Burning The Ground: DjPaulT's 80's and 90's Remixes

80's and 90's 12 Inch Mixes

Ish – I Could Love You (US 12″)

Posted by DjPaulT on June 2nd, 2016


A. Front

“I Could Love You” is a single by Ish professionally known as Ish Ledesma a Miami based singer, songwriter, musician, and producer. Ledesma has fronted, written for, or produced hits for the bands Foxy, Oxo, and Company B. Both Oxo and Company B were one-hit wonders in the US, with respective hits “Whirly Girl” and “Fascinated”; Foxy released several albums and singles, including the number one R&B hit “Get Off”.

In 1986 Ish released his second solo album “On This Corner” produced by Keyboardist and Arthur Baker’s right-hand man John Robie. “I Could Love You” was the second single taken from the album but failed to have any chart impact dwespite getting heavy club play.

I Could Love You (Club Mix) 6:02
Don’t Stop Now (Dub) 3:53

I Could Love You (Rhythm Version) 5:03
Scream For Daddy (Dub) 3:35
Toot Toot Too Doot (Dub) 2:59

Vinyl: Near Mint
Sleeve: Near Mint

Label: Geffen Records ‎– 0-20493
Format: Vinyl, 12″, 45 RPM, Maxi-Single
Country: US
Released: 1986
Genre: Electronic
Style: Electro, Synth-pop

Producer – John Robie
Remix – Dan Joseph (2), Ish Ledesma

Find the 12″ on DISCOGS

B. Back

Turntable: Pro-Ject Debut Carbon (DC)
Cartridge: Ortofon 2M
Stylus: Ortofon OM Stylus 30
Platter: Pro-Ject Acryl-It platter
Stabilizer: Pro-Ject Record Puck 
Phono Pre-amp:
Bellari VP130 Tube Phono Preamp
Tung-Sol 12AX7ECC803-S Gold Electron Tube
ESI Juli@
Record Cleaning:
VPI HW 16.5 Record Cleaning Machine
Artwork Scans:
Brother MFC-6490CW Professional Series Scanner

Recording/Editing: Adobe Audition 3.0 (Recording)
Down Sampling: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
MP3 (320kbps)
Artwork scanned at 600dpi

Username: btg
Password: burningtheground

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10 Responses to “Ish – I Could Love You (US 12″)”

  1. Jeff Says:

    My heart skipped major beats Paul when I saw this posted!! I have always been a fan of Ish since the days of his Foxy band and Oxo and his many productions. BUT, I fell in love with his “On This Corner” LP mainly because of the involvement of my favorite artist/producer John Robie. This album was such a highlight for me and it’s a shame that not too many people know of it, or it wasn’t that appreciated at the time. There are many a highlights to this album and this song is one of them. Bless your heart DjPaulT because I do not have this twelve in my collection and I am really looking forward to it. Man, you certainly bring the chills to my skin and body ten-fold. I can not wait to hear this one.

    Thanking you to the EXTREME!!



    DjPaulT Reply:

    You’re welcome Jeff thought of you while I was working on this because I know you are a huge Robie fan. You are gonna love this twelve 🙂


    Jeff Reply:

    Scream for DADDY!! Indeed I….DID!! Man Paul, I can not thank you enough for this. What a surprise this is!! Phew, I am so Thrilled to have it and in such — BEYOND STELLAR QUALITY too!! It’s much different than the album version, but there are definite shades of John Robie’s production throughout, like the emulator keyboard and the Toot Toot Too Doots. And that vocal exchange between Ish and the female is still in there as well. I love the extra punch of Latin percussion and I have such a thing for disco whistles as well. I love dance music like this so much. On Ish’s album, he covers Matt Bianco’s “More Than I Can Bare” so I can see how much Mr. Ledesma loves his Cuban/Latin culture. And oh, Paul, on the “Toot Toot Too Doot” dub, the scream there is the one S’Express samples on their “Theme from S’Express.” I just found that out today. This is really a special 12-inch you’re sharing with us Paul. I read on Discogs that for some reason the song can’t be on youtube for some reason. Maybe copywright or something along those lines. The sample scream is the only thing I did see on the website, all 14 seconds of it. But still, you have delighted me once again with your incredible skills.

    Big Hug!!



