September 3, 1983: “Now seems the moment to put recent developments into their historical perspective.”

ODDS ‘N’ BODS

MICHAEL JACKSON has just cut another duet with Paul McCartney, mixed by Jellybean Benitez, but first we’ll finally get ‘Thriller’ on 12in in a month, while Alan Coulthard’s Disco Mix Club Jackson megamix has evidently been closely copied on a remade Belgian bootleg (please do not ask how to find it!) . . . Tom Browne has been produced by the Jonzun Crew in ‘Rockit’ style — and Herbie Hancock is now top US Dance/Disco hit . . . Bensons of Henley at Remenham Hill hold a music business barbeque next Sunday (11) at 7pm, £3 a head, all DJs and record company people welcome — if they can bear WEA’s Fred Dove as guest jock! . . . Randy Crawford will sing and talk to you all this month on 01-388 5188 . . . Lillo Thomas’s LP is already out here (Capitol EST 7122901), and Ryan Paris last week should have been 120½bpm . . . Brass Construction ‘We Can Work It Out’ is now on import 12in as a negligible remix . . . Philip Bailey’s import ‘Continuation’ LP doesn’t exactly scream “dance to me!” . . . Canada’s Power label soon reissues Antonia Rodriguez ‘La Bamba‘ and Dee Dee Jackson ‘SOS (Remix)‘, and in fact Power’s Vince Degiorgio is looking for new “high energy” masters at 190 Colin Ave, Apt 108, Toronto, Ontario M5P 2C6, Canada . . . Paul Travis has just started a free admission/pub bar prices boys town night at Wigan’s old Tiffany’s, now renamed Maxine’s, every Thursday . . . Norman Scott (Haringey Bolts — current big oldie, Connie Francis ‘Where The Boys Are‘!) passes on from regular Bolter Steve Jolley that Imagination’s next album will include some strong disco tracks . . . Pete Haigh (Standish Cassinellis) observes that boys town music seems to be crossing over to pop audiences who dislike electro-funk’s rigidity . . . Carl Richardson (Hull 0482-711874) is after the old “Josephine Baker tribute” LP by Phyliscia (Felicia?) Allen & The Village People . . . Paul Gough (Hartlepool 0429-70036) will pay big bucks for the old Prince Philip Mitchell ‘Top Of The Line’ LP . . . ‘New Blackbeat’ is a fax ‘n’ info crammed deep soul fanzine 34 closely printed pages long, £3.75 for 6 issues bi-monthly, from 101 Sevenacres, Orton Brimbles, Peterborough, Cambs PE1 OXJ — October’s will include the complete 1962-83 Frankie Beverly discography . . . Main Ingredient’s ‘Happiness Is Just Around The Bend’ has been remade by ex-lead singer Cuba Gooding for Streetwise . . . Sundays at Basildon New Yorker, Cosmic revives the likes of Mighty Fire ‘Love Fantasy‘ . . . Darren Fogel, now doing Saturdays at Tottenham Valentinos, is compiling the Top 100 Soul Singles for Christmas broadcast on Radio Invicta 92.4 FM (his ‘Soul Searchin’ spot’s 4-6pm Sunday), so send your nominations to Invicta at 8 Southampton Row, London WC1 . . . Alan Reid, ex-Bacchus/Julianas jock (he had to learn to mix in Canada, as if he talked the club emptied!) and ex-Birmingham Powerhouse lighting operator, has opened his own Gingers in Pontypridd with a full lightshow (Wed-Sun) even though it’s only small . . . Jon Alsop’s high energy bias is bowing to the ‘Rockit’ influence with increased electro-funk on Mondays at Edgbaston Faces French ‘Kilohertz’ night, while at Faces this Thursday (1) Steve Dennis has a visit from Kenny Lynch — who’s then on Friday (2) with Peter Lee at Bolton’s Dance Factory . . . Jeff Young guests Thurs (1) at Hemel Hempstead’s Whip & Collar, Dave Rawlings has a St Trinians Friday (fancydressers in for free) at Basingstoke Martines . . . Steve Walsh starts funking Mondays at Bermondsey Old Kent Road’s Dun Cow next week (5), Lyndon T electro-funks Tuesdays at Soho Jean Pierres (first drink free) . . . Frenchie’s Sunday Funk Club has moved to the later licensing hours of Wednesdays at Charnock Richard’s Bowling Green Inn (£1 before 10.30, half price drinks) . . . Rickmansworth’s very American style restaurant the Long Island Exchange (by the station roundabout) does alcoholic milk shakes — um yum, schlurp schlurp! . . . Colin Hudd has gone megamix crazy at Dartford Flicks on Saturday nights, and now that Thames Valley DJ Assn big boy Frank Smith has started editing the Disco Mix Club mag, all the TVDJA members are being told how to mix! . . . Steve ‘Dover’ Day (Sheerness Woodys) recommends mixing Hazell Dean ‘Searchin’ into Change ‘Searching’ in a synch from “where the drums sweep down and back up again” . . . Tom Edgar, jocking as Tom Mator (in a cockney accent?), is busy enough but could handle more club/pub gigs on 01-855 2064 (night)/855 7777 (day) . . . Rob Harknett (Roydon 027-979 2329), booked solid on Saturdays until 1985, needs more MoR jocks to cover some venues, small rigs OK but music must be “tame” for fees around £35/45 . . . Chris Cole (Bramley) recorded himself at a 21st gig to make a demo for a club where he wanted a residency, and was told he was “too confident, cocky and frantic” — presumably a nervous, shy and quiet jock got the job, but Chris’s own approach does at least bring in lots of mobile work! . . . Steve ‘Walthamstow’ Day similarly applied for a gig, only to be told he was “behind the times and much too old”! . . . Gary Oldis, now back at Aycliffe Bee Jays after fracturing his skull in a road accident, recuperated in Jersey where he reckons Chris Tandy at the Madison is the Island’s best night . . . Richard ‘Lofty’ Lofthouse (Tyneside) reckons the name LaFleur sounds like the Peter Sellers French pronounciation of what you dance on! . . . WIKKI WIKKI!


