June 21, 1986: Sleeque, Farley ‘Jackmaster’ Funk & Jessie Saunders, Janice, Dinosaur L, The Latin Rascals


THIS COULD be a long hot sweaty summer if the faster ‘garage’ grooves like Dinosaur L succeed in forcing black dance tempos back up to the 130bpm region . . . StreetSounds have finally launched their Picture Box dance music video series, 12 clip compilations at about £12.50, released bi-monthly in alternation with a Hip Hop video series too, the same label has also started their new Artists Showcase LP series with a good retrospective of The Jones Girls (MUSIC 4), while jazz jock Gilles Peterson has compiled not only ‘Jazz Juice 2‘ (StreetSounds SOUND 4), including Dianne Schuur ‘It Don’t Mean A Thing If It Ain’t Got That Swing‘, but also the even more specialist ‘Blue Bossa‘ (Blue Note BNSLP 1, via EMI) . . . The Temptations ‘My Girl’ heads a four-track oldies 12-incher to celebrate their 25th anniversary (Motown ZT 40744) . . . I had no time to mention Loose Ends’ flip, the emphatically wriggling 105¾bpm ‘Gonna Make You Mine‘, now proving hotter for many . . . Froggy & Simon Harris have remixed William Bell ‘Passion’ (and are choked they didn’t get to do the second even bigger Real Thing hit remix!) . . . Theo Loyla’s DJ mailing list Superjocks Hit Squad has amicably divorced itself from the Disco Mix Club so as not to compromise the latter’s impartial dealings with other, rival record promotion companies (Theo, by the way, Level 42 are an excellent pop-rock band, but hardly funk nowadays) . . . US firm Finial Technology later this year launch a $2,500 record playing turntable using a laser beam instead of a stylus (similar to, but incompatible with, the CD system), an instant start/cue professional model for disco and radio use following in 1987 . . . Janet Jackson ‘Nasty’ topped US Black 45s, but Patti LaBelle finally replaced her as top Black LP, while The SOS Band ‘The Finest’ topped 12-inch Sales and Dhar Braxton Club Play, in Billboard . . . US “urban” radio stations appear to be getting much blacker in an effort to show there’s more to R&B than dance music . . . Motown have closed their New York A&R office, presumably putting Sergio Munzibai out of a job (amazingly, the actual office was right above one I used to work in years ago!) . . . Asian immigrants were amongst the earliest audience for electro here, but in the States they’ve been identified (by Dance Music Report’s Hi-NRG correspondent Casey Jones) as chief buyers of Eurobeat, which they call “New Wave”! . . . Fresh Fest III 1986 Mardi Gras Tour, the hip hop package currently touring the US, includes such as Kurtis Blow, Full Force, UTFO, Joeski Love, Whistle, Fat Boys, LA Dream Team, Shabba-Doo, Boogaloo Shrimp and the Jets . . . Aerosmith it is, or rather members Steve Tyler and Joe Perry, who contribute the AoR element to Run-DMC’s ‘Walk This Way‘ . . . July 19 could be chaos at Wembley, what with the UK Fresh ’86 rap fest at the Arena and Frank Bruno fighting in the Stadium — Frank’s “You know what I mean?” comments incidentally turn out to be inserted (very badly) into The Contenders’ dreadful Hi-NRG 130bpm ‘Where’s Harry?‘ (Columbia 12DB 9136) . . . Dave Gregory, in addition to the Essex Radio Soul Night Specials, is setting up his own touring show around the South East with regular gigs at such as West Malling Greenways, Braintree Essex Barn, Basildon Festival Hall, featuring guest jocks and PAs: artists interested in the latter, contact TAC Promotions on 0702-347237 . . . Friday (20) Rapattack join ‘underground’ groover Rob Day and upstairs soulster Bob Jones at their weekly New Cross Harp Club Big TV night . . . Disco Gary & Steve Goddard’s Friday Funk-Shun at Maidstone Harveys skips July 4 but is otherwise regular now . . . Mad Max & Perry Daniels start funking Catford Panthers this Saturday (21) with guest Greg Edwards . . . Monday (23) Neil Fincham celebrates Edinburgh Styx’s first birthday with a 12 hour 9pm-9am (licensed) formal black tie party for all the club’s regulars . . . Andy Baker is cock-a-hoop that his venue at Rhyl’s The Downtown is the first on the North Wales coast to get a 2am licence (he also got married!) . . . Swansea soul supporter James Lewis adds commercial Mondays at Harry’s Dance Bar, and Wednesdays at Cwmbran’s Ripples (the only club in town) . . . I’m afraid the weather’s too warm for Hit Numbers . . . SORRY, WRONG BEAT!

