March 17, 1984: Kenny G, Dennis Edwards, Paul Hardcastle, Cloud One, Bobby Womack


MARK BERRY, New York associate of Arthur Baker & John Robie, has alone been producing Freeez — in Farnham, of all funky places! — now thankfully without the unconvincing vocals of John Rocca . . . Phil Fearon & Galaxy has an extended Latin ‘Carnival Remix‘ coming soon, the dub flip including bits of ‘Dancing Tight’! . . . Alan Coulthard no less was responsible for the brilliant Dayton remix, due commercially this week and indeed Lefturno’s remix, plus Crusaders/Joe Sample/Wilton Felder medley on the Crusaders imminent new B-side (what a busy little megamixer he is!) . . . Froggy has strung together a medley of Jeffrey Osborne oldies for the flip of his UK remix of ‘Plane Love’, but as I personally love the long intro of the beefier US remix and its powerful dub flip I’ll be sticking with my import . . . Miquel Brown confesses that the pacemaker keeping her heart ticking is tuned with a magnet to the right BPM — not 129, I hope! . . . Skyline Radio’s Saturday Hi-NRG show now uses the Record Mirror chart as Radio One let Record Shack’s pluggers know that there was disapproval of the shop/label’s sponsorship of the original format . . . Skyline’s Kent-based soul sister Radio Atlantis, soon to go seven days a week, needs presenters and in particular a good mixing DJ — send demo tapes to Chris Ryder at 3 Horsley Drive, New Addington, Croydon CR0 0QW . . . JFM 102.8FM as suspected is only every afternoon/evening, and all day weekends . . . Carl Kingston has forsaken a life on the ocean wave for job nearer home, on BBC Radio Humberside, starting week nights 6-7pm early April, and is also at Hull’s Bali Hai Fridays mainly . . . Lee Taylor, sharing Hi-NRG Mondays at London’s Hippodrome with Colin Holsgrove, is still after fair haired mixing showmen for prestige foreign work on 01-385 4345 . . . London’s newly voted fave gay DJ, Norman Scott so impressed ’em at Busby’s in Charing Cross Road that he’s doing the oldies night there every Wednesday now . . . Friday (16) Capital’s soul seller Peter Young plays his ’60s oldies again at Chadwell Heath’s Regency Suite (don’t shout in his ear, OK?!), while Eddie Gee, Steve Edwards & Ranking Jonathan dub ‘n funk Loughborough University campus’ Edward Herbert Building in the Charnwood Room (60p including wine!), the same venue as Eddie Gee’s afro night next Wednesday (21) . . . Saturday (17) Chris Kaye funks ‘n reggaes Tunbridge Wells Assembly Hall (his agent for bookings is on 0892-46014), while Dave Rawlings looks for ‘Miss Wonderful Wiggle’ at Basingstoke Martine’s . . . Sunday (18) Steve Dennis “anchors” the Birmingham Powerhouse alldayer . . . One Blood have the strong catchy ‘Get In Touch With Me‘ 92bpm soul-reggae jogger on Ensign promo ahead of release . . . Damaris’ UK 12in B-side as well as the instrumental has the dead slow ‘Hooray For Love’ from her lovely but down-tempo Dionne Warwick-like import LP — other import albums with slowies being the best tracks are by D Train (only the c.120bpm ‘I’ll Do Anything‘ being brightly typical), Tyrone Brunson, and the Roger-produced The Human Body . . . US based Evan Rovers turns out to be Italian, yet was briefly with Dayton, sang lead on Heatwave’s most recent UK tour, and called himself Otis Liggett when covering ‘Every Breath You Take’! . . . ‘Lou Grant’ is back, while Channel 4 have finally seen the light and are about to re-screen the incomparable ‘Hill Street Blues’ from episode one! . . . Boy George and Helen Terry’s new video togs were designed by Capital DJ John Sachs’ mum (his dad’s most famous role was in ‘Fawlty Towers’) — I’ve heard of the Emmanuelles, but Mrs Manuel??? . . . I and I say Rodigan the conqueror! . . . Sunday’s Hippodrome high jinks kept me from my typewriter, so no time for more gossip . . . STAY FRESH!


