2nd April 1939-1st April 1984
THE NEWS echoed the shooting of Sam Cooke in 1964, but the circumstances had the ring of true Greek tragedy: Marvin Gaye was shot on the eve of his 45th birthday “in self defence” by his own father, the Reverend Marvin Gaye Sr… the father in whose Washington DC church the young Marvin had gained his early musical grounding.
For two years from 1955 Marvin was in the Don Covay-led local doo-wop group The Rainbows, who scored a regional hit with ‘Mary Lee‘ (Red Robin/Pilgrim), before forming a splinter group The Marquees who recorded on OKeh (as a result of fellow former Rainbow Billy Stewart’s involvement with Bo Diddley on the label).
In 1959 Harvey Fuqua, who had been a judge when Marvin won a high school singing contest, recruited the Marquees to become his reformed Moonglows — Marvin singing lead on ‘Mama Loocie‘ (Chess). Settling in Detroit, Harvey married Gwen Gordy (whose Anna label pre-dated Motown) and Marvin married Anna Gordy, so it’s not too surprising to find the fortunes of Harvey and Marvin becoming closely entwined with those of big brother Berry Gordy Jr!
Although his solo debut in 1961 was an album of standards, ‘The Soulful Moods Of Marvin Gaye’, in an attempt by Berry to diversify the still fledgling Tamla label, Marvin finally started his hit singles streak in the autumn of 1962 with the then typically percussive ‘Stubborn Kind Of Fellow‘, produced by William Stevenson and backed (in their own vinyl debut) by Martha & The Vandellas.
Only this last Saturday on Radio 1’s ‘Hitsville USA’ series, Marvin observed that he had worked with everyone in the Motown family (“except perhaps the Elgins”), and indeed in true family spirit his chief role early on had been that of drummer on many sessions with the Miracles and others! To move on apace he was of course also used as the (not entirely willing?) partner of first Mary Wells and then Kim Weston, Tammi Terrell and Diana Ross in a series of successful duets which, in this country especially, did much to undermine his own identity.
Also, with William Stevenson he wrote and produced for such “outside” acts as the Artistics (on OKeh — an earlier loyalty?), while for Motown’s subsidiary Soul label his finest production in 1969 was the Originals sublime smoocher ‘Baby I’m For Real‘.
In the meantime as a gospel influenced soul singer with an intimately caressing vocal style, his biggest US hits had been ‘Pride And Joy‘ (summer ’63), ‘How Sweet It Is’ (Xmas ’64) and ‘I Heard It Through The Grapevine’ (Xmas ’68) … this latter unreleased for many months after its recording in a disagreement probably over Marvin’s unhappiness at the emphasis then placed on his duet hits. However, once finally out, ‘Grapevine’ became the Motown company’s biggest ever hit at that time and paved the way for Marvin to take greater control of his own recording destiny.
The result was a watershed not only for Marvin or Motown but for soul as a whole, the moody introspective self-produced concept album ‘What’s Going On’ and its spring ’71 title track smash, built up from layers of gently drifting amorphous sound. This approach continued through the sexual ‘Let’s Get It On’ (summer ’73), rhythmic ‘Got To Give It Up’ (spring ’77) and was triumphantly re-orchestrated for electronic instruments on autumn 1982’s climactic ‘Sexual Healing’.