These are the breaks…

NOW SEEMS the moment to put recent developments into their historical perspective. Black American music began outside when Southern slaves relieved the tedium of picking cotton with rhythmic call-and-answer “field hollers” derived from dimly remembered tribal chants, vocal music being the cheapest to make — and maximum effect/minimum outlay still holds good today.

Christian church music, military bands, the patronising “plantation songs” of touring nigger minstrel shows, and the attention grabbing antics of street corner medicine sellers (whose increasingly eccentric dance steps were the basis of most we know now) all combined in the late 19th century to produce the different strains of a new and specifically American black tradition.

The banjo, an approximation of certain African stringed instruments, gave way to the Spanish guitar as the go-anywhere accompaniment for an emergent type of solitary “blues” singer, the blues being a simple secular adaptation of the mixture of call-and-answer with church music which at the opposite extreme resulted in gospel (the eventual inspiration of vocal harmony groups and ultimately soul).

The other solitary black musicians were the pianists in brothels, who experimenting amidst their exotic surroundings came up with sexy, sleazy, syncopated rhythms of “ragtime”, which when played with jaunty abandon on military band instruments became a dance craze lasting nearly thirty years with increasing acceptance (and white copyists) until the soloing fervour of its more adventurous musicians became known to the world as “jazz” in the early ’20s.

The urban jazz bands had no problem making a loud enough noise for dancers, but the rural blues guitarists had to play open-tuned chords with a broken bottleneck on their finger to make a shrill sound, or use metal bodied guitars fitted with resonators.

Following the spread of radio in the early ’20s came electrical recording in 1925, enabling “whispering” crooners to be heard where previously only the bellowers cut through, microphones replacing megaphones for the featured vocalists on ballroom bandstands.

