an album track on the 1969 Fab Records release Wreck a Pum Pum by Prince Buster & the All Stars.
9. “Noise in This World” (2:19)
10. “Can’t Get Used to Losing You” (3:04) is a song by Brill Building songwriters Doc Pomus and Mort Shuman; first recorded in 1963 by American MOR singer Andy Williams and covered the same year by Bobby Darin, Paul Anka, and Martha & The Vandellas. In 1965, Chad & Jeremy cut a ska-pop version on their third album Before and After.
11. “Best Friend” (3:01)
12. “Jackpot” (4:19) originated as a 1968 a-side on Amalgamated Records by The Pioneers, a Kingston rocksteady trio comprised of writers George Agard, Sydney Crooks, and Jackie Robinson.

Bob Sargeant produced I Just Can’t Stop It ahead of 1980 titles by Any Trouble, Headline, The Monochrome Set, and the Q-Tips. The album credits five engineers, including FingerprintzVapors soundman Trevor Hallesy and industry vet Mike Dunne, who engineered seventies albums by Yes and associated acts (Badger, Flash, Jon Anderson), plus titles by Hugh Hopper, National Health, Darryl Way’s Wolf, and recent releases by The Slits and The Pop Group.

I Just Can’t Stop It sports a three-tone scheme (black, white, hot pink) with a silhouetted group profile (front) and an illustration of the beat girl placing the album on a turntable (back). Hunt Emerson illustrated the cover in sequence with “Too Many Cooks In the Kitchen,” a ska single by The Colonel, a one-off project by the rhythm section of XTC (recorded while frontman Andy Partridge was busy with his solo album).

On February 14, The Beat released “Hands Off…She’s Mine” as their second single (b/w “Twist and Crawl”).

“Hands Off…She’s Mine” reached No. 1 in Ireland and No. 9 on the UK Singles Chart. The Beat mimed it on the February 22 broadcast of TotP, which thrice aired the song amid winter hits by The Boomtown Rats (“Someone’s Looking at You”), The Buggles (“The Plastic Age”), Cliff Richard (“Carrie”), Fern Kinney (“Together We Are Beautiful”), Iron Maiden (“Running Free”), Jefferson Starship (“Jane”), Joe Jackson (“It’s Different For Girls”), The Lambrettas (“Poison Ivy”), Martha + The Muffins (“Echo Beach”), Peter Gabriel (“Games Without Frontiers”), Queen (“Save Me”), Rainbow (“All Night Long”), Squeeze (“Another Nail In My Heart”), The Whispers (“And the Beat Goes On”), and style-mates The Selecter (“Three Minute Hero”) and The Specials (“Too Much Too Young”).

In the TotP “Hands Off” clip, Roger jumps in place in a gray suit and pork pie hat as the band plays amid bar columns on a dark stage, where bassist David Steele stands behind drummer Everett Morton in a bright red jacket. The Beat also mimed “Hands Off” on the Dutch music program TopPop, where guitarist Andy Cox doubled up on xylophone.

On April 25, The Beat issued “Mirror in the Bathroom” as the second advance single (Feet 02).

In the “Mirror in the Bathroom” video, Beat personnel check their reflections at assorted stops (bathroom mirrors, storefront windows) and converge off-hours in a dark disco, where they mime amid pink lights and mesh dividers.

“Mirror in the Bathroom” reached No. 4 on the UK Singles Chart and No. 7 in Ireland. The Beat mimed it on the May 1 broadcast of TotP, which twice aired the song amid spring ’80 hits by the Crown Heights Affair (“You Gave Me Love”), Dexys Midnight Runners (“Geno”), Hot Chocolate (“No Doubt About It”), Kate Bush (“Breathing”), Leon Haywood (“Don’t Push It, Don’t Force It”), Motorhead (“Leaving Here”), Mystic Merlin (“Just Can’t Give You Up”), Narada Michael Walden (“I Shoulda Loved Ya”), New Musik (“This World of Water”), Rodney Franklin (“The Groove”), Roxy Music (“Over You”), Saxon (“Wheels of Steel”), and Whitesnake (“Fool for Your Loving”). Wakeling and Roger wear red button-ups under black zip-ups on the Beat segment, which takes place on a round low-level stage where Roger holds a round makeup mirror to his face.