However, between times, Marvin’s personal life had driven him to depression, and he had finally split with Motown to record for CBS. Working with Harvey Fuqua as advisor and recording in Belgium, Marvin Gaye’s bold experiment with ‘Sexual Healing’ had given his career a much needed boost. Now in a sad full circle of fate, his life has been taken away by the man who gave it. The joy he gave others will live on…
ODDS ‘N’ BODS
SUNDAY NIGHT found London’s Horizon Radio responding to the news with continuous Marvin Gaye music while Radio Invicta prattled on in obvious ignorance until they managed to slot a brief tribute into their schedule: however, given a few hours preparation, it was Capital’s Roger Scott on Monday afternoon who played a neatly edited virtually chronological 25 minute medley of all Marvin’s milestone records . . . I only met Marvin Gaye once, when Smokey Robinson introduced us backstage at the Brooklyn Fox during a Murray The K show in ’64: on the same bill were the Supremes, Temptations, Ronettes, Little Anthony & The Imperials, Millie Small, Dusty Springfield, Searchers and a whole host more Merseybeat groups, plus a full feature movie, all in rotation four shows a day for a week — ah, memories! . . . Capital’s Saturday night soul DJ Phil Allen is about to upset his most loyal listener, but Tony Monson does an expanded disco sales chart show Sundays 8- 10pm on Horizon Radio stereo 102.5FM, now going daily 7am-1am (more at weekends) . . . Oscar J Jennings has left Skyline for weekday evenings 6-8pm drive time on London Weekend Radio 92.5FM — or LWR as it’s known, being on air 7 days a week! . . . Chris Hill, Carol and myself had a great trip to Cumbria, gorging again at the world famous Sharrow Bay Hotel on Ullswater, but it was a pity the crowd at Ernie & Kathleen Priestman’s lavishly lit Old Hall in Egremont hadn’t been kept more up to date musically — however, the night got really good, the lighting (including four flying saucers on tracks and a £21,000 laser) would rival anything bar the Hippodrome, and Judy Hutchinson made a lovely tall dancing partner! . . . Chris Paul (South Harrow Bogarts) has been using The Champs ‘Tequila‘ as a crowd wind-up for years and keeps having to buy replacements as he sells his copies — I wonder, did Chris Hill get one off him?! . . . Chris Brown is threatening to play a live Tom Jones medley of ’60s Wilson Picket-type things at Caister, this weekend (I told you it was getting like Northern Soul!), which may be what scared punters off from the now cancelled Showstoppers trip to Jersey . . . Jeffrey Osborne has added an extra London date at Hammersmith Odeon on April 27 . . . Slave wind up their UK tour Sunday (8) at Glasgow Zanzibar’s monster funk all-dayer, Monday (9) at Bradford Caesar’s Palace — meanwhile Grandmaster Flash & The Furious Five and Davy DMX cut it up Sun/Mon (8/9) at London’s Venue before heading next weekend to Nottingham’s Rock City (Fri 13), Aylesbury Friars (Sat 14) . . . Motown again got Bobby Womack for Britain, while London have the Philly World label from which first product (already promo-ed ahead even of US release) in two weeks will be Harold Melvin & The Blue Notes ‘Don’t Give Me Up‘, a blandly predictable 119bpm “soul” swayer over bumping M&M-mixed Nick Martinelli electronics, and a revival by Terri Wells of the mafia’s fave D. Spinners oldie! . . . Collage’s ‘Get In Touch’ LP is available here (Solar 96-0240-1), if you can’t find their 12in original . . . Gary Crowley’s front door to your living room, Channel 4’s ‘Earsay’ has theme music by Ian Levine & Fiachra Trench which as ‘Frantic Love‘ by Eastbound Expressway is due soon on guess which boys town label . . . I wonder what would happen if the HI-NRG chart didn’t mention anything until it was on full commercial release? . . . Earlene Bentley Saturday (7) plays Edinburgh Fire Island, where Laura Pallas will be lucky ever to have a hit . . . Southampton’s Warehouse has metamorphosed into the hi-tech Raffles featuring general music, though Adrian Dunbar makes Saturday a non-stop dance night and as from Monday April 16 starts a new weekly branch of Bolts for the boys . . . LWR’s Sunday noon-2pm jazz doc, Bob Jones souls Royston’s The Bull Thursday (5) . . . Invicta’s Darren Fogel & Skyline’s Patrick French soul West Norwood’s Norwood Suite Fridays (£1 off if you show this mention!) . . . Horizon’s Gilles Peterson joins Paul Oakenfold Fridays to funk under-18s at Wallington Public Hall’s Candy Box, and Peter Smedley Sundays to jazz-samba Sutton Christie’s wine bar (Surrey) . . . Essex Radio’s soul DJ Dave Gregory funks Southend’s re-vamped and laser-lit TOTS Tuesdays . . . hip HOP!
