There are two entirely different sets of tracks recorded two years apart with entirely different sets of young ladies. The first set has very good vocal perfomances, a simple yet tightly planned and aesthetic arrangement and slick production values. The session with the original Expose was a big hit. This is the single you want. If you don't care about the dub version which is not essential, and you have the compilation album Exposure, STOP! You already have the version that made Expose marketable as a brand name. Once "Expose" had a big hit, anyone could be Expose and sell records.The original Expose went away after this single hit the big time. It might help to imagine the new girls strangling the trio that achieved fame for Expose and leaving the corpses to the crows. The changeling Expose, used the dead girls' recording on their album as if it was their own. Following the album they could record their own crap on a stick version of the dead girls' catchy hit and it wouldn't matter how awful and stinky it was. The album cover and the really crappy single would share the same cover and more units of both would sell, although the album version and the new single had nothing in common.This 1985 release is the good single. The other one is total garbage compared to the one that actually achieved hit status on its own. Don't be fooled by the ambiguity.

this is a completely true story...

It surprises me that the average rating for this pointless and massively overstated re-recording of the original classic with a new (not necessarily better) lineup. Either Lewis Martinee or a clueless hack put in charge got his hands on a sampler and abandoned the concept of restraint probably thinking that more annoying repeats (think skips and cd flaws) would be way moar bettah.The special crap in a bag cover is a piece of work, and it probably stunk up the room where it was squeezed off, The classic `just got out of bed and still feeling the acid` look coupled with the randomly selected and ill-sized clown costumes looks as cheap and lazily slapped together as the garbage inside the jacket, a trilogy of headache-inducing, stomach-churning, toilet-clogging abortions scraped out and slapped together for a fast buck on a hangover or really crappy bathtub helluciogens.Cover art: one girl is facing the wrong way, either asleep, filled with shame or not aware that she's now one third of a smash hit girl group although she's yet to record anything. The middle girl has a poker face, but the outfit screams "I don't give a crap." The third girl is making a weird face like she's some hot superstar although she had nothing to do with the original hit single with a simple thought out arrangement and slick production by someone who was awake at the mixing board. Cool chick, probably the one who came up with all the awful vocal fills (hey hey hey hey~~~yay, tak-tak-in baaaa~~~~yack, oh God I'm in over my head...) is squatting awkwardly like she really has to go #2 but still makes an effort show her cleavage, which is really arousing considering she really has to go potty.Extended and Crossover mix... as if neither one was sufficiently awful to release on another on a deluxe disposable cassette. The extra three minutes compared to the original 5:40 club classic, gives the new girl plenty of time to try her hand at scatting or something because it's already a hit so who cares? More than 9:00 of crap with extra skipping fx (yay sampler turned up to 11).The crossover mix is closer to the original, it's 15 seconds longer. Too bad most of that time is spent funking up the original as if avoiding what made the original version fill dance floors across the world is a good use of time. Perhaps that this mix inspired club goers to cross over the dance floor and head for the exit when the new girl gets to scat mode accompanied by stuttering sampler gimmickry and a really insipid plastic saxaphone interlude. I'm being kind here, track 2 only increases the pain, leaving the hope for something good to come out this single from the traditional filler track that never gets played becuse it's mostly boring filler sequencer stuff with different sections muted for the "dub" sound that rarely stands on its own and encourages sales.Amazingly Dub of No Return (Strikes Again) is the third strike. It's a total mess. Someone sent the wrong tape reels to be mastered.If I hear hey hey hey, hey hey hey, hey hey ha~~~~~yaaa~~~~ay again I'm going to go postal. I can't believe I listened to the entire single just to bash this abomination, but it had to be done. This is total garbage -- the no-photo Arista jacket 2 cut single from 1985 is Point of No Return -- this is No Point, Return this turkey to the store. It's mislabled and stinky.Pop singles when they have a-cappella or dub mixes, its usually to make sure that both sides have grooves. If the club mix is good, a throwaway track or one with at least some usable drop ins is fine. A really hot club mix may as well have the same cut on both sides letting a DJ play the hell out of it.Everything about this single blows goats and it never should have happened. Martinee was wise enough to use the original hit already in the can (with the orginal lineup) on the LP, featuring Come Go with Me and some other filler masquerading as Expose hits (with Milli Vanilli on backup), so why take a crap on a solid single that was already a proven hit? I bought both and immediately put this one in the crap crate.This blows a barnyard of goats. Anyone giving this release a good rating thinking it's somehow related to the original meticulously arranged single that lit dancefloors everywhere on fire is making a simple mistake, or is probably out in the pasture blowing goats just for the taste of it. Listen to all three tracks before deciding if a score of 1.0 is too high. If not, play the entire single again.Arista should have called this one back in because it's uniquely awful in every way. The stupid, it burns. This goes back in the do not play crate. Icky.