On August 8, “Best Friend” became the third I Just Can’t Stop It single (b/w “Stand Down Margaret”). They performance clip inside a gray–black striped studio where Roger sports a red jacket and Dave wears a yellow polo shirt with sky-blue slacks. TotP aired the song on September 4 along with late-summer hits by Billy Joel (“It’s Still Rock And Roll to Me”), Gary Numan (“I Die You Die”), Hazel O’Connor (“Eighth Day”), The Jam (“Start”), Nick Straker Band (“A Walk In the Park”), The Piranhas (“Tom Hark”), Randy Crawford (“One Day I’ll Fly Away”), and Sheena Easton (“Modern Girl”).

I Just Can’t Stop It reached No. 3 on the UK Albums Chart and peaked at No. 30 in New Zealand and Norway. The album’s liner notes give special thanks to John Peel, The Specials, The Selecter, and Hunt Emerson.

“Too Nice to Talk To”

On December 5, 1980, The Beat released the standalone single “Too Nice to Talk To” backed with “Psychedelic Rockers,” both group-composed numbers produced by Bob Sargeant.

A. “Too Nice to Talk To” (3:08)

B. “Psychedelic Rockers” (3:54)

In the “Too Nice to Talk To” video, The Beat record a new single and have it pressed and released to shops in the span of one afternoon. First, they huddle inside a tour van and perform at a studio where producer Bob Sargeant dons big ears behind the sound board. Later, they appear in a factory as the record goes to press and give another performance inside a record store.

“Too Nice to Talk To” reached No. 7 on the UK Albums Chart and No. 6 in Ireland. The Beat mimed it on the December 18 broadcast of TotP, which also featured end-of-year hits by Madness (“Embarrassment”), The Police (“De Do Do Do, De Da Da Da”), Robert Palmer (“Looking for Clues”), Spandau Ballet (“To Cut a Long Story Short”), and the recently-slain John Lennon (“(Just Like) Starting Over”). The “Too Nice” segment takes place under a flashing geometric ceiling fixture on a dark studio stage, where Roger dons a black sweater lined with the Rasta colors (red, yellow, green).

The Beat returned for an encore mime of “Too Nice to Talk To” on the January 8 TotP, which also featured new year hits by Adam & The Ants (“Antmusic”), Barry Manilow (“Lonely Together”), Sad Café (“I’m In Love Again”), and fellow skankers Bad Manners (“Lorraine”) and The Specials (“Do Nothing”). On this occasion, The Beat perform on a blue-lit stage flanked by audience members and scantily attired Legs & Co dancers. Articles of note appear on Andy Cox (color-block sweater) and David Steele (green cardigan).


The Beat appear in the 1981 musical documentary Dance Craze, a chronicle of the British ska scene with live numbers by The Specials, The Selecter, Madness, The Bodysnatchers, and Bad Manners. Filmmaker Joe Massat (The Song Remains the Same) directed the 85-minute documentary, which contains twenty-six songs, including five Beat numbers: “Rough Rider,” “Twist and Crawl,” “Ranking Full Stop,” “Big Shot,” and “Mirror in the Bathroom.” The last three appear on the accompanying fourteen-song soundtrack album on 2 Tone Records.


The Beat released their second album, Wha’ppen?, on May 8, 1981, on Go-Feet and Sire. Musically, it expands on the ska style of its predecessor with traces of roots reggae and Caribbean sounds.

Wha’ppen? is the second Beat album with the six-piece lineup of singer–guitarist Dave Wakeling, toaster–singer Ranking Roger, guitarist Andy Cox, bassist David Steele, drummer Everett Morton, and saxophonist Saxa. The album also contains phantom contributions by musicians ‘Dick’ (steel drum), ‘Saltin’ (trumpet), and veteran session keyboardist Dave “Blockhead” Wright. Producer Bob Sargeant (credited as “Have a Go Bobby”) plays marimba on select passages.