TWENTY YEARS ON…
THIS WEEK in 1964 The Beatles achieved the still unequalled feat of having the top five singles in the Billboard US Hot 100 (‘Can’t Buy Me Love’/’Twist And Shout’/’She Loves You’/I Want To Hold Your Hand’/ ‘Please Please Me’). However, of far greater significance to black music fans were all the soul hits which in those days crossed over as a matter of course into the US pop chart — a subject I keep going on about! — but if you need convincing just check through these, from w/e April 4, 1964: Betty Everett ‘Shoop Shoop Song’, Temptations ‘The Way You Do The Things You Do’, Marvin Gaye ‘You’re A Wonderful One’, Tommy Tucker ‘Hi-Heel Sneakers’, Bobby Bland ‘Ain’t Nothing You Can Do’, Chuck Berry ‘Nadine’, Dean & Jean ‘Hey Jean Hey Dean’, Chubby Checker ‘Hey Bobba Needle’, Ray Charles ‘My Heart Cries For You’, Lenny Welch ‘Ebb Tide’, Ray Charles ‘Baby Don’t You Cry’, Mary Wells ‘My Guy’ (its chart debut at 50), Major Lance ‘The Matador’, Soul Sisters ‘I Can’t Stand It’, Marvelettes ‘He’s A Good Guy’, Little Stevie Wonder ‘Castles In The Sand’, Miracles ‘The Man In You’, Impressions ‘I’m So Proud’, Shirelles ‘Sha La La’, Vibrations ‘My Girl Sloopy’, Anna King & Bobby Byrd ‘Baby Baby Baby’, Irma Thomas ‘Wish Someone Would Care’, Jerry Butler ‘Giving Up On Love’, Ruby & The Romantics ‘Our Everlasting Love’, Coasters ‘T’ Ain’t Nothin’ To Me’, Tymes ‘To Each His Own’, Tams ‘You Lied To Your Daddy’, Gloria Lynne ‘I Should Care’, Freddie Scott ‘Where Does Love Go’, Contours ‘Can You Do It’, King Curtis ‘Soul Serenade’, Tams ‘It’s All Right’, Ben E King ‘That’s When It Hurts’, Otis Redding ‘Come To Me’, Baby Washington ‘I Can’t Wait Until I See My Baby’s Face’, Gloria Lynne ‘Be Anything (But Be Mine)’, Chuck Jackson ‘Hand It Over’, BB King ‘How Blue Can You Get’, Ronettes ‘(The Best Part Of) Breakin’ Up’ . . . fair makes your mouth water, huh? Those were the ones that I marked at the time as having a soul sensibility (they were also the ones that I got), but they omit Louis Armstrong ‘Hello Dolly’ and Danny Williams ‘White On White’! The ‘British Invasion’ opened the US chart to black acts as white Americans were thrown into confusion, but under not dissimilar circumstances the US Hot 100 of w/e March 31 1984 could only field 21 black crossovers to 1964’s impressive 39.
CHANGE: ‘Change Of Heart’ LP (US Atlantic/RFC 80151-1)
Sure to top the disco chart in double quick time, the dynamite ultra-nagging 107½bpm title track jitterer is like Yarbrough & Peoples singing ‘She’s Strange’, produced by masters of the current hot tempo Jimmy Jam Harris & Terry Lewis, and the last part is true, fact! HOT! Rarely has a record excited me and my dancers so much (though on current form even if out here it probably wouldn’t cross over until Christmas, snigger snigger!). Other toned down Jimmy Jam tracks are the 110bpm ‘You Are My Melody‘, 109bpm ‘Warm‘, slow 72/36bpm ‘Say You Love Me Again’, current group leader Timmy Allen handling the Kashif-ish 113bpm ‘Lovely Lady’ slowed-down ‘Searching’-like 107bpm ‘True Love’ (144½bpm at 45rpm!), more mundane 122bpm ‘Got My Eyes On You’, 111bpm ‘It Burns Me Up’.
DETROIT SPINNERS: ‘Love Is In Season’ (LP ‘Cross Fire’ Atlantic 780150-1)
Already creating a Cameo-sized buzz on advance 7in (where unbelievably it’s only on the B-side), this Leon Sylvers III-produced gorgeous gently swaying 101½bpm soul satisfying vocal delight will obviously be massive at Caister this weekend and could revive the Harvey Fuqua-founded veteran group’s fortunes yet again. The 7in A-side’s rolling 114bpm ‘Right Or Wrong‘ with its old (‘Twine Time’?) bassline, lushly pushing 112bpm ‘Two Of A Kind‘, chunkily current 111bpm ‘Not Just Another Lover‘ are other good dancers, along with the 122bpm ‘Keep On Keepin’ On’, 0-108bpm ‘All Your Love’, 65½bpm ‘Secrets’, 65bpm ‘Our Time For Love’, and now mandatory fast ugly 144bpm title track — but this is the season for ‘Love Is In Season’!