With the big bands of the ’30s came an acrobatic black dance style known as “jitterbug”, which had been germinating in Harlem since 1923 and really erupted in ’28 when marathon dancer ‘Shorty’ George Snowden amazed onlookers by doing a “breakaway” flinging out his partner and improvising some solo steps. Shorty and other inventive dancers, egged on by money throwing celebrity socialites, became a big attraction as they tried to out-dance each other in the “Cats Corner” at the Savoy Ballroom, where two battling bands would drive the dancers so hard the music became called “swing”.

It was Benny Goodman who gave swing the white face of respectability in 1936, the same year young black teenager Charlie Christian (following the lead of Count Basie’s guitarist Eddie Durham) began experimenting playing jazz on a guitar plugged into a rudimentary electric amplifier. The Jimi Hendrix of his day, Charlie Christian went on to play with Benny Goodman, but more importantly his improvisational style influenced saxist Charlie Parker and the whole ’40s be-bop movement.

Probably the first electric blues guitarist was flamboyant showman T-Bone Walker (some of whose moves were copied by Elvis Presley!), but during World War II many rural bluesmen moved north and west to the industrial cities where they too plugged in and formed raucous “rhythm & blues” groups, augmented at war’s end by “booting” saxists splintering away from the no longer viable big bands.

Black kids who couldn’t afford an instrument would hang out on street corners copying such gospel-derived tenor/bass/harmony groups as the Ink Spots and Ravens, singing silly phrases like “doo-wop” in a style which influenced the Temptations onwards. Other street corners often had blues players plugged into portable speakers, some maybe talking rather than singing their blues, while in the churches were preachers whose crescendoing rhythmic sermons moved the congregation to frenzy.

Rapping and ranting radio DJs spread rapidly as R&B became “rock ‘n’ roll” in the ’50s and men like Alan Freed copied the black style, which right through the ’60s often incorporated a carefully prepared rhyming rap lead out over an instrumental from the playlist.

Around 1970 such street poets as the Last Poets recorded their angry, staccato, musically flowing raps (the era when Gary Byrd started out), all of this sewing the seeds of rap as we know it today.

However, apart from the total commercialisation of black music and increasing sophistication in the making of it, things stayed pretty much the same out on the street corners, in the subways and stairwells (anywhere there’s an echo!) . . . until, that is, another advance in the use of electronics. The ghetto blaster. Now every kid can make a loud noise out on the street, even miking up to rap along to the beat. Cheap electronics and the boom in synthesizers like the rhythm box which can be programmed to any automatic beat pattern have revolutionized the creation of black music, cutting costs and replacing musicians.

Out of the portable discos of Brooklyn, base of New York’s big Jamaican population with their sound systems, came the use of rhythm boxes allied to DJs “scratching” records over the top of them — often out in the street, where of course the “break” dancers carry on their tradition.

It’s sad to think that in this revolution we’ve probably lost the vocal group tradition, but the current breed of young men out there today are in fact merely following in the footsteps of all that went before them — and every new development mentioned above was greeted in its day with the abuse of many and total horror of some. Think about it!


HOT VINYL

LADY M: ‘Please (Don’t Break My Heart)’ (Calibre CABL 116)
Sneakily catchy with an interest-holding good frisky arrangement, this soulfully wailed soaring jaunty 114bpm 12in wraggler weaves around a booming bass line (good out of Kenny Lynch) with so much zest that it’s really quite high energy too and could well get pop attention (inst flip). The lady’s vocal is outstanding.

BAISER: ‘Summer Breeze’ (Canadian Celsius 12CLS-7013)
Chording piano, sassy brass and tootling sax start this attractive chick-sung long ever developing unhurried sinuously pumping gently jiggly 109¼bpm 12in swayer, which eventually hits a cowbell percussion break (inst flip) and initially had boys town attention though should win wider favour. Incidentally, check the chart in case any more hot imports arrived after this week’s early deadline.