1. “Doors of Your Heart” (3:46) is a co-write with one Colin Osborne. Congos co-founder Cedric Myton provides extra vocals.
2. “All Out to Get You” (2:45)
3. “Monkey Murders” (3:10)
4. “I Am Your Flag” (2:54)
5. “French Toast (Soleil Trop Chaud)” (3:31) is a song by Joseph Jefferson of the Dominican cadence-lypso act Les Gramacks.
6. “Drowning” (3:53)

7. “Dream Home in NZ” (3:11)
8. “Walk Away” (3:11)
9. “Over and Over” (2:40)
10. “Cheated” (3:28)
11. “Get-a-Job” (3:10)
12. “The Limits We Set” (4:15)

Sessions took place at London’s Roundhouse Studios with Sargeant, who produced Wha’ppen? in sequence with 1981 singles by The Axe, Haircut One Hundred, Siam, and Go Feet signees The Mood Elevators (“Driving By Night,” Feet 07). Roundhouse staffer Mark Dearnley served as chief engineer with assistance by Nick Rogers. Both worked on I Just Can’t Stop It and the debut album by Angel Witch.

Wha’ppen? sports a brushstroke group illustration by Hunt Emerson, who also earned a visual credit on the 1981 Stiff release Hot, the singular album by the Jamaican-British reggae group The Equators. The inner-sleeve to Wha’ppen? presents the lyrics on a tow-tone columns (black on red; red on black) with pictures of the prior album and the Go Feet logo (two shoe prints).

On April 10, The Beat released “Drowning” as an advance double a-side with “All Out to Get You.” In the “Drowning” video, The Beat first appear translucent over backward diving footage. Zoom-ins of a half-visible, infrared Wakeling run across band footage in a swimming pool, where members float amid dollar bills and cling to a surf board.

“Drowning” reached No. 18 in Ireland and No. 22 on the UK Singles Chart. The Beat mimed it amid blue-lit zigzag columns on the April 16 broadcast of TotP, which also featured spring hits by The Cure (“Primary”), Department S (“Is Vic There?”), Ennio Morricone (“Chi Mai”), Girlschool (“Hit & Run”), The Jacksons (“Can You Feel It?”), and Sugar Minott (“Good Thing Going (We’ve Got a Good Thing Going)”).

The Beat also made a video for “All Out to Get You,” in which they perform outside a power plant, where a car swerves to a halt for Dave, Roger, Andy, and David, who huddle into the back seat and lip sync. Seconds later, they give an outside nighttime performance rendered with period camera effects (action overlays, slow motion). Steel dons the Sherlock Holmes look (fedora, trench coat) worn in concurrent videos by Gary Numan (“She’s Got Claws”), Genesis (“Keep It Dark”), and Rupert Hine (“The Set Up”).

The Beat mimed “All Out to Get You” on an orange-lit stage swarmed with dancing audience members on the March 30 broadcast of TotP, which twice aired the song amid spring ’81 hits by Adam & The Ants (“Stand & Deliver”), Duran Duran (“Careless Memories”), The Human League (“The Sound of the Crowd”), Kim Wilde (“Chequered Love”), Madness (“Grey Day”), Smokey Robinson (“Being With You”), Stray Cats (“Stray Cat Strut”), The Teardrop Explodes (“Treason (It’s Just a Story)”), Thin Lizzy (“Are You Ready?”), and Toyah (“I Want to Be Free”). In the “Get You” segment, the frontal pair sport suits of gray (Dave) and black (Roger, who wears a red tie and carnation) while the others wear casual band shirts.

On June 12, The Beat released “Doors of Your Heart” as a second single (b/w “Get a Job”). In the video, The Beat perform on a London rooftop, where Dave and Roger swing their arms in time to the pace of an ongoing street parade. Midway, they reappear on a parade float and perform as revelers proceed in tribal and period costumes.

Wha’ppen? matched its predecessor with a No. 3 peak on the UK Albums Chart and bettered the debut by ten slots in New Zealand (No. 20). The album peaked at No. 28 in Sweden.

“Hit It (Auto Erotic)”

On November 20, 1981, The Beat released “Hit It (Auto Erotic)” backed with “Which Side of the Bed…?” — both group-composed numbers co-produced with Mike Hedges, a soundman on recent albums by The Cure (Seventeen Seconds, Faith) and The Associates (The Affectionate Punch).

A. “Hit It (Auto Erotic)” (3:02)

B. “Which Side of the Bed…?” (4:32)

In the “Hit It” video, The Beat perform in a converted dark industrial space with flashing red–blue lights and a coffin, which opens up midway to reveal a live Saxa. This was their third and final non-album single.