STANLEY CLARKE: ‘Heaven Sent You’ (LP ‘Time Exposure’ Dutch Epic 25486)
Much of the set is listenable but undanceable dexterity ‘n flash from the bassist/synthesist, who luckily for this one truly terrific soulful mellow (0-)102bpm swaying jogger has recruited as vocalist Shalamar main man Howard Hewett, who’s never sounded so convincing. A must! The recently 12-inched jaggedly funky instrumental 122bpm ‘Are You Ready‘ and gently loping vocal 109bpm ‘Future Shock‘ (not Curtis/Herbie’s) are OK too, though it’s Howard’s hit.
KOOL & THE GANG: ‘(When You Say You Love Somebody) In The Heart’ (De-Lite DEX 17)
Admittedly Kool’s most commercial ever, ‘Joanna’ was oddly unpopular with UK soul jocks and now this equally strong very similar 105½bpm follow-up (which always stood out on their also ignored album) is flipped by a totally rock-orientated 120bpm remix of ‘Tonight‘ and the slow 0-35/70bpm ‘September Love’.
BOBBY KING: ‘Lovequake’ (Motown TMGT 1335)
Possibly over-rapid UK release for the rumblingly introed blandly swaying pleasant 0-109½bpm soul wailer (here with a different as yet unheard flip), current experience showing that specialist soul needs a long build up of exposure to then sell.
FUNK DELUXE: ‘This Time’ (Dutch Rams Horn Records RHR 3321)
Randy Muller-prod/penned rambling chick squawked (0-)114½bpm burbling smacker with infectious juddering undertow, like a cross between Brass Construction ‘Walkin’ The Line’ and Skyy ‘Show Me The Way’, sure to get feet twitching though too untidy to be an actual “song” (inst dub flip).
TENDERLOINZ: ‘Where’s The Beef?’ (US Next Plateau NP 50020)
Wendy’s burger restaurants get a label for this fast zappy 127bpm fast food frolic, electro with vocoder and guys ‘n gals whipping up a shake on the ridiculously infectious vocal, although the C-Bank-ish instrumental flip is a better mixer (I actually ran bits through ‘Jingo’). Stupid and trite, and I like it a lot!
JO JO: ‘Jackson Rd’ (US LaRue Records LO-1003)
Nothing to do with Michael, a nice deliberately jolting slow 99bpm Shakatak-ish piano groove bumping along some disjointed squeaky vocal lines (alternative more fragmented Dance flip). Kinda sneaky!
YES: ‘Leave It (Hello, Goodbye Mix)’ (Atco B9787T)
Disbelieve if you dare, but this Trevor Horn-produced (0-)104bpm instrumental 12in version is exactly like Yarbrough & Peoples, with useful percussion for the last half (0-50-100bpm vocal 7in version/acappella flip). You’ve been warned!
KRYSTOL: ‘Nobody’s Gonna Get This Lovin’ But You’ (US Epic 49-04982)
Leon Sylvers III-produced Trevor Horn-influenced slow juddering 101bpm Yarbrough & Peoples-type jerky jogger, with Evelyn King-pitched presumably female vocal or possibly more useful instrumental flip (unlabelled as such — it’s the 5:26 version).
PROTON PLUS: ‘Pay Up’ (Yew Wood UWOOD 2)
Post-Kandidate/pre-Galaxy vintage Phill Fearon (as he’s spelt here), a bright but jerkily disjointed 128-126-124-125bpm burbling Britfunker already showing the direction he had yet to fully realise (edit/inst flip), out again now for only a month before this label loses the rights.