K-9 CORP (Featuring Pretty C): ‘Dog Talk’ (US Capitol 8562)
Coinciding perfectly with renewed interest in the original, this is a great rap version of ‘Atomic Dog’ using George Clinton’s 107bpm 12in backing track behind and between mentions of Pluto, Goofy, Scooby Doo, Snoopy and other canine cartoon faves — “watch me raise my leg” being the nicest line! — flipped by Clinton’s own 113bpm instrumental of ‘Man’s Best Friend‘. Woof . . . woof!

LEVEL 42: ‘Micro-kid’ (LP ‘Standing In The Light’) (Polydor POLD 5110)
The guys Larry Dunn & Verdine White-produced LA album gets bogged down whenever they persist with pseudo jazz-funk like the remixed (older) 95bpm ‘Out Of Sight Out Of Mind‘ and 53-106-107bpm ‘The Machine Stops‘, but really comes alive when they show the potential of being a Steely Dan for the ’80s on this clean bright loosely shuffling 115-117-116bpm tripper (which will make a great single), while the frantic 145bpm ‘Dance On Heavy Weather‘ keeps bassist Mark King’s thumbs a-thundering.

KID CREOLE & THE COCONUTS: ‘There’s Something Wrong In Paradise’ (Island IS 130)
Quite a departure in tempo if not influence, August Darnell’s ultra frantic thoroughly infectious 142bpm soca stormer so far at time of writing is only on 7in.

DR JECKYLL & MR HYDE: ‘Gettin’ Money’ (US Profile PRO-7029)
The funky rappers return on a herky jerky 107bpm 12in electro hip hopper that’s a dynamite mix with Kurtis Blow (inst flip).

UDM: ‘To Please You’ (US Kadabra Records)
Something of a left-fielder which would probably have been bigger two years ago, this odd episodic 117-116¼-115½-115¼-115½-0bpm 12in male vocal group driver has a dated jazz-funk feel with synth ‘n brass between various breaks, the B-side being the main useable mix.

PRESTIGE: ‘Cheating’ (US Atlantic RFC 0-86989)
Bass synth powered chunky slow smacking 109bpm 12in girlie group jolter with a stuttering title line reminiscent of Ingram’s ‘We Like To Do It’ (or is it ‘DJ’s Delight’? — I remember my remix better!), nice enough (inst flip).

SHANGO: ‘Shango Message’ (US CellulOid CEL 164)
Material/Afrika Bambaataa-prod/penned juddering slow 101¼bpm 12in hip hopper with vocoder and chanting chaps in moody mock mystic style (semi-inst flip), a bit specialist electro but useful for mixing in things at a lower tempo.

SAKHILE: ‘Sakhile’ (Jive Afrika JIVE T 48)
At last on commercial 12in, the superb South African jazzers’ haunting instrumental 99bpm summer tempo tapper has excellent sax and soft title chanting weaving an irresistible spell (great with La Famille, Funk Masters etc — so a pity it’s now so late), coupled with the listener-aimed ‘Isililo‘ and ‘Idayimane‘ from their beautiful album.

KURTIS BLOW: ‘Party Time’ LP (US Mercury 812757-1 M-1)
Nothing else is as inspired as the 108½bpm title track hit (which it’s nice to have at 33 1/3rpm), but other rappers are the 108bpm ‘Nervous‘, 106bpm ‘One-Two-Five (Main Street, Harlem, USA)‘, 112bpm ‘Big Time Hood‘.

MCKENZIE & GARDINER: ‘From Time’ (The Sound Of London TSOLL 501, via PRT)
Joe Williams-prod cliched creaking stop-start 0-116½bpm 12in rhythm box swayer with bits like a chick cutting through from time to time that suggest it could have been really quite pleasant (inst/edit flip).

THE MEXICANO: ‘Move Up Starsky’ (Creole CR 12-58)
Reissue of Rudy Grant’s 85-83bpm skanking reggae classic but with a new boastful intro nicked from ‘Double Barrel’, on 3-track 12in with the mellower 0-99bpm ‘More Than I Can Say’ (Bobby Vee’s oldie!) and 83bpm ‘Your Love Is Something Else’.