The Beat expanded to an eight-piece in 1982 with the addition of saxophonist and clarinetist Wesley Magoogan, a graduate of Hazel O’Connor’s backing band who also played on titles by Phil Cordell and the recent second album by The Lambrettas.

The Best performed at the first of US Festival, a music and culture event arranged by Apple co-founder Steve Wozniak and Bay Area concert promoter Bill Graham. The event took place a makeshift stage at Glen Helen Regional Park near Devore, California. Twenty acts played at the three-day festival, including The Cars, Fleetwood Mac, The Kinks, Pat Benatar, and Santana. The Beat performed on Day 1 (Friday, September 3) along with The B-52’s, Gang of Four, Oingo Boingo, The Police, and Talking Heads.

“Save It for Later”

On April 2, 1982, The Beat released “Save It for Later,” a song Dave Wakeling wrote as a teenager before the band’s formation. He plays the song in a unique tuning (DADAAD), an accidental corruption of Celtic tuning (DADGAD), which he intended while practicing John Martyn songs.

“Save It for Later” reappeared six months later as the opening track on Side Two of their third album. The b-side remained exclusive to this single.

B. “What’s Your Best Thing?” (3:47)

In the “Save It for Later” video, The Beat perform inside a beatnik watering hole with decorative skulls, colored lights, and arched corridors. The audience consists of quiet bookworm men and bouffanted beauties in assorted fifties attire (petticoats, striped shirts, fedoras). The men appear shy-stricken and unable to engage the women, who indicate boredom until Wakeling steps into the seated audience and pulls the ladies up from their chairs.

An expanded nine-piece Beat lineup performed “Save It for Later” on the late-night variety program OTT, which ran for one season on the ITV network.

Special Beat Service

The Beat released their third album, Special Beat Service, on October 1, 1982, on Go-Feet and I.R.S. (US). It contains the singles “Jeanette,” “I Confess,” and the earlier a-side “Save It for Later,” which became their signature song. Musically, the album weds reggae and neo-Merseybeat with the contemporary funk-pop of Orange Juice and Haircut One Hundred.

Special Beat Service is the only Beat studio album with the expanded lineup of guitarist Dave Wakeling, toaster–singer Ranking Roger, guitarist Andy Cox, bassist David Steele, drummer Everett Morton, saxophonist Saxa, and new member Wesley Magoogan, who co-wrote plays clarinet, saxophone, lyricon, and the sax FX unit. Wha’ppen? session keyboardist Dave “Blockhead” Wright appears in the credits as an eighth member.

Producer Bob Sargeant plays marimba and telephone on Special Beat Service, which features auxiliary musicianship by percussionist Marc Fox, accordionist Jack Emblow, tabla player Markandey Mishra, and a three-piece brass section comprised of trombonist Vince Sullivan and trumpeters Dave Lord and Steve Sidwell.

1. “I Confess” (4:34)
2. “Jeanette” (2:46)
3. “Sorry” (2:33)
4. “Sole Salvation” (3:05)
5. “Spar Wid Me” (4:32)
6. “Rotating Head” (3:24)

7. “Save It for Later” (3:34)
8. “She’s Going” (2:10)
9. “Pato and Roger Ago Talk” (3:19) is a toast between Ranking Roger and Pato Banton.
10. “Sugar and Stress” (2:57) Magoogan co-wrote this song with the six veteran members.
11. “End of the Party” (3:32)
12. “Ackee 1-2-3” (3:12)

Sessions occurred at the Roundhouse with Bob Sargeant amid sessions for Pelican West, the singular Haircut One Hundred album with original frontman Nick Hayward. Wha’ppen? soundman Mark Dearnley engineered Special Beat Service in sequence with 1982 titles by Toyah and Sally Oldfield. Roger co-produced “Pato and Roger a Go Talk” with engineer Mike Hedges, also credited on 1982 titles by Diamond Head, Siouxsie & The Banshees, and Thomas Dolby.

Special Beat Service presents The Beat advancing from a tour plane in sleek formal attire apart from Saxa, who sports a white thawb and keffiyeh. Graphic illustrator Martyn Atkins of T&CP Associates designed the cover in sequence with artwork for 1981–82 releases by Depeche Mode, Echo & The Bunnymen, Minny Pops, Pauline Murray & The Invisible Girls, and The Teardrop Explodes.