JEFFREY OSBORNE. ‘Stay With Me Tonight’ (A&M AMX 188)
Tedious 120bpm clopper re-released to tie in with his London shows, on 3-track 12in with a Froggy-mixed flip containing a sadly de-gutted/censored UK radio version of the (in its US remix) usually mind-destroying 112bpm ‘Plane Love’, and a neatly spliced series of excerpts from ‘New Love’ (99)/’I Really Don’t Need No Light’ (107)/’Don’t You Get So Mad’ (116-114)/’Stay With Me Tonight’ (119bpm). Now, had A&M allowed a properly mixed running synch between just ‘Light’ and ‘Plane Love’ (both Hawk Wolinski-penned), that really would have been something!
ROSE ROYCE: ‘New Love’ (US Montage MS 620)
Blandly burbling c.114½bpm loper, nice enough if none too incisive (edit/dub flip), although I’m told it grows on one.
BAR-KAYS: ‘Dance, Party, Etc’ (LP ‘Dangerous’ US Mercury 818478-1 M-1)
Powerfully effective if production line funk, this almost self-satirising 109bpm chant goes well with Sun ‘Dance Let’s Shake It Tonight’, Zapp ‘Dance Floor’, Kurtis Blow ‘Party Time’ and other US Air Force Base party pleasers, others being the 113bpm ‘Sexomatic‘, 117bpm ‘Loose Talk‘, 125bpm ‘Dirty Dancer‘, 130bpm title track, the whipping 130bpm ‘Freakshow On The Dance Floor’ being on 12in with the yearning soulful slow 34/68bpm ‘Lovers Should Never Fall In Love’, which is getting smooch attention along with the 73bpm ‘Make Believe Lover’.
DISCO TOP 85 – April 7, 1984
01 03 SHE’S STRANGE/GROOVE WITH YOU, Cameo, Club 12in
02 01 DON’T LOOK ANY FURTHER, Dennis Edwards, Gordy 12in
03 05 YOU’RE THE ONE FOR ME/DAYBREAK/AM (MEDLEY)/INSTRUMENTAL, Paul Hardcastle, Total Control Records 12in
04 15 WHAT DO I DO? (CARNIVAL MIX)/(PINA COLADA MIX-IN-DUB), Phil Fearon & Galaxy, Ensign 12in
05 04 BREAKIN’ DOWN (SUGAR SAMBA), Julia & Company, London 12in
06 09 HI, HOW YA DOIN’?/I’VE BEEN MISSIN’ YOU/HELP YOURSELF TO MY LOVE/ Kenny G, Arista LP
07 10 S.O.S., Matsubara, US D&D 12in
08 07 AIN’T NOBODY, Rufus & Chaka Khan, Warner Bros 12in
09 02 WHAT DO I DO?, Phil Fearon & Galaxy, Ensign 12in
10 06 TAXI, J Blackfoot, Allegiance/Sound Town 12in
11 14 TELL ME WHY/LOVE HAS FINALLY COME AT LAST/THROUGH THE EYES OF A CHILD, Bobby Womack, US Beverly Glen Music LP
12 26 GET IN TOUCH WITH ME (US MIX), One Blood, Ensign 12in
13 16 LOVE ME LIKE THIS, Real To Reel, US Arista 12in
14 08 IT’S ALL YOURS, Starpoint, US Elektra 12in
15 34 DON’T KEEP ME WAITING/DUB MIX/DUB INSTRUMENTAL, Tia Monae, US First Take 12in
16 20 LET THE MUSIC PLAY/DUB/REMIX, Shannon, Club 12in
17 30 YOUR LOVE IS KING/SMOOTH OPERATOR/SNAKE BITE, Sade, CBS 12in
18 19 OUT OF SIGHT (REMIX), Lefturno, MCA 12in
19 — LOVE IS IN SEASON/RIGHT OR WRONG/TWO OF A KIND, Detroit Spinners, Atlantic LP
20 25 THE SOUND OF MUSIC (X-TENDED REMIX), Dayton, Capitol 12in
21 28 GIVE ME TONIGHT/DUB VERSION, Shannon, Club 12in
22 27 PLANE LOVE (REMIX), Jeffrey Osborne, US A&M 12in
23 11 BACK AT YA/INSTRUMENTAL/CLUB MIX, Kerr, Greyhound 12in