CHRIS PAUL’s ‘Expansions ’86 (Expand Your Mind)’ has been much expanded by the Brothers Fearon in a more percussive 0-113¾-113½-113¾-0bpm remix, which is not necessarily an improvement. Shrink-wrapped as a white label with the original 12-inch over this last weekend, it’s now out in its own right with the original tracks as flip (Fourth & Broadway 12BRWX 48). Incidentally, is this the first pic to be published of Chris? I had to take it myself!


SLEEQUE: ‘One For The Money’ (Malaco Dance Records MAL 12-33)
The Jon Williams-renamed and designed label kicks off with my current fave, an infectiously skittering breezy (0-)114-0bpm spacious wriggler with lovely piano and a catchy lilt (in three Paul Simpson mixes). Go man go!

FARLEY ‘JACKMASTER’ FUNK & JESSIE SAUNDERS: ‘Love Can’t Turn Around’ (US House Records FU-10)
More “jack trax” from another of Chicago’s “house” masters, this dynamically spurting express train tempoed 122bpm “garage” groove (in three mixes) is so terrifically exciting it deserves to spread this new true disco style’s following to more than just the trendier clubs. Oddly, the really raving ‘Dub Can’t Turn Around’ is much more vocal than the labelled Club Mix. Try it!

JANICE: ‘Bye-Bye’ (Fourth & Broadway 12BRW 49)
Nu Shooz look out, here comes the next emulator hook-filled maddeningly catchy gimmick hit. Surprisingly only supported on import by the UK’s leading soul jocks, this is greasy kids stuff personified, a silly 113½bpm electro leaper with crazy breaks and Kate Bush-type vocal bursts (here edited in four versions).

DINOSAUR L: ‘Go Bang!’ (CityBeat CBE 1205, via WEA)
‘Southern Freeez’ meets ‘Set It Off’, this fascinating frantic episodic 0-131½-131-130½-130-129½-127½-130-0bpm proto-“garage” rarity from 1982 bounds through a schlurping hi-hat beat that everyone now will recognise, even if not normally at so fast a speed. Wild enough to have wide appeal.

THE LATIN RASCALS: ‘Bach To The Future’ (US Sutra SUD 047)
Johann Sebastian Bach’s ‘Toccata and Fugue in D Minor’ kicks off as organ music before the inevitable juddery 98½bpm electro beat kicks in, to make quite an intelligent, haunting, likely hit. Their own straightforward instrumental 0-100-0bpm ‘Beyond The Future‘ is flip.

FULL FORCE: ‘Temporary Love Thing’ (US Columbia 44-05912)
Soulful listening, this adventurous drifter loosely weaves wailing soul vocal interplay through a monotonously tugging 97bpm undertow but is so amorphous it doesn’t quite cut through as a proper song. However, the flip has Bow-Legged Lou’s overlaid mildly amusing full dialogue ‘Temporary Bow-Legged Theatre (What Am I Gonna Do!)‘ — sorta “the trouble with girls and how to get into it”, with a cast of 20 plus sound effects — and an acappella started dubby vocal ‘Only Temporary’.

SPYDER-D (FEATURING D.J. DOC): ‘I Can’t Wait (To Rock The Mike)’ (Champion CHAMP 12-14)
Excellent in its own right and nicely timed here for full impact, this tough 103½-0bpm rap ‘n scratch is indeed Nu Shooz’s hip hop cover (inst flip). Mixers, go to it!

RANDY CRAWFORD: ‘Abstract Emotions’ LP (Warner Bros WX 46)
Although a long established superstar here, she’s yet to break big Stateside despite recording now for 10 years on Warner Bros — who thankfully this time have let her do what she does best without crossover compromises on a welcome Reggie Lucas-produced set. Pleasant throughout, its most soulful dancers are the typically jogging 99bpm ‘Betcha’, distinctive 102¾bpm ‘Can’t Stand The Pain‘, and Hawk Wolinksi’s buoyant 101¼bpm ‘Don’t Wanna Be Normal‘ (from the ‘WildCats’ soundtrack LP). Lighter weight are the 114½bpm ‘Gettin’ Away With Murder‘, 111¾bpm ‘Desire‘, 96¾bpm ‘World Of Fools‘, 124¼bpm ‘Overnight‘.