LAST SUNDAY saw Steve Dennis bring his DJ Convention south to join the Disco Mix Club’s first anniversary celebration in a double boomer bash at Peter Stringfellow’s Hippodrome in the heart of London . . . and of course the venue was the big attraction for many of the 1000 who attended. Over-dark for much of the time, so you couldn’t see who in fact was there, the Hippodrome came into its own when the fantastic lazer and lights were demonstrated. This was what they wanted! Other than that there were few blindingly brilliant individual moments during the event but the whole thing added up to a jolly nice day out, most useful as always for meeting or re-meeting the faces behind the names that many of us know so well. Of the mixing demonstrations, Sweden’s Sanny Xenokottas amazed everyone by looking for the perfect beat using scratching and especially a digital delay box of electronic tricks, culminated in ‘The Message’ played at 45rpm instead of 33 1/3rpm (it worked!) and a sudden chop into Slade’s slow ‘My Oh My’. Brilliant. Street credibility did materialise as well, thank goodness, as Whodini were a late addition to the bill, and, although the decks were too bouncily sprung for flawless scratching, Grandmaster D demonstrated his cutting technique not only one-handed but with his mouth on the record too! This hopefully shook up a few jocks! The actual disc jockey competition was disappointingly patchy (as a judge I can repeat that some contestants were scoring straight noughts from many on the panel), being won by Mick McGinley who must be a wow at wedding gigs in South Yorkshire, while the questions set by Phil Swearn & Patrick Isherwood for the Pop Quiz were gratifyingly tough (Radio’s Paul Gambaccini, Stuart Coleman & Janice Long won). Of the one forum I caught, outstanding speakers were Capital’s Tony Hale (I’m not crawling!) and the very witty Tony Blackburn, who everyone agreed would make a great after-dinner speaker. Professionally run by Steve Dennis and the DMC’s Tony Prince for professional people (the comparatively high £15 entrance kept out the cowboys, and included an incredibly good buffet feed!), this show wasn’t without its minor hiccups, yet has to have been the best of its type certainly ever held in this country, if not the world. Yes, a nice day out!


KENNY G: ‘Hi, How Ya Doin’ (LP ‘G Force’ Arista 206 168)
Tootin’ ‘n flutin’ Kenny Gorelick has been huge here for ages with this ultra catchy acappella-introed Barry Johnson-sung jiggly 113bpm shuffler, which like the rest of the set is driven by synthesised rhythms influenced by executive producer Kashif, the only other less good vocal being the 115bpm ‘Do Me Right‘ while the 0-117½bpm ‘I’ve Been Missin’ You‘, 106bpm ‘Help Yourself To My Love‘, 107bpm ‘Tribeca‘, 107bpm title track and 116bpm ‘I Wanna Be Yours’ jazz-funk instrumentals are all proven as hot to trot.

DENNIS EDWARDS featuring Siedah Garrett: ‘Don’t Look Any Further’ (Gordy TMGT 1334)
Extended for UK 12in (so now the intro’s useful “drum-tapping” mixing cue comes twice), this incredibly soulful 95bpm semi-smooch slow grinding groove has been a monster ever since the gruff voiced ex-Temptation’s solo LP arrived on import, from which evidently the smoothly thrumming unemphatic 115bpm ‘I Thought I Could Handle It‘ is flip.

PAUL HARDCASTLE: ‘You’re The One For Me/Daybreak/AM’ (Total Control Records TOCO 1, via 01-724 1559)
Recorded in his front room (with 2 year-old niece burbling at beginning and end!) by First Light’s now solo keyboardist for the label he and old school chum London DJ Steve Walsh have jointly started, this excellent 0-117-0bpm medley of D Train’s oldie with Paul’s own two best First Light tunes has literally exploded overnight selling all the initial pressing. Elf-like Kevin Henry sings ‘n scats a bit, while using two copies for terrific effect the instrumental flip can be synched to produce an amazing phase!

CLOUD ONE: ‘Flying High’ (US Heavenly Star Record Corp HS 1010)
Peter Brown & Patrick Adams revive the old ‘Atmosphere Strut’ synth sound (coincidentally it’s Luther V’s ‘I Wanted Your Love’ synth sound too!) on a dynamite dead simple and powerfully effective 116bpm instrumental with catchy smurf-ish scatting, which really comes into its own on the clumsily started Part 2 (great out of Paul Hardcastle). Another Matsubara-like monster!

BOBBY WOMACK: ‘Love Has Finally Come At Last’ (LP ‘The Poet II’ US Beverly Glen Music BG 10003)
Long awaited and no disappointment, the mainly mellow ultra soulful set has Patti LaBelle duetting on this wailing smoochy 35-71½bpm singles hit, the ‘slower’ 35/70-75bpm ‘It Takes A Lot Of Strength To Say Goodbye‘ and George Benson/Wilton Felder-backed gorgeous 67/33½-71-69bpm ‘Through The Eyes Of A Child‘, other solo slowies being the 69/34½bpm ‘I Wish I Had Someone To Go Home To’ and Martin Luther King-quoting 72½bpm ‘American Dream’, the tempo rising for the 91-94bpm ‘Surprise Surprise‘, 108-106bpm ‘Tryin’ To Get Over You‘ and snappy 111bpm ‘Tell Me Why‘ (likely hottest dancer), while Bobby’s inimitable voice even transcends the whipping fast 135bpm ‘Who’s Foolin’ Who‘. If you’re seriously into soul, you’ve probably already got it by now!