24 — MEGA STREET, Crusaders, MCA 12in
25 55 SOMEBODY ELSE’S GUY/DUB, Jocelyn Brown, US Vinyl Dreams 12in
26 48 BREAK/YOU DID IT AGAIN/NEXT TIME IT’S FOR REAL/TONIGHT/GO FOR IT/INTIMATE CONNECTION, Kleeer, Atlantic LP
27 38 DON’T WASTE YOUR TIME (REMIX), Yarbrough & Peoples, US Total Experience 12in
28 18 STOP WHAT YOU’RE DOIN’, The Chi-Lites, US Private I 12in
29 43 DEJA VU, AB’S, Streetwave 12in
30 17 STREET DANCE/INSTRUMENTAL, Break Machine, Record Shack 12in
31 12 RENEGADES OF FUNK/RENEGADES CHANT/INSTRUMENTAL, Afrika Bambaataa & Soul Sonic Force, Tommy Boy 12in
32 50 HELLO/ALL NIGHT LONG (ALL NIGHT) (INSTRUMENTAL), Lionel Richie, Motown 12in
33 — CHANGE OF HEART, Change, US Atlantic RFC LP
34 13 COME BE WITH ME/LIGHT MY FIRE, The Ronnie McNeir Experience, US Capitol mini-LP
35 53 SOMEDAY/OUTSTANDING, Gap Band, Total Experience 12in
36 31 ENCORE, Cheryl Lynn, US Columbia 12in
37 21 FLYING HIGH, Cloud One, US Heavenly Star Record Corp 12in
38 22 ON THE FLOOR (ROCK-IT), Tony Cook & The Party People, Half Moon 12in
39 42 OOH, I LIKE THE WAY IT FEELS, Toni Smith, Malaco 12in
40 40 I WANTED YOUR LOVE, Luther Vandross, Epic LP/US 12in
41 41 SECRET LOVE, Evan Rogers, RCA 12in
42 23 HAVE YOU GOT THE TIME (DISCO MIX), The Funkmasters, Master-Funk 12in
43 29 AIN’T NO STOPPIN’ (AIN’T NO WAY), McFadden & Whitehead, US Sutra 12in
44 58 LOVE ON/DON’T WANT NOBODY, The Dells, US Private I LP
45 84 NO SELL OUT (REMIX), Malcolm X/Keith LeBlanc, Tommy Boy/Island 12in
46 24 P.Y.T. (PRETTY YOUNG THING)/THRILLER (INSTRUMENTAL), Michael Jackson, Epic 12in
47 39 ANOTHER MAN IS TWICE AS NICE, Tout Sweet, Buzz International 12in
48 47 SWEET SOMEBODY, Shannon, Club LP
49 56 COTTAGE IN NEGRIL (EXTENDED REMIX), Tyrone Taylor, MCA 12in
50 33 SOMEBODY’S WATCHING ME, Rockwell, Motown 12in
51 60 LUCKY STAR, Madonna, Sire 12in
52 54 YAH MO B THERE, James Ingram/Michael McDonald, Qwest 12in
53 37 (I’M JUST A) SUCKER FOR A PRETTY FACE, West Phillips, Trans Q/S.O.U.N.D. 12in
54 — AUTOMATIC (REMIX), Pointer Sisters, Planet 12in
55 80 SATISFY ME LOVER/BREAKOUT/USE ME, Starpoint, US Elektra LP
56 72 TURN IT AROUND (INSTRUMENTAL), Gino Soccio, US Atlantic 12in
57 32 DANCE TO THE BEAT/DUB BEAT, T.C. Curtis, Hot Melt 12in
58 51 (RETURN TO THE VALLEY OF) OUT COME THE FREAKS (REMIX)/ (PREDOMINANTLY FUNK VERSION), Was (Not Was), Ze/Geffen 12in
59 71 TAKE SOME TIME, Sparque, US West End 12in
60 — ALL NIGHT LONG (SOCA)/CLUB SOCA MIX, Gloria Ifill, Trindisc 12in
61 35 LET ME SHOW YOU, Larry Wu, US Atlantic 12in
62 64 (IT’S A) DOGGIE BOOGIE BABY, Charles Earland, US Strut 12in
63 69 I’VE GOT TO FIND A WAY, Zena Dejonay, US TVI 12in
64 62 RIGHT PLACE RIGHT TIME, Denise LaSalle/Latimore, US Malaco LP
65 70 WHEN YOU’RE FAR AWAY (REMIX), Gladys Knight & The Pips, US Columbia 12in
66 67 SLOW TONGUE/E.S.P., Millie Jackson, Sire LP
67 61 I FEEL LIKE WALKING IN THE RAIN/SEXERCISE, Millie Jackson, Sire 12in
68 — KEEP IT COMIN’, Jones Girls, US Philadelphia International 7in