  2. Larry / DJ Lollipop Says:

    Thank you 1,000,000X Paul!!! I am downloading it now and can’t wait to hear it after your careful and wonderful transfer. Jeff and others may be interested in this record’s backstory:

    As you probably know, Ish Ledesma was a member of disco-legend Foxy and the a member and the musical genius, composer & producer of their biggest hits as well as being behind 80’s groups OXO & Blue Modérne. He is credited on Abba’s “Voulez Vous”, Miami Sound Machine’s “Bad Boy”, Latimore’s “Goodbye Heartaches” and Fred Schneider’s “Monster”. He also produced / composed “Something Tells Me” by Tiger Moon, “Be Mine Tonight” by Promise Circle and the club anthem “Fascinated” by Company B. Not too shabby, huh?

    In 1986, he inked a deal with Geffen Records to release a solo album produced in collaboration with 80’s club hit producer/keyboardist John Robie (Planet Patrol, Arthur Baker, Freestyle, Freeez, John Rocca, C-Bank, New Order, Mann Parrish, Jenny Burton and even Chaka Khan’s “Feel For You”)

    How could a creative collaboration between these dance music titans fail commercially?

    ANSWER: This release was practically ignored by Geffen’s marketing department due to all available resources being diverted to support label mates Peter Gabriel, Wang Chung & Berlin who were all having their biggest career hits ever at that exact moment in time (Big Time, Sledgehammer, Don’t Give Up, In Your Eyes all from Gabriel’s “So”, Everybody Have Fun Tonight, Let’s Go! And Hypnotize Me from Wang Chung’s “Mosaic” and Berlin’s international cross-over smash “Take My Breathe Away”. Any promotion at all on Ish’s project was further minimized by competing with the simultaneous release of Debbie Harry’s premiere Geffen release “Rockbird”. Expectations were high since Debbie was making her first career comeback after putting all recording on hold for 4 years to look after partner Chris Stein during his bout with cancer.

    Oh, and did I mention the prominently used, unauthorized sample debacle?
    During production, Robie used a recognizable sample from Lou Reed’s “Walk On The Wildside” in a way similar to his programming on Freeze’s club monster “I.O.U.” Somehow Robie & Ledesma slipped the usage of Reed’s icon back-up singers “Doot, Do-Doot” sample past Geffen/Warner’s legal department. The sample which provided the song’s second hook was property of rival RCA Records in a time period where record companies did not have “sample clearance departments” and were not sure how to handle the new technology enabling sample usage issues.
    Ish & John Robie’s incredible work on “I Could Love You” was doomed with voluminous amounts of the 12” headed for the vinyl cut-out bins.

    Although the limited 12” release that used the copyright-infringing sample was supported by progressive DJ’s in underground clubs (like myself at the time), this project received no promotion or radio single release. In the time before the internet and digital file sharing, this was the end of the line.

    Of course, just by the nature of it being a rare track from the get-go, “I Could Love You” was mined itself for sampling. The opening of the “Scream For Daddy (Dub)” is instantly recognizable as being pinched and immortalized in S-Express’s namesake hit as well as Corona’s “Rhythm of the Night”, hits from 808 State and many others. These original 12” vinyl mixes were never again available , on any format, PERIOD. (NOTE: Ish did re-record the song in 2005 as part of a career retrospective without John Robie’s distinctive keyboards, programming and the unauthorized samples on web-based Bandcamp, but it is an embarrassingly awful remake – no magic.)

    Thanks for the music Paul! Big hugz from CA!
    Larry / DJ Lollipop


    DjPaulT Reply:

    Thanks so much for the valuable information Larry / DJ Lollipop I really enjoyed getting all the facts that I did not know about this single. I am so excited that I now know the full story. It is a shame that Geffen over looked such a great artist.


    Jeff Reply:

    Again, thank you Larry / Dj Lollipop for this explanation. I wanted to respond to you directly but I filled out a separate post. I hope you did get a chance to see it as I am most appreciative.

    Thanks and have a wonderful weekend.