REAL TO REEL: ‘Love Me Like This’ (US Arista AD 1-9192)
Leon F Sylvers produced terrific lazily rolling 105bpm soul wailer with superb male vocal work over the chunkily blocked backing before the guys get to a great backchat break (nice out of Yarbrough & Peoples), flipped by the less appealing slow 41/82bpm ‘Taking The Long Way Home’.

McFADDEN & WHITEHEAD: ‘Ain’t No Stoppn’ (Ain’t No Way)’ (US Sutra SUD 021)
Potentially a stampede starter, this 113-114(break)-113¼bpm rewritten follow-on from you-know-what is certainly good, nostalgic, instantly familiar and sure to please many, but beware in your enthusiasm because it ain’t the second coming (inst flip).

CYNDI LAUPER: ‘Girls Just Want To Have Fun (Remix)’ (US Portrait 4R9-04971)
Arthur Baker has hardened this 120bpm pop hit into a great street credible dance track, the extended version A-side keeping Cyndi’s vocal amidst new scratch, smurf and hip hop effects, while flipside on the instrumental ‘Fun With V. Knutsn‘ and ‘Xtra Fun‘ versions he really goes to town! The first two (not ‘Xtra Fun’) will flip her UK newie. You’ll love it!

AWESOME FOURSOME: ‘Funky Breakdown’ (US Partytime PT 107)
Stringfellow’s Peter Anthony alerted me to these poppin’ MCs, less fashionable than Afrika Bambaataa but much more fun, combining Tarzan yodels, Vincent Price guffaws and the like into their Arthur Baker-produced scratching 114bpm marathon hip hoppery, in four versions (‘Funky Mixdown’, ‘Scratchy Breakdown’, ‘Bonus Breakdown’ too).

KERR: ‘Back At Ya’ (Greyhound GRPT-107)
Although I still prefer the powerfully driving simple ‘For Those Who Like To Groove’-ish 113½bpm instrumental of this George Kerr co-prod/penned thudder, the chix rapped and sung now faster 114bpm vocal and 115bpm club mix have grown on me (and the public) too. Kinda nagging!

CULTURE CLUB: ‘Miss Me Blind/It’s A Miracle (US Remix)’ (Virgin VS 662-12)
The big attraction on 12in only is that their beefily lurching 121½bpm US hit very neatly and excitingly segues into an 121-121½-121bpm megamix of their lighter textured new UK 7in before returning to ‘Miss Me Blind’ again. Excellent.

ANNE LeSEAR: ‘Take Him Back (Taxi)’ (US HCRC HC 7-31901)
On import 7in but due here soon hopefully on 12in, the 69-70bpm answer to ‘Taxi’ has the chap asking his cabbie to wait while he checks which apartment number he needs, only for Anne to tell the taxi to take him right back to the other side of town where he started from!

KEVIN DEYS: ‘Distant Lover’ (US Jersey Connection JC-32015)
Dead slow and dreamy, the Isley Brothers produce a superb 21¾-43½-42½bpm revival of Marvin Gaye’s oldie that’s spine-tingling pure class all the way (edit-flip).

LAWTON LAW: ‘The Time Is Now’ (US Style Sounds 081)
Clarence Lawton’s group recreate Martin Luther King’s rallying ‘I have a dream’ before soulfully chanting chix do most of the wailing on this inspirational 115bpm canterer, reaching a boing-ing break (which is expanded in Part 2).

JOHNNY BANKCHECK: ‘The Runaway’ (US MEMO Memo 1)
Wonders never cease — boys fave Bobby “O” goes hip hop to prod/pen an incredibly stark 109bpm box rapper, just about as minimalist yet effective as you can get with absolutely no trimmings over the bare electronic beat (but the differently textured 108¼bpm inst flip has scratching and many overlays).

DOMINATRIX: ‘The Dominatrix Sleeps Tonight’ (US Streetwise SWRL 2220)
The girls answer to Frankie GTH has a fabulous title and fetish allusions but boils down less excitingly to a perky 112bpm electro hip hop with some deadpan spoken lines, the longer 112¼bpm ‘Dominant Mix’ being best, plus there are the bonus ‘Beat Me’ (with “ow” cut in!) and acappella ‘Chants’ (including the “ow”)

CITISPEAK Featuring JEANNE HARRIS: ‘I Don’t Need Your Handouts’ (US Partytime PT-106)
Already briefly mentioned but now hitting Stateside and hot out of Shannon, this flowing 0-118¼bpm electro judderer is another of those tunefully wailed — though more fragile — crossover hip hop hits (inst flip).