69 — BREAKIN’ DOWN (REMIX), Julia & Company, London promo acetate
70 44 TELL ME WHAT YOU WANT, Loose Ends, Virgin 12in
71 — NEW LOVE, Rose Royce, US Montage 12in
72 — PLANE LOVE (UK REMIX)/THE JEFFREY OSBORNE SOUL MIX/STAY WITH ME TONIGHT (US CLUB MIX), Jeffrey Osborne, A&M 12in
73 — LOVEQUAKE, Bobby King, Motown 12in
74 66 SHE’S STRANGE (CLUB MIX REMIX), Cameo, US Atlanta Artists 12in
75 — FUNKY BREAKDOWN/FUNKY MIXDOWN, Awesome Foursome, US Partytime 12in
76 75 I’M GONNA GETCHA/L.A. MIX, Family Brown, US Buzz Records 12in
77 52 JAM ON IT, Newcleus, US Sunnyview 12in
78 76 ONE FOR THE TREBLE (FRESH), Davy DMX, US Tuff City 12in
79 — GET IN TOUCH WITH ME, Collage, US Solar 12in
80 83 CELEBRATE YOUR LOVE, Executive, US Oh My! Records 12in
81 45 KEEP IT ALIVE/ON & ON/DON’T MAKE ME WAIT/TIME TO WIN, Carl Anderson, US Epic LP
82 78 WHITE HORSE (US MEGAMIX), Laid Back, Creole 12in
83 79 I LOVE THE PIANO, Kasso, Banana 12in
84 — HEAVEN SENT YOU, Stanley Clarke/Howard Hewett, Dutch Epic LP
85 — I TREASURE YOUR PLEASURE, D Train, US Prelude LP
No Breakers listed this week.
Beats Per Minute for last week’s Top 75 entries on 7in (endings denoted by f/r/c for fade/resonant/cold):
Thompson Twins 104½f, Michael Jackson 126f, Rufus 0-104f, Cameo 0-108½f, Cliff Richard 117f, Beatles 174-169-170-0r, Gap Band 117f, Psychedelic Furs 137f, The Alarm 33-133f, ZZ Top 0-100½c, Thomas Dolby 54¾/109½-0r, Shalamar 195f, Yes 0-50-100c, Julian Cope 146/73/146f.
01 02 HIGH ENERGY, Evelyn Thomas, Record Shack 12in
02 01 COUNTDOWN (HERE I COME), Kofi & The Lovetones, Electricity 12in
03 03 NOTHING’S WORSE THAN BEING ALONE, Velvette, Electricity 12in
04 09 DESIRE (HI-ENERGY MIX), Paul Parker, Technique 12in
05 05 I’M LIVING MY OWN LIFE, Earlene Bentley, Record Shack 12in/US TVI remix
06 04 COME OUT OF HIDING, Pamela Stanley, US TSR 12in
07 10 WHEN YOU WALK IN THE ROOM, Ramming Speed, Proto 12in white label
08 11 I’M GONNA LOVE YOU FOREVER, Jimmy Ruffin & Jackson Moore, ERC 12in
09 06 EMERGENCY, Laura Pallas, Record Shack 12in
10 12 ROCKET TO YOUR HEART (REMIX), Lisa, Dutch BMC 12in
11 13 SOMEBODY TO LOVE, Cafe Society, Passion 12in white label
12 21 THE UPSTROKE/Hi-NRG MIX, Agents Aren’t Aeroplanes, Proto 12in white label
13 15 HAPPINESS, Christopher Street, ERC 12in
14 25 YOU TURNED MY BITTER INTO SWEET, Linda Lewis, Electricity 12in
15 14 FOR ALL WE KNOW, Norma Lewis, ERC 12in
16 07 LOVE TRAP (REMIX), Astaire, Passion 12in
17 08 THE MAN’S SO REAL, Mimi, Challenge 12in/remix
18 20 I LOVE MEN, Cinema, US Promise 12in
19 16 JUMP, Pointer Sisters, US Hot Tracks LP
20 28 TIE ME DOWN, Romance, Passion 12in white label
21 22 IN ORBIT, Yvonne Gidden, Electricity 12in
22 26 ALIVE WITH LOVE, Tina Fabrique, US Prism 12in
23 17 EVERGREEN/JEALOUS LOVE, Hazell Dean, Proto 12in
24 24 LOVE FIRE, Jimmy James, ERC 12in
25 27 JUST ANOTHER BROKEN HEART, Dorothy Moore, US Streetking 12in