GWEN GUTHRIE: ‘Ain’t Nothin’ Goin’ On But The Rent’ (US Polydor 885 106-1)
Lookin’ for a man with money (“no romance without finance” — well a girl’s got bills to pay!), Gwen belatedly follows her ‘Padlock’ US club smash with a similarly aimed gritty though understated burbling jiggly roller given two 107¼bpm mixes by Larry Levan and two cooler 107½bpm remixes by Mark Berry, plus the slow 74bpm ‘Passion Eyes’. Five cuts in all, like Hanson & Davis. A trend?

MAXI PRIEST: ‘In The Springtime’ (10 Records TENT 127)
In a well wicked extended remix, Maxi wants to be as free as the birds up in the tree on his catchy 86¾-87½-86¾bpm Marley-esque bubbler. Tweet tweet, twiddly diddly tweet!

SIR MIX-A-LOT: ‘Square Dance Rap’ (Streetwave MKHAN 69, via RCA)
Malcolm McLaren of course first set a square dance to the hip hop rhythm in 1982, but his voice wasn’t speeded up Chipmunk style, as here on a supremely silly 0-118¼-0bpm gimmicky hoedown (in four mixes). Played at 33 1/3rpm, the UK pressing usefully becomes 87½bpm, a tad too slow maybe, but the ‘Amityville’ tempo.

MASQUERADE: ‘(Solution To) The Problem (The DEFinitive Dance Mix)’ (Streetwave MKHAN 67)
Now it’s fully released, this youthful song of hope has a far stronger totally different 115¾bpm AA-side remix by Mike Allen & Sonic Graffiti, minus the actual song but plus Reagan and Thatcher cut in over the beat and chorus. Hot!

CHUCK BROWN: ‘Be-Bumpin-Fresh’ (US Future Records & Tapes F 0008)
Not at first as intriguing as his ‘Go-Go Swing’ but proving to be a grower, this more blatantly go go (0-)104½-104¾-0bpm bumbler still has a relaxed swing with jazzy touches and scatting amidst the chants and squiggles (inst flip).

T.C. CURTIS: ‘Step By Step’ (Hot Melt 12TC006)
His spine tingling ululating yelps are the high points of this otherwise even levelled gentle 99¾bpm slinkily rolling throbber, more a soulfully pent-up mood than a song, flipped by a zippy 119bpm ‘Dance To The Beat (Remix)’.

KRYSTOL: ‘Passion From A Woman’ (US Epic 49-05390)
The girls look and sound quite alluring, slotting staccato style into the at times over-busy synth backing of this lightweight 0-112½-0bpm lurching backbeat chugger (in four mixes).

TROUBLE FUNK: ‘Good To Go’ (US Island/TTED 0-96819)
The title tune from Island’s now nearly ready to go go movie, this rambling 109-108¾-109¾-109¼-109¾-110¼bpm jittery chant (inst flip) shows why, as warned, the real authentic DC sound has remained primarily a local phenomenon whereas New York’s sharper hip hop fusionists keep hitting internationally using the same beat — it ain’t a song, or a coherent anything. There’d better be a really tight seven inch edit, or at least a syrupy love song from the film, to give US radio something pluggable to encourage boffo box office!

BERNARD WRIGHT: ‘After You’ (Manhattan 12MT9)
Belatedly issued bouncily pushing tight 107¾bpm wriggly jiggler, flipped by its instrumental and the harder more electro jittery 107bpm ‘Yo Nard (Remix)’.

ANITA BAKER: ‘Sweet Love’ (Elektra EKR 44T)
Cleo Laine-ish introspective 87-90bpm meanderer, less than ideal as a UK launch pad although good in itself, flipped by the similarly convoluted 90bpm ‘No One In The World‘ and scampering 126bpm ‘Watch Your Step (The Midnight Mix)‘. Get the album instead.

JEFFREY OSBORNE: ‘Emotional’ LP (A&M AMA 5103)
A disappointment overall with best soul bets being the obviously Afro-flavoured bounding 115½bpm ‘Soweto’ and swaying 92bpm ‘We Belong To Love‘, the single 89bpm ‘You Should Be Mine‘ having been passed by. The 63¼bpm ‘Come Midnight’ is tougher slush than the drippy George Benson reviving 0-31¾-63½-0bpm ‘In Your Eyes’, duetted 30¾bpm ‘Who Would Have Guessed’, yukky 33¼-0bpm ‘A Second Chance’, faster bland pop dancers being the 113¼bpm ‘Room With A View’, 117¾bpm title track, 241¼bpm (sic) ‘Love’s Not Ready‘.