  3. Jeff Says:

    Larry / DJ Lollipop,

    You had me in a state of ecstasy with your marvelously astute and scholarly rundown on this ISH 12-inch. Gosh, Paul and now you have really made my month here!! What a fantastic history lesson we got here and it’s such a great way to honor Paul’s wondrous capabilities in his ripping skills. I am so happy to be schooled about anything with John Robie’s name behind it. I absolutely adore the “On This Corner” LP and was so very disappointed with how it did commercially. It’s really sad to hear about the way Geffen records treated this project. I remember reading how Donna Summer was very heartbroken over the way her music was ignored by the label as well. Such a shame, a damned shame.

    Great information over the Lou Reed sample too. I can’t believe that didn’t come to mind, and now, after your brilliant writing, it all makes sense. And I so agree too about the remake Ish did on his career retrospective, it lost the John Robie magic of his phenomenal production skills. I loved reading what you had to say because, as a die-hard Mr. Robie fanatic, I can’t really find much about him in any way. He is someone that I wish would get the full attention he deserves. His production techniques are wild and I’m EXTREMELY GRATEFUL to Paul for having some of his tracks available here on Burning The Ground.

    And again, Larry / DJ Lollipop, I really am overjoyed at your input here. I so hope the community here will check out this song and mixes and maybe seek out the album it’s culled from. I love the collaboration between Ish and Terry Nunn from Berlin on the old Gershwin track, “It Ain’t Necessarily So” which has great vocals from both artists under John Robie’s producing acumen!!

    I hope you have a great night and weekend ahead!!!



  4. Joey Says:

    He looks Jimmy Fallon-ish.


  5. Larry / DJ Lollipop Says:

    @Jeff – I’m glad you enjoyed the “T” on on Paul’s masterful transfer. I enjoyed sharing it.
    A well balanced vinyl transfer is actually hard to do and Paul is indeed the absolute best at his craft. Most vinyl transfers have a hard time resisting the temptation to over-sweeten the high-end and over compress the frequency band. History will reflect Paul to be a curator at heart, lovingly saving vinyl club masterpieces from oblivion. Record companies judge what a “masterpiece” is based on sales volume – but a true masterpiece (IMO) should be based on the musical and cultural impact it had. Without John Robie, work credited to Arthur Baker would not have had the impact it is misguided-ly credited for.

    Now if can only get Paul to do his magic on C-Bank’s “One More Shot” 12″ that has never had the essential B-side Instrumental properly digitized. An absolute gem! Back in ’82, the instrumental was essential to club Dj’s who used it to mix into the song and build dance floor energy before finally cutting into Jenny Burton’s vocals on the A-side which was very sonically dense and (due to the manually achieved stutter editing) had an intro that did not keep an even tempo which usually resulted in a “train-wreck” overlay and was avoided for that reason.

    Paul does not skimp on the dub/instrumentals which always earn his work a place in my digital music crate! (now scream, scream for Daddy…)


    Jeff Reply:

    Larry / DJ Lollipop, you are so right about Paul’s exquisite work here on Burning The Ground. I’m no audiophile, but I know what I like by what I hear and Paul has consistently floored me with his vinyl transfers. His taste is so much like my own and he showcases songs, like you said “based on musical and cultural Impact.” And Paul has rescued dub versions from oblivion too. All too rarely, do we get CD compilations that have all the bells and whistles of our beloved 12-inch dance disc. Paul’s artistry demands notice on so many levels. He is an archivist and a true champion of the underdog artist, producer and mixer. These dubs are platinum mines of some ingenious minds in their execution. I love that there are folks like yourself who revel in what DjPaulT does each and every post. There’s something for everyone here, but I do relish the fact that he hits my sonic sweet spot so many times with his past, present and future postings.

    So THRILLED to hear that you’re a fan of John Robie’s “One More Shot” too. I so agree about the instrumental flip-side and its need to be gloriously ripped. Robie set out to make the perfect “art record” and to this day, it’s probably in my top three dance records of all time. The sound of broken glass and the manipulation of the tape back and forth, sort of like scratching a record was so innovative at the time. Robie created this bombastic atmosphere with his synths and sound effects along with the electrifying vocals of Jenny Burton, that it created this intensely wild ambiance for the dance club. Thank you for loving this record too Larry / DJ Lollipop because it makes me feel that I’m not alone in my tastes.

    I was wondering if you write professionally as you so eloquently describe things perfectly? I adore your enthusiasm for Mr. Robie’s work. This guy NEEDS to be championed for his talents and musical genius. I just appreciate anyone whose life is made better by his music.

    Have a great day!!



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