On September 3, The Beat released “Jeanette” as the second advance a-side backed with the non-album “March of the Swivel Heads,” a group-composed outtake from the recent Sargeant sessions.

B. “March of the Swivel Heads” (5:15)

On November 26, The Beat lifted “I Confess” as the third Special Beat Service single (b/w “Sole Salvation”).

In the “I Confess” video, a black-clad Beat perform in white and black studio spaces; presented with recurrent diagonal split-screen.

Special Beat Service peaked at No. 21 on the UK Albums Chart and became their first Top 40 album on the US Billboard 200.


The Beat performed the second and final US Festival, which occurred nine months after the first in late May near San Bernardino. Wozniak and promoter Barry Fey organized the second festival, which spanned four days divided into four genres: new wave (INXS, Wall of Voodoo, A Flock of Seagulls, Men at Work), rock (Quarterflash, Stevie Nicks, Joe Walsh, David Bowie, U2), heavy metal (Ozzy Osbourne, Judas Priest, Triumph, Scorpions, Van Halen), and country (Emmylou Harris, Waylon Jennings, Willie Nelson). Several acts associated with new wave (Berlin, Missing Persons, The Pretenders) played on the “rock” day. The closing slot on “new wave” day (Saturday, May 28) featured The Clash in their final show with guitarist Mick Jones.

What Is Beat? – The Best of The Beat

In June 1983, The Beat rounded out their career with What Is Beat? – The Best of The Beat, a fourteen-track compilation. It contains five tracks from the Go Feet I Just Can’t Stop It (“Hands Off…She’s Mine,” “Mirror in the Bathroom,” “Stand Down Margaret,” “Twist and Crawl,” “Best Friend”) and two tracks each from Wha’ppen? (“Doors of Your Heart,” “Drowning”) and Special Beat Service (“Save It for Later,” “I Confess”).

What Is Beat? also contains both sides of their 1979 debut single (“Tears of a Clown” and “Ranking Full Stop,” both added to the North American IJCSI) and their 1980 non-album a-side “Too Nice to Talk To,” plus a remixed version of “Can’t Get Used to Losing You” and the new track “Ackee 1-2-3.” Original vinyl copies contain Frebe, an eight-song bonus EP with extended remix versions of “Doors of Your Heart,” “Drowning,” “I Confess,” “Too Nice to Talk To,” and its b-side “Psychedelic Rockers,” all within the five-minute range.

Ackee 1-2-3” (3:07) 

The Beat released the remixed “Can’t Get Used to Losing You” in April as an advance single (b/w “Spar Wid Me”). In reached No. 2 in Ireland and No. 3 on the UK Singles Chart. They mimed it on the 1000 episode of TotP, which broadcast on May 5, 1983, with eighteen years of hits, including oldies by 10cc (“I’m Not In Love”), The Beatles (“All You Need Is Love”), The Bee Gees (“Massachusetts”), The Dave Clark Five (“Bits & Pieces”), Elton John (“Your Song”), Joe Cocker (“With a Little Help From My Friends”), Manfred Mann (“Mighty Quinn”), The Move (“Fire Brigade”), Rod Stewart (“Maggie May”), The Rolling Stones (“Get Off of My Cloud”), and The Supremes (“Baby Love”). The recent hits included numbers by Blancmange (“Blind Vision”), Fun Boy Three (“Our Lips Are Sealed”), Heaven 17 (“Temptation”), Men at Work (“Overkill”), Spandau Ballet (“True”), and Thompson Twins (“We Are Detective”).

The Beat’s segment took place amid geometric neon lights and a circular swarm of studio dancers on a low-level stage, where Magoogan roams between his bandmates in black pencil jeans and a sleeveless pink band shirt. They returned a fortnight later to re-mime “Can’t Get Used to Losing You” on the May 19 broadcast, which also featured hits by the JoBoxers (“Just Got Lucky”), Wham! (“Bad Boys”), Yazoo (“Nobody’s Diary”), and ex-Linx singer David Grant (“Stop and Go”). Wakeling donned a tuxedo for this appearance, which occurred on a cagey fog-laden stage under pink–teal lights.

In June, The Beat issued “Ackee 1-2-3” as their final single, backed with the Wha’ppen? track “Monkey Murders.”



Leave a Reply

Your email address will not be published. Required fields are marked *