KAREN YOUNG: ‘Hot For You’ (Design Communications DEST 3, via IDS)
Disjointedly introed “high energy”-aimed shrill 119bpm 12in burbler harking back to her old ‘Hot Shot’, purpose-produced for the UK label by Philadelphia’s Walter Kahn (inst/dub/acappella flip).

JACKIE KENNEDY: ‘Under My Spell’ (Stripeline STRIPE 12001, via Pinnacle)
The squeaky Sister of TV’s Grace and Imagination’s Erroll Kennedy debuts with a messily lurching fast 130bpm 12in bounder (inst/aca flip).

STOP PRESS.
Hot imports include:
Del Richardson: ‘Rainbows‘ (Joy Spring 12in – 114bpm)
Bohannon: ‘Rock Your Body‘ (Compleat LP – 114bpm)
Gap Band: ‘Jam The Motha‘ (Total Experience LP – 105bpm)


DISCO TOP 85 – SEPTEMBER 3, 1983

01 01 Rockit – Herbie Hancock – CBS 12”
02 03 Show Me The Way (Remix) – New York Skyy – Epic 12”
03 02 What I Got Is What You Need – Unique – Prelude 12”
04 07 Half The Day’s Gone And We Haven’t Earned A Penny – Kenny Lynch – Satril LP
05 11 One Mind — Two Hearts – Paradise – Priority 12”
06 10 Jam On Revenge (The Wikki-Wikki Song) – Newcleus – Becket 12”
07 04 Out In The Night – Serge Ponsar – WEA International 12”
08 09 Don’t You Get So Mad – Jeffrey Osborne – A&M 12”
09 12 Body Work / Instrumental – Hot Streak – Polydor 12”
10 06 Just Be Good To Me – The SOS Band – Tabu 12”
11 18 Put Our Heads Together (Remix) – O’Jays – US Phil Int 12”
12 05 The Crown – Gary Byrd – Motown 12”
13 14 Put Our Heads Together – O’Jays – Philadelphia International 12”
14 25 Ladies Choice / Love Hassles – Stone City Band – US Gordy LP
15 16 Jingo (Remix) / Jingo Breakdown – Candido – US Salsoul 12”
16 08 Changing For You – Chi-Lites – R&B 12”
17 13 Party Time – Kurtis Blow – Mercury 12”
18 15 Crazy – Manhattans – CBS 12”
19 34 The Key (Instrumental) – Wuf Ticket – US Prelude 12”
20 17 Falling In Love – Surface – Salsoul 12”
21 52 Go Deh Yaka – Monyaka – Polydor 12”
22 26 A Time Like This – Haywoode – CBS 12”
23 21 Wait Until Tonight (My Love) – Galaxy – Ensign 12”
24 — Smooth – Edwin Starr – Calibre 12”
25 19 Tell Me Love – Michael Wycoff – RCA 12”
26 42 I Think I Want To Dance With You – Rumple-Stilts-Skin – US Heat 12”
27 23 Color Blind / Motivation (Are You Ready) / Motivation (Instrumental) / Give The Gift Of Music – Motivation – US De-Lite LP
28 32 High Noon – Two Sisters – IRS 12”
29 22 Fool For You – Julie Roberts – Bluebird 12”
30 76 All Over Your Face – Ronnie Dyson – US Cotillion 12”
31 53 Street Justice – The Rake – Streetwave 12”
32 45 (You’re A) Good Girl – Lillo – Capitol 12”
33 63 You Brought The Sunshine – Clark Sisters – Elektra 12”
34 39 Cold Blooded – Rick James – Gordy 12”
35 — I’m Sick And Tired – Larry Graham – Warner Bros 12”
36 35 Boogie Nights – Lafleur – Proto 12”
37 27 Didn’t You Know It / Shine On Me – One Way – US MCA LP
38 58 Feels So Good / Electricity / Wet My Whistle / Night Rider – Midnight Star – Solar LP