IMPERIAL BROTHERS: ‘We Come To Rock’ (US Cutting Records CR-201)
Not another Hashim, the poppin’ MCs on this sparse 118bpm hip hop are less impressive than the more useful ‘We Dub To Scratch‘ which has a funny little “cough” cut into it and synchs sensational through Citispeak, while ‘We Come To Dub’ is the basic beat. Best for mixers.

THE BOOGIE BOYS: ‘Zodiac’ (US Capitol V-8578)
On almost a mini-LP, there’s just the one version of this juddering 110½bpm MC popper but the possibly more interesting (and interestingly treated) 111bpm cut ‘n scratch ‘Break Dancer‘ hip hop instrumental has a Radio Mix, Club Mix, Bonus Beats (more exciting in their own right than usual) and a rapping ‘Shake & Break‘ treatment that’s rather ‘Magic’s Wand’.

GAP BAND: ‘Someday’ (Total Experience TEX 5)
Phonogram’s last gasp from the label (now with RCA) is a Stevie Wonder-dominated infectiously lurching 117bpm tribute to Martin Luther King (yet another), on mis-labelled 3-track 12in with the brassily whipping 127bpm ‘Shake A Leg‘ and their all time classic 98¼bpm ‘Outstanding‘ — the definitive “summer tempo”!

MICHAEL BAKER: ‘Don’t You Want My Lovin’ (Passion PASH 1223)
Light voiced soulster agonising over a cleanly striding 0-122-123-124-0bpm beat spiked by an effect that’s disconcertingly like a dentist’s drill (inst flip). The pressing quality could be better.

SPARQUE: ‘Take Some Time’ (US West End WES 22172)
Typical electrobacked chix in a quite tuneful 113-112½-114bpm vocal version with Latin piano hinted amidst the beats, but the more instrumental 113½bpm Hip Hop Mix and 113bpm Big Beat Mix are dull on their own, plus there’s a jolting sparse 121½bpm ‘Islam Island’.

SHANNON: ‘Sweet Somebody’ (LP ‘Let The Music Play’ Club JABL 1)
Apart from the two singles, the track coming through here is this delicate 108bpm jolter, while the 116bpm ‘My Heart’s Divided‘ is what you’d expect and the frantic 149bpm ‘One Man‘ has some gay interest.

LADY D: ‘You Got Me Runnin’ (US Fleetwood FW 001)
Old fashioned bass-snapped guitar-jittered 109(intro)-111-113-114-115bpm builder never reaching climactic relief although soulfully wailed through all the pent-up rhythm (dub flip).

CLOCKWORK: ‘I’m Your Candy Girl’ (US Private I 4Z9-04968)
Chix squawked simple 116bpm pop pounder (inst flip), kinda trite.

SLIM: ‘Good To Go’ (US T.T.E.D. TDE-3002)
Slow lurching c.104bpm bumpy jogger with a typical Washington DC beat but none too dynamic (inst flip). From the same source, Trouble Funk have a double LP on D.E.T.T. full of specialist DC rhythms, some “live”.

TIME BANDITS: ‘I’m Only Shooting Love’ (CBS TA 4218)
Squeaky then gruff blue-eyed Dutch ebbing and flowing 0-117½-118bpm swaying shuffler, big for a few jocks on CBS’s final mail-out.

RIKKI PATRICK: ‘Night Moves’ (CBS TA 4144)
Michael Jackson-pitched ex-Sweet Sensation youngster eventually appearing after a loud old fashioned gimmicky intro on a brightly made pop-aimed 0-130bpm steady jerker, quite pleasant for what it is (dead slow flip).

JERMAINE STEWART: ‘The Word Is Out’ (10 Records TEN 1010)
Just what the world needed, a black Marilyn getting needlessly het up over a ponderously clanking 0-116½bpm meanderer, going nowhere noisily (in three different versions).

INDEEP: ‘The Record Keeps Spinning’ (Becket BKSL 11)
That producer Mike Cleveland should come up with something as original as ‘Last Night A DJ’ and then never progress beyond it has been a tragedy. Here it is again, 104bpm stylee.

SPENCER JONES: ‘Head Over Heels’ (Polo 12-POLO 31)
Mike (Gary Glitter) Leander-prod dull throbbing slow 108bpm thudder by the sometimes Jackson-pitched Brighton lad (107bpm inst flip).


NORMA LEWIS: ‘For All We Know’ (ERC ERCL 111)
Now evidently ex-Shakatak, Norma goes the ‘Can’t Take My Eyes Off You’/’Memory’/’Evergreen’ route on a Marvin Howell/Ellis Rich-produced gently pulsing 128bpm Carpenters revival (inst flip).