ET (EDDIE TOWNS): ‘Candy’ (LP ‘Best Friends’ US Total Experience TEL 6-5717)
Several trendy jocks are boosting this 124½bpm Prince-ish frisky mutterer (actually it’s more Sheila E’s ‘The Glamorous Life’ beat), while less frantic are the delicately wriggly 117¼bpm title track single, sinuously anguished 78½bpm ‘Never Is Forever’, tentative 100bpm ‘Magic In The Air‘, Junior-esque 113¾bpm ‘Don’t Make Me Wait‘.

DISCO TOP 100 – June 21, 1986

01 02 I CAN’T WAIT (DUTCH MIX), Nu Shooz, Atlantic 12in
02 01 JUMP BACK (SET ME FREE), Dhar Braxton, Fourth & Broadway 12in
03 04 MINE ALL MINE/PARTY FREAK, Cashflow, Club 12in
04 03 EXPANSIONS ’86 Chris Paul featuring David Joseph, Fourth & Broadway 12in
05 05 GIVIN’ IT (TO YOU), Skyy, Capitol 12in
06 07 HEADLINES, Midnight Star, MCA Records 12in
07 06 ALL AND ALL/MANTRONIX MEGA MIX, Joyce Sims, London 12in
08 09 SET FIRE TO ME/INFERNO DUB, Willie Colon, A&M 12in
09 13 BANG ZOOM (LET’S GO-GO)/HOWIE’S TEED OFF, The Real Roxanne with Hitman Howie Tee, Cooltempo 12in
10 14 AMITYVILLE (THE HOUSE ON THE HILL), Lovebug Starski, Epic 12in
11 15 SET ME FREE, Jaki Graham, EMI 12in
12 11 YOUNG HEARTS RUN FREE (M&M REMIX), Candi Staton, Warner Bros 12in
13 08 YOU CAN’T BLAME LOVE, Thomas & Taylor, Cooltempo 12in
14 17 NASTY (REMIX), Janet Jackson, A&M 12in
15 18 YOU AND ME TONIGHT, Aurra, 10 Records 12in
17 10 BASSLINE (STRETCHED)/LADIES (REVIVED), Mantronix, 10 Records 12in
18 12 DIAL MY NUMBER, Pauli Carman, CBS 12in
20 27 WHERE YOU GONNA BE TONIGHT? Willie Collins, Capitol 12in
21 19 DESTINY, D.S.M., Elite 12in
22 16 LOVE’S GONNA GET YOU, Modern-nique featuring Larry Woo, 10 Records 12in
23 31 I CAN’T WAIT (TO ROCK THE MIKE), Spyder-D (fearturing DJ Doc) Champion 12in
24 39 COMPUTER LOVE (REMIXES), Zapp, Warner Bros 12in
25 34 ONE FOR THE MONEY, Sleeque, Malaco Dance 12in
26 29 CAN’T GET BY WITHOUT YOU (REMIX), Real Thing, PRT 12in
27 30 THE FINEST, The SOS Band, Tabu 12in
28 25 DON’T LET LOVE GET YOU DOWN/WHERE WILL YOU GO WHEN THE PARTY’S OVER?, Archie Bell & The Drells, Portrait 12in
29 26 RAZZLE DAZZLE, Michael Jeffries, Warner Bros 12in
30 20 BROOKLYN’S IN THE HOUSE/REMIX, Cut Master D.C., be*bop & Fresh 12in
31 28 WHAT HAVE YOU DONE FOR ME LATELY, Janet Jackson, A&M 12in
32 61 LIKE I LIKE IT (REMIX), Aurra, 10 Records 12in
33 76 SEX MACHINE, Fat Boys, WEA 12in
34 36 SAY LA LA/NEW YORK STREET MIX, Pieces Of A Dream, US Manhattan 12in
36 24 ON MY OWN, Pattie LaBelle and Michael McDonald, MCA Records 12in
37 40 MY ADIDAS/PETER PIPER, Run-DMC, US Profile 12in
38 — DUB CAN’T TURN AROUND/LOVE CAN’T TURN AROUND, Farley ‘Jackmaster’ Funk & Jessie Saunders, US House Records 12in
40 22 SET ME FREE (MARK BERRY REMIX), Jaki Graham, EMI 12in
41 35 WHAT YOU GONNA DO ABOUT IT (REMIX), Total Contrast, London 12in
42 98 FOOLIN’ YOURSELF, Paul Hardcastle, Chrysalis 12in
43 67 HUNGRY FOR YOUR LOVE/I’LL TAKE YOU ON, Hanson & Davis, US Fresh Records 12in