39 30 Get It Right – Aretha Franklin – Arista 12”
40 47 Superstar (Billie Jean) – Lydia Murdock – US Team Entertainment 12”
41 77 Hopscotch – Gwen Guthrie – Island 12”
42 55 P.I.M.P. The S.I.M.P. – Rick James – US Gordy LP
43 73 Soul Makossa / Big Blow – Manu Dibango – London 12”
44 57 I’m The Packman – The Packman – US Enjoy 12”
45 40 Autodrive / Future Shock / TFS – Herbie Hancock – CBS 12”
46 51 The Wildstyle – Time Zone – US CellulOid 12”
47 — I Know / The Good Guy’s Supposed To Get The Girls – Philip Bailey – CBS 12”
48 75 Ray-Gun-Omics – Project Future – Capitol 12”
49 70 Just In Time – Raw Silk – West End 12”
50 20 I.O.U. / I Dub You / We Got The Jazz – Freeez – Beggars Banquet 12”
51 59 In And Out / Closer Than Close – Junior Walker – US Motown LP
52 — Talk To Me – Lew Kirton – US Believe In A Dream 12”
53 41 The Sun Goes Down (Living It Up) – Level 42 – Polydor 12”
54 81 Long Hot Summer – Style Council – Polydor 12”
55 37 Skip To My Lou – Finis Henderson – Motown 12”
56 66 Tonight I Celebrate My Love – Peabo Bryson/Roberta Flack – Capitol 12”
57 67 Inside Love (So Personal) / In Your Eyes – George Benson – Warner Bros LP
58 60 Half The Day’s Gone (Bethnal Green Chin-Mental Funk Mix) – Kenny Lynch – Satril 12”
59 49 Let’s Get It Right / Instrumental – Keywi – Virgin 12”
60 71 Let The Music Play / Too Much Too Soon – Ian Prince – London 12”
61 38 Valley Style (Billie Jean) – T. Ski Valley – US Capo 12”
62 48 Locked Up In Your Love / Forever By Your Side / Start All Over Again – Manhattans – US Columbia LP
63 50 It’s Cool – Walter Jackson – US Chi-Sound 7”
64 62 Chicago – Roy Ayers – Uno Melodic LP
65 33 Rock The World!!! – Crown Heights Affair – US De-Lite LP
66 82 I Can Make You Dance – Zapp – US Warner Bros 12”
67 — Runnin’ (Remix) – Junior – Mercury 12”
68 28 Hopscotch (US Remix) – Gwen Guthrie – Island 12”
69 — Free / Makin’ Love In The Fast Lane – Mellaa – US Larc 7”
70 — Got To Have Your Lovin’ – Feel – US Posse 12”
71 43 What Do We Do – Atmosfear – Chrysalis 12”
72 46 Risin’ To The Top – Keni Burke – RCA 12”
73 74 Do You Want Me (Instrumental) – El Chicano – US Columbia 12”
74 84 You’re The One (You’re My Number One) – Katie Kissoon – Jive 12”
75 56 Sakhile – Sakhile – Jive Afrika 12”
76 — Dr Jam (In The Slam) – Men At Play – Design Communications 12”
77 85 Atomic Dog – George Clinton – Capitol 12”
78 — Spread Your Love (Remix) – Earth Wind & Fire – US Columbia 12”
79 — If You Could See Me Now – Shakatak – Polydor 12”
80 — Dog Talk – K-9 Corp – US Capitol 12”
81 61 Out Of The Funk – Dennis Brown – A&M LP
82 — The Return Of Capt. Rock – Captain Rock – US NIA 12”
83 — Gettin’ Money – Dr Jeckyll & Mr Hyde – US Profile 12”
84 69 Please (Don’t Break My Heart) – Lady M – US Blue Parrot 12”
85 79 Baby I Will / What’s The Bottom Line – Michael Lovesmith – Motown 12”


BREAKERS

No Breakers listed this week.