THE TECHNOS: ‘Nightime Heaven’ (PRT 12TEC 1)
Euro-flavoured quite punchy 130bpm jerkily chugging chanter, the chick dominated duo’s messier 132bpm ‘Hype‘ B-side plugging a board game that’s given me hours of pleasure already.

CAFE SOCIETY: ‘Somebody To Love’ (Passion PASH 1222)
Chick led South African band forcing the initially unrecognisable Jefferson Airplane oldie to toe the 129bpm electro drumbeat line (only on white label until full release in a fortnight).

PAUL PARKER: ‘Desire’ (Technique TECT 101)
Ian Anthony Stevens debuts his new label with a beefily throbbing galloper in both a 135bpm Hi-Energy Mix and more interestingly 135/67½-135bpm Rock Mix (on white label through Passion as above)

Not a chap but a significant address for those in the know, the singer of this Ian Levine-mixed lightly galloping 0-134bpm skitterer is actually a chick, impersonating Janis Joplin at the slow start (inst flip).

VIVIEN VEE: ‘Eve Of Destruction’ (Banana FRUIT 3T)
Barry McGuire’s catchpenny protest song oldie makes incongruous material for a 125bpm chugger, which maybe is why the funkily jolting 108bpm ‘Destiny‘ shares A-side status.

KIM CARNES: ‘You Make My Heart Beat Faster’ (LP ‘Cafe Racers’ EMI America AML 7171061)
Although reportedly too fast for UK Hi-NRG jox, it’s worth pointing out that this 150bpm racer is high in the US Dance/Disco chart.

GAZUZU: ‘Go Go Gorilla’ (Ecstasy XTCT 6)
Dire sub-Tight Fit-type 121bpm Eurodisco, which Boys Town jocks had taste enough to drop rapidly (double inst flip).

JIMMY RUFFIN & JACKSON MOORE: ‘I’m Gonna Love You Forever’ (ERC ERCL 109, via PRT)
The Motown veteran teams with the Boys Town Gang’s most recent girl for a tunefully pounding fast 134bpm flier, in both a Hi-NRG Mix and chorus-retaining instrumental British Club Mix.