26 18 WHO’S YOUR BOYFRIEND, Eric, US MEMO 12in
27 — AFTER THE FALL, Kathy Wilson, US BMO 12in
28 — ONE NIGHT ONLY, Sherrie Payne, US Megatone 12in
29 29 HE’S A SAINT HE’S A SINNER, Miquel Brown, Record Shack 12in
30 19 LOVE ON THE ROCKS (REMIX), Lama, Carrere, 12in
POP JOX are playing: 1 (2) Julia & Co, 2 (1) Phil Fearon, 3 (8) Lionel Richie A/B/C, 4 (6) Weather Girls, 5 (7) Break Machine, 6 (3) Shannon ‘LTMP’, 7 (4) Frankie GTH, 8 (9) Rockwell, 9 (15) Kool ‘J’, 10 (31) Shannon ‘GMT’, 11 (-) Cameo, 12 (5) Madonna ‘H’, 13 (16) Bananarama, 14 (18) Culture Club, 15 (13) Afrika Bambaataa, 16 (12) Tony Cook, 17 (-) Dennis Edwards, 18 (21) The Special AKA, 19 (11) Sade, 20 (-) Madonna ‘LS’, 21 (20) World’s Famous Supreme Team, 22 (10) Nena, 23 (27) Lefturno, 24 (26) Millie Jackson 12in, 25 (14) George Kranz, 26 (23) Van Halen, 27 (34) Michael Jackson ‘PYT’, 28 (-) UB40, 29 (37) Whodini ‘MW’, 30 (28) Was (Not Was), 31 (-) Tyrone Taylor, 32 (-) Evan Rogers, 33 (-) The SOS Band, 34 (19) Wang Chung, 35 (36) Cyndi Lauper ‘Girls’/remix, 36 (re) The Smiths, 37 (-) J. Blackfoot, 38 (-) Gap Band, 39 (-) Depeche Mode, 40 (-) Scritti Politti.
4 thoughts on “April 7, 1984: Marvin Gaye obituary, Change, Detroit Spinners, Stanley Clarke, Kool & The Gang, Bobby King”
That’s Chris Paul playing ‘Tequila’ who had a few jazz-funk revival hits under his own name in a couple of years but more famously as Isotonik was behind the big hardcore crossover tunes in the early 90s when he used to run the legendary Orange raves in London.’Tequila’ got really big around then I remember it as one of the biggest tunes at the Bournemouth weekender a few months later.
Is that future most highly paid DJ in the world and years before that promoter of the legendary acid house night Spectrum Paul Oakenfold’s first mention – he was writing a hip hop column around this time IIRC.
Chris Brown DID play the Tom Jones medley at Caister – it even got released a couple of years later as the bside to the ‘Its Not Unusual’12”.
’Renegades of Funk’ already on its way down all I remember about that tune is that they gave away free car sunstrips with some of the 12”s which a couple of blokes had in their cars around my way. Sunstrips of the ‘If it moves Funk It’ type were everywhere in the 1980s and which modern kids wouldn’t know at all.
Actually, it’s the second mention for Paul Oakenfold – his first was in the column of August 27, 1983.
There was a UK cover of “Tequila” in 1985 by No Way José, which came out on Fourth & Broadway and did quite well. The sleeve credits Nicky Holloway and Gary Crowley for “Ideaology”, but perhaps Chris Paul should have received credit for reviving the tune in the first place…
Yeah I remember the No Way Jose version – but only now realised how the tune per se’s popularity probably started or that Nicky Holloway was involved in the remake.
Correction – I obviously meant Tequila was big around the mid 80s not at Chris Paul’s raves!