HIT NUMBERS

Beats Per Minute for last week’s Top 75 entries not previously covered on 7in (endings denoted by f/c/r for fade/resonant/cold):

Rod Stewart 125f, Annabel Lamb 117f, Def Leopard 0-105-0f, Rainbow 120f, The Truth 133-134-135f, Danse Society 142½(intro)-136-140-0r, Shakatak 106f, Barry Manilow 133f, David Essex (26-)109-110-111f, Weather Girls 136-135f.


NIGHTCLUB CHART

Ed’s Note – Last week’s Nightclub Chart was re-printed this week in error. I have used next week’s chart to establish as many places as possible.

01 03 Rockit – Herbie Hancock – CBS 12”
02 01 The Crown – Gary Byrd & The GB Experience – Motown 12”
03 02 Do It Again/Billie Jean (Medley) – Club House – Island 12”
04 04 I.O.U. – Freeez – Beggars Banquet 12”
05 07 Out In The Night – Serge Ponsar – WEA 12”
06 11 Long Hot Summer – Style Council – Polydor 12”
07 13 Gold – Spandau Ballet – Reformation 12”
08 06 Put Our Heads Together – O’Jays – Philadelphia International 12”
09 05 Crazy – Manhattans – CBS 12”
10 10 Changing For You – Chi-Lites – R&B 12”
11 14 Wait Until Tonight (My Love) – Galaxy – Ensign 12”
12 22 Half The Day’s Gone And We Haven’t Earned A Penny – Kenny Lynch – Satril 12”
13 08 All Night Long – Mary Jane Girls – Gordy 12”
14 15 Boogie Nights – Lafleur – Proto 12”
15 12 It’s Over – Funk Masters – Master-Funk 12”
16 21 Just Be Good To Me – SOS Band – Tabu 12”
17
18 35 Dead Giveaway – Shalamar – Solar 12”
19 23 Everything Counts – Depeche Mode – Mute 12”
20 16 Freak – Bruce Foxton – Arista 12”
21 — The Sun Goes Down (Livin’ It Up) – Level 42 – Polydor 12”
22 27 Tour De France – Kraftwerk – EMI 12”
23 — What I Got Is What You Need – Unique – Prelude 12”
24 24 Club Tropicana – Wham! – Innervision 12”
25 17 Wherever I Lay My Hat / Sex – Paul Young – CBS 12”
26 30 Give It Up – KC & The Sunshine Band – Epic 12”
27 32 Blue Monday / The Beach – New Order – Factory 12”
28
29 18 Flashdance . . . What A Feeling – Irene Cara – Casablanca 12”
30 41 You’re The One (You’re My Number One) – Katie Kissoon – Jive 12”
31 31 Watching You Watching Me – David Grant – Chrysalis 12”
32 25 (Do You Really Love Me) Tell Me Love – Michael Wycoff – RCA 12”
33 38 Guilty – Lime – Polydor 12”
34 44 The Safety Dance – Men Without Hats – Statik 12”
35 36 Maniac – Michael Sembello – Casablanca 12”
36 43 Party Time – Kurtis Blow – Mercury 12”
37
38 — Show Me The Way (Remix) – New York Skyy – Epic 12”
39 39 Summer Dub / Cruel Summer – Bananarama – London 12”
40
41 20 Double Dutch – Malcolm McLaren – Charisma 12”
42 — Don’t You Get So Mad – Jeffrey Osborne – A&M 12”
43
44 — Wings Of A Dove – Madness – Stiff 12”
45 45 Fool For You – Julie Roberts – Greyhound 12”
46
47
48 — Jam On Revenge (The Wikki-Wikki Song) – Newcleus – Becket 12”
49 — Jingo (Remix) – Candido – US Salsoul 12”
50

Radio Luxembourg (208m, 1440Khz) will be playing the pick of the Nightclub hits on Friday (9-11pm) and Monday (11pm-1am).