DISCO TOP 85 – MARCH 17, 1984

01 01 BREAKIN’ DOWN (SUGAR SAMBA), Julia & Company, London 12in
02 12 WHAT DO I DO?, Phil Fearon & Galaxy, Ensign 12in
03 11 DON’T LOOK ANY FURTHER, Dennis Edwards, Gordy 12in promo/US LP
05 02 LET THE MUSIC PLAY/REMIX/DUB, Shannon, Club 12in
06 05 ON THE FLOOR (ROCK-IT), Tony Cook & The Party People, Half Moon 12in
07 04 SOMEBODY’S WATCHING ME, Rockwell, Motown 12in
08 17 IT’S ALL YOURS, Starpoint, US Elektra 12in
09 03 STREET DANCE/INSTRUMENTAL, Break Machine, Record Shack 12in
10 15 RENEGADES Of FUNK/RENEGADES CHANT, Afrika Bambaataa & Soul Sonic Force, Tommy Boy 12in
12 20 TAXI/WHERE IS LOVE, J. Blackfoot, Allegiance/Sound Town 12in
13 06 HOLIDAY, Madonna, Sire 12in
14 25 SHE’S STRANGE/GROOVE WITH YOU, Cameo, Casablanca 12in promo/Dutch LP
16 50 S.O.S., Matsubara, US D&D 12in
18 13 SECRET LOVE, Evan Rogers, RCA 12in
19 18 TELL ME WHAT YOU WANT, Loose Ends, Virgin 12in
20 26 AIN’T NOBODY, Rufus & Chaka Khan, Warner Bros 12in
21 09 LOVIN’ YOU, Status IV, Design Communications 12in
22 07 SHARE THE NIGHT, World Premiere, Epic 12in
24 22 FRESH (SCRATCH MIX)/FRESH, Tyrone Brunson, US BID 12in
25 23 HEY! DJ/INSTRUMENTAL, World’s Famous Supreme Team, Charisma 12in
26 24 OUT OF SIGHT, Lefturno, MCA 12in
27 — LOVE HAS FINALLY COME AT LAST/TELL ME WHY, Bobby Womack, US Beverly Glen Music LP
28 29 LOLLIPOP LUV, Bryan Loren, Virgin 12in
29 21 YAH MO B THERE, James Ingram/Michael McDonald, Qwest 12in
30 41 LET ME SHOW YOU, Larry Wu, US Atlantic 12in
31 42 DEJA VU, AB’s, Japanese Moon LP
32 30 STAY ON IN THE GROOVE, Rodney Franklin, CBS LP
33 64 OOH, I LIKE THE WAY IT FEELS, Toni Smith, Malice 12in
37 37 (I’M JUST A) SUCKER FOR A PRETTY FACE, West Phillips, Trans Q/S.O.U.N.D. 12in
38 — YOU’RE THE ONE FOR ME/DAYBREAK/A.M. (MEDLEY)/INSTRUMENTAL, Paul Hardcastle, Total Control Records 12in
39 39 ANOTHER MAN IS TWICE AS NICE, Tout Sweet, US Buzz Records 12in
40 — FLYING HIGH, Cloud One, US Heavenly Star Record Corp 12in
41 35 DANCE TO THE BEAT, T.C. Curtis, Hot Melt 12in white label
42 38 HAVE YOU GOT THE TIME (DISCO MIX), The Funkmasters, Master-Funk 12in
43 43 HUMP TO THE BUMP, Steve Arrington’s Hall Of Fame, Atlantic 12in
44 — DON’T YOU WANT MY LOVIN’, Michael Baker, Passion 12in
45 27 BABY I’M SCARED OF YOU/LOVE WARS/T.K.O., Womack & Womack, Elektra LP/12in promo
46 69 SLOW TONGUE, Millie Jackson, Sire LP
47 36 ENCORE, Cheryl Lynn, US Columbia 12in
48 59 DON’T WASTE YOUR TIME (REMIX), Yarbrough & Peoples, US Total Experience 12in
49 47 I WANTED YOUR LOVE, Luther Vandross, Epic LP/US 12in
50 51 STOP WHAT YOU’RE DOIN’, The Chi-Lites, US Private I 12in
51 74 GIVE ME TONIGHT/DUB VERSION, Shannon, US Emergency 12in/Club promo
52 — OUT OF SIGHT(REMIX), Lefturno, MCA 12in white label
53 76 I’VE GOT TO AND A WAY, Zena Dejonay, US TVI 12in
54 19 JOYS OF LIFE (REMIX), David Joseph, Island 12in
55 — LOVE ME LIKE THIS, Real To Reel, US Arista 12in
56 81 BOY WHERE HAVE YOU BEEN, Roz Ryan, Streetwave 12in
57 — HELLO/ALL NIGHT LONG (ALL NIGHT) (INSTRUMENTAL), Lionel Richie, Motown 12in
58 28 I FEEL LIKE WALKING IN THE RAIN, Millie Jackson, Sire 12in
59 60 WHAT ABOUT MY LOVE, Damaris, CBS 12in
60 31 JOANNA, Kool & The Gang, De-Lite 12in
61 — LONG ENOUGH/INSTRUMENTAL, The Last Poets, US Kee Wee 12in
62 53 PLANE LOVE (REMIX)/DUB, Jeffrey Osborne, US MM 12in
63 66 DIN DAA DAA (TROMMELTANZ), George Kranz, Fourth & Broadway 12in
64 — AIN’T NO STOPPIN’ (AIN’T NO WAY), McFadden & Whitehead, US Sutra 12in
65 75 WHITE HORSE (US MEGAMIX), Laid Back, Creole 12in
67 — ONE FOR THE TREBLE (FRESH), Davy DMX, US Tuff City 12in
68 — LOVE GONE BAD, Mavis Staples, US PhonoRecords 7in
69 48 YOU’RE A WINNER, Sharon Redd, Prelude 12in
70 — (ITS A) DOGGIE BOOGIE BABY, Charles Earland, US Strut 12in
71 — FUNKY TAMBORIM/BELA BE BELA/DEEP COVE VIEW, Tania Maria, Concord Jazz Picante LP
73 73 MAGIC, Carl Anderson, US Epic 12in
74 — BEAT BOX, Art Of Noise, ZTT 12in
75 32 BAD TIMES (I CAN’T STAND IT), Captain Rapp, Becket 12in
76 54 THE SOUND OF MUSIC (X-TENDED REMIX), Dayton, Capitol 12in promo
77 — JAM ON IT, Newcleus, US Sunnyview 12in
78 77 I LOVE THE PIANO, Kasso, Banana 12in
79 85 FO-FI-FO/IT’S GETTING HOT IN HERE/FOREVERLASTING LOVE, Pieces Of A Dream, Elektra LP/12in promo
80 79 I’M GONNA GETCHA/L.A. MIX, Family Brown, US Buzz Records 12in
81 63 NEVER TOO LATE, Julius Brown, US West End 12in
82 — GIMMICK, Duces Wild, US Next Plateau 12in
83 80 KING OF THE BEAT, Pumpkin, US Profile 12in
84 — BABY DOLL, Malemen, US Mercury LP
85 — DANCING IN THE SHEETS, Shalamar, US Columbia 12in