BOYS TOWN CHART

01 11 Got To Get To You – Charade featuring Jessica – Passion 12”
02 05 I Don’t Want To Talk About It – Pamela Stanley – US Komander 12”
03 06 Band Of Gold – Sylvester – US Megatone 12”/London re-edit
04 03 Searchin’ (I Gotta Find A Man) – Hazell Dean – Proto 12”/US TSR remix
05 01 Guilty – Lime – Polydor 12”/US Prism remix
06 02 The Boys Come To Town – Earlene Bentley – US Megatone 12”
07 09 When Will I See You Again – Magda Layna – US Megatone 12”
08 04 On The Grid / Angel Eyes – Lime – US Prism remix/German Polydor LP
09 16 To Sir With Love – Vicki Sue Robinson – US Profile 12”
10 08 So Many Men So Little Time – Miquel Brown – Record Shack 12”
11 20 I’m Gonna Wash That Man Right Outa My Hair – Weather Girls – US Columbia 12”
12 — Foreign Land – Technos – Twins 12”
13 — Not The Loving Kind / The Loving Dub – The Twins – German Hansa 12”
14 21 My Forbidden Lover – Tapps – Canadian Power 12”
15 13 Love Your Body – Amanda Lear – German Ariola 12”
16 12 Maniac – Michael Sembello – Casablanca 12”
17 24 Medley: Billie Jean/Jeopardy – Pink Project – Italian Baby 12”
18 — Born To Be Alive – Disco Connection – Dutch Music Master 12”
19 28 Space – Viola Wills – US RVA 12”
20 30 God Knows – Donna Eyes – Italian Il Disc 12”
21 29 Voices In The Dark – Mike Cannon – Italian Memory 12”
22 19 El Watusi/La Bamba (Land Of A Thousand Dances Medley) – Rags & Riches – US Casablanca 12”/LP
23 23 Take A Chance On Me – Waterfront Home – US Bobcat 12”
24 15 These Memories (Remix) – Oh Romeo – Canadian Unidisc 12”
25 25 Burn It Up Mr DJ – Risque – US Importe/12 12”
26 — Love Reaction (Blue Monday) – Divine – Dutch Break 12”
27 26 Stars On 45 Presents The Star Sisters – Stars On 45 – CBS 12”
28 07 Take It Slowly – Nancy Martinez – Canadian Matra LP
29 — Dolce Vita – Ryan Paris – Carrere 12”
30 — Without Your Love / Stay The Night – Nina Schiller – US Moby Dick LP

2 thoughts on “September 3, 1983: “Now seems the moment to put recent developments into their historical perspective.””

  1. Has James Hamilton ever been formally recognised for his contribution to Soul Music in the UK? excellent concise history that charts the development of African American music over the past couple of centuries. James really knew what he was talking about and had a real passion for the music. It’s hard for millenials to understand what the world was like prior to satellite TV and the internet. UK Soul/R&B/Jazz/Funk music fans were at a real disadvantage. We relied on radio the music press & record shops for our life line to American popular culture. The pipeline was a trickle. We often never heard the music (thanks for nothing Radio 1) and James Hamilton was the main weekly source in the information vacum that existed. Most record shops didn’t stock anything outwith the charts. It was a virtual soul music desert out in the sticks. We were isolated! Amaazing to think that THE biggest African American star of thee 70s Diana Ross NEVER appeared on any nationally broadcast TV show at any time during the 70s! (she did appear on London regional shows). The majority of African American acts NEVER appeared live on TOTPs. The internet has of course changed everything. James played such an important role in promoting soul music in the UK from the mid 60s onwards. Has James contribution ever been formally recognised? Surely he is long overdue some official recognition? Maybe the MOBO’s would be the ideal platform for James to receive a posthumous lifetime achievement award in recognition for the work did over such a sustained period? It would be a fitting tribute for a soul music pioneer.

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    1. I wholeheartedly agree. James surely was an unsung hero who’s never received anything close to the recognition he deserved as a true maverick and pioneer. Once the generation that remembers his weekly columns is gone, his name will most likely fade away into complete obscurity. It’s a tragic oversight.

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