BUBBLING UNDER the Disco 85 are:

Stacye Branche: ‘Precious And Special’ (US BouVier)
Time Bandits: ‘I’m Only Shooting Love’ (CBS)
D Train: ‘I’ll Do Anything’ (US Prelude LP)
Imperial Brothers: ‘We Come To Rock’/’We Dub To Scratch’ (US Cutting Records)
Peek: ‘Rhumba My Sensations (Club Mix/Nasty Men Meet The Vibes)’ (US Sutra)
Clockwork: ‘I’m Your Candy Girl’ (US Private I)
Christina Lewin: ‘Juicy Fruit’ (Kufe)
John Rocca: ‘I Want It To Be Real’ (Beggars Banquet)
Warp 9: ‘No Man Is An Island’ (US Prism)
Oliver Sain: ‘Bus Stop’ (US AVI LP/Contempo 7in)
Anne Le Sear: ‘Take Him Back (Taxi)’ (US HCRC 7in)
Kevin Key: ‘Distant Lover (US Jersey Connection)
Inner Life: ‘No Way (Remix)’ (US Personal)
Major Harris: ‘I Want Your Love (Dub)’ (US Pop Art)
De De: ‘S&M (Sexy Music) Rated X’ (US Clockwork)


Beats Per Minute for last week’s Top 75 entries on 7in (endings denoted by f/r/c for fade/resonant/cold):

Lionel Richie 31-62-0r, Phil Fearon 113¼f, Soul Sonic Force 114-acappella c, Scritti Politti 113c, Questions 127f, Spider 180-177-175-174f, China Crisis 0-141-0c, Icicle Works 53-228f, General Public 154/77-153r, Millie Jackson 0-43/86f, Hall & Oates 0-91f, Alan Parsons Project 114-115f.


01 03 COUNTDOWN (HERE I COME), Kofi & The Lovetones, Electricity 12in
02 01 I’M LIVING MY OWN LIFE, Earlene Bentley, Record Shack 12in
03 02 HE’S A SAINT HE’S A SINNER, Miquel Brown, Record Shack 12in
04 06 THE MAN’S SO REAL, Mimi, Challenge 12in
05 07 LOVE TRAP (REMIX), Astaire, Passion 12in
06 15 COMING OUT OF HIDING, Pamela Stanley, US TSR 12in
07 — HIGH ENERGY, Evelyn Thomas, Record Shack 12in promo
08 04 EVERGREEN/JEALOUS LOVE, Hazell Dean, Proto 12in
09 12 LOVE ON THE ROCKS (REMIX), Lama, Carrere 12in
10 05 ROCKET TO YOUR HEART (REMIX), Lisa, Dutch BMC 12in
11 10 DANGER, Flirts, Canadian Unidisc 12in
12 30 EMERGENCY, Laura Pallas, Record Shack 12in
13 — NOTHING’S WORSE THAN BEING ALONE, Velvette, Electricity 12in
14 23 FOR ALL WE KNOW, Norma Lewis, ERC 12in
15 13 JUMP, Pointer Sisters, US Planet LP
16 24 GOT A DATE (REMIX), Dionne Warwick, Arista 12in
17 09 IN ORBIT, Yvonne Gidden, Electricity 12in
18 — I’M GONNA LOVE YOU FOREVER, Jimmy Ruffin & Jackson Moore ERC 12in
19 18 DESIRE, Paul Parker, Passion 12in
20 11 YOU’RE A WINNER, Sharon Redd, Prelude 12in
21 29 RE-LIME-D (MEDLEY), Lime, Dutch Polydor 12in
22 17 SOUND OF MY HEART, Sleeping Lions, CBS 12in
23 08 LIFE IS THE REASON, Norma, ERC 12in
24 — JUST ANOTHER BROKEN HEART, Dorothy Moore, US Street King 12in
25 — HAPPINESS, Christopher Street, ERC 12in
26 30 I’VE GOT TO FIND A WAY, Zena Dejonay, US TVI 12in
27 30 BRING ON THE MEN, Wow, US MEMO 12in
29 26 TOUCH AND GO LOVER/LOVE NOW PLAY LATER, Carol Jiani, Streetwave 12in
30=— LOVE FIRE, Jimmy James, ERC 12in
30=— SOMEBODY TO LOVE, Café Society, Passion 12in white label


POP JOX are playing: 1 (1) Frankie GTH, 2 (4) Rockwell, 3 (3) Shannon, 4 (7) Break Machine, 5 (2) Madonna, 6 (14) Julia & Co, 7 (17) Nena, 8 (35) Sade A/B, 9 (11) Michael Jackson, 10 (5) Matthew Wilder, 11 (13) Kool ‘Joanna’, 12 (12) Miquel Brown, 13 (6) Cyndi Lauper, 14 (10) Man Tran, 15 (27) George Kranz, 16 (15) Hazell Dean, 17 (34) Was (Not Was), 18 (8) Thompson Twins, 19 (9) Gloria Gaynor, 20 (—) Lionel Richie ‘Hello’, 21 (18) Eartha Kitt, 22 (28) Millie Jackson 12in. 23 (23) Style Council, 24 (—) Matt Bianco, 25 (—) Keith & Darrell, 26 (26) JB’s All Stars, 27 (16) Elbow Bones, 28 (25) Tony Cook, 29 (21) World Premiere, 30 (32) Nik Kershaw, 31 (24) Queen, 32 (—) The Smiths, 33 (36) John Rocca, 34 (—) Sharon Redd, 35 (—) Quando Quango, 36 (—) Hot Chocolate, 37 (37) Madness, 38 (—) Weather Girls, 39 (—) Laid Back. 40 (—) Status IV.

I wonder whether future CBS releases will do so well in this chart without being mailed out for free to its compilers? They’ll certainly still chart just the same, if not better! Who will the next record company be with guts enough to scrap their DJ mailing list?

4 thoughts on “March 17, 1984: Kenny G, Dennis Edwards, Paul Hardcastle, Cloud One, Bobby Womack”

  1. The disparity between the dance music I was enjoying in West Berlin and the soul/funk that still holds sway in these columns is becoming more marked. The big record for me this week was “The Dominatrix Sleeps Tonight”, which I absolutely adored (Tangerine Dream’s Peter Baumann had a hand in making it, oddly enough), and I also heard a lot of Imperial Brothers “We Dub To Scratch” and The Boogie Boys “Break Dancer”. One of my best sources for new tunes was Studio 89, a Saturday night radio show hosted by Barry Graves on the RIAS 2 station, which I’d tape before going out dancing. Every week, the show would feature a lengthy and technically brilliant megamix put together by the Latin Rascals in New York (known as “Paco’s Supermix”), and the three tracks mentioned above featured heavily on these.

    I don’t know how things felt in the UK at the same time, but the presence of Kenny G and Paul Hardcastle at the top of the review pile feel to me like portents of the coming slump. And, much as I love Outstanding, All Night Long, Encore and Don’t Look Any Further, tunes like these seemed to be ushering in a slowing-down of BPMs that would affect the soul/funk scene all the way through to the advent of house in mid-1986. Hip hop similarly slowed down, while in the US, the rock-tinged crossover bandwagon kept rolling, with dismal results. Still, for now at least, I was happy in my electro/Hi-NRG/Italo-disco Berlin bubble, which kept me happy for a few more months to come.


  2. Things started to go down hill around now in the UK. The Kenny G tune was on the pirates and Radio London (it had gone really funky at this time with Tony Blackburn and Dave Pearce and the Soul Nights Out). in the London area for months – I didn’t go that mad for it at the time but heard it a year or so ago and really liked it this time around.

    Electro also seemed to go off the boil really quickly. And it wasn’t long till we had the advent of the really unfunky, leaden , clod hopping type of beats which dominated a lot of funk and dance-pop records until house starting taking off and got rid of them. I really think a lot of that 1985/86 funk and r&b was real lowest common denominator stuff and I actually (against my better judgement) bought a to of it purely because I was trying to do a bit of deejaying at the time. Probably the worst 2 or 3 years to get into deejaying, as in the London area you either played that boring rubbish or went down the obscure latin jazz route.


  3. True. It changed around this time, and the Funk/Boogie era that came after Disco had reached it’s peak, but there’s some gems droppin’ every now and then, with a more polished sound than previous years, with some exceptions. Finally, Funk/Boogie sounded too clean, and over produced, and lost it’s touch with the streets in favor of Hiphop in ’84, and then House in ’85. Starting in ’84 with Strafe, and Harlequin Four’s Set It Off though not labeled House ’til the Chicago stuff came along. The continuation of Disco that kept dance music exciting, and still does.


  4. Good point about ‘Set It Off’ – I believe the Strafe version was the big one in America but I seem to remember the Harlequin 4’s being the big one in London – that’s the one I had. There was other good stuff such as DSM’s ‘Warrior Groove’ (I think the bloke who was later D-Mob of ‘We Call It Acieed’ fame helped make that), Level 42’s sometime producer Wally Badarou’s ‘Chief Inspector’ and Paul Hardcastle’s electro classics including ‘Rain Forest’ – which seemed to be played in every shopping-centre in England by the break-dancers when it was out. But tellingly all except ‘Set It Off’ of those tunes were recorded in England.


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