44 58 I LOVE MUSIC, Terry M, MCA Records 12in
45 71 WHEN I THINK OF YOU, Janet Jackson, A&M LP
46 56 WHAT HAVE I DONE FOR YOU LATELY, King M.C. featuring ‘Screamin’ K’, Important Records 12in
47 38 CAPTURED, Dexter Wansel featuring The Jones Girls, 10 Records 12in
48 37 S.O.S., Oliver Cheatham, Champion 12in
49 66 GO BAND #5, Dinosaur L, US Sleeping Bag Records 12in
51 32 GO-GO SWING, Chuck Brown & The Soul Searchers, US Future 12in
53 49 WE WORK HARD/KANGOL & DOC, U.F.T.O., US Select Records 12in
54 55 DOMINOES (LIVE), Donald Byrd, Streetwave 12in
55 75 BURNIN’ LOVE, Con Funk Shun, US Mercury 12in
56 100 GOOD TO GO, Trouble Funk, US Island/TTED 12in
57 60 IS IT LIVE/YOU BE ILLIN’, Run-D.M.C., US Profile LP
58 70 FOOL’S PARADISE, Meli’sa Morgan, Capitol LP
60 — EXPANSIONS (FEARON BROS REMIX), Chris Paul featuring David Joseph, Fourth & Broadway 12in white label
61 51 NO WAY BACK, Adonis, US Trax 12in
62 47 STAY, The Controllers, MCA Records 12in
63 48 NO NEWS IS NEWS – REMIX, Creamcicle, US New Image 12in
64 45 OPEN YOUR DOOR, Guinn, Motown 12in
65 97 MAIN THING/MAIN DUB, Shot featuring Kim Marsh, US Easy Street 12in
66 62 JACK YOUR BODY, Steve ‘Silk’ Hurley, US Underground 12in
67 80 WHAT’S MISSING (REMIX), Alexander O’Neal, Tabu 12in
68 57 SHADOWS OF YOUR LOVE, J.M. Silk, DJ International Records 12in
69 52 NOVELA DAS NOVE, Wally Badarou, Fourth & Broadway 12in
70 — CANDY (124½bpm), ET (Eddie Towns), US Total Experience LP
71 42 PAY ME BACK MY LOVE, Colors, US Prelude 12in
72 69 PEE-WEE’S DANCE, Joeski Love, US Vintertainment 12in
73 — MYSTERIES OF THE WORLD (0-119-0-119)/BLACK IS THE COLOR (123½-124½-126-127¾-126-129-129¾bpm), MFSB/Wilbert Longmire, Streetwave 12in
74 — PASSION FROM A WOMAN, Kristol, US Epic 12in
75 — HERE I GO AGAIN, Force MD’s, Tony Boy/Island 12in promo
76 86 TELL ME IT’S TRUE, Ian Foster, MCA Records 12in
77 84 BE-BUMPIN-FRESH, Chuck Brown, US Future 12in
78 100 AFTER YOU/YO NARD (REMIX), Bernard Wright, Manhattan 12in
71 re IF YOUR HEART ISN’T IN IT, Atlantic Starr, A&M 12in
80 44 MAKE ME THE ONE (LES ADAMS REMIX), Crown Heights Affair, CityBeat 12in
81 — YOU ARE THE REASON WHY (0-75bpm), Viola Wills, Streetwave 12in
82 81 SECRETS, Linda Tillery, US 411 Records LP
84 78 HOT TO TOUCH, Julian Jonah, Total Control Records 12in promo
85 72 CAN’T WAIT ANOTHER MINUTE, Five Star, Tent 12in
86 73 SOCK IT TO ME, Ayre Rayde, be*bop & Fresh 12in
88 53 I WOULDN’T LIE (REMIX), Yarbrough & Peoples, Total Experience 12in
89 65 TROW THE DICK/TROW THE D., Ghetto Style with 2 Live Crew, US Luke Skyy Walker Records 12in
91 64 STYLE (PETER GUNN THEME), Grandmaster Flash, Elektra 12in
92 — POWER’S IN YOUR MIND, Yang, US Jump Street 12in
93 — NEVER HAD A LOVE LIKE THIS BEFORE (102)/TAKE YOUR TIME (90¾bpm), Barbara Mitchell, Dutch Mercury LP
94 85 LET THE MUSIC PLAY, 400 Blows, KR Records 12in
95 77 MY LATIN LOVER, Q-Pid Featuring Nikki Q, US Sunnyview 12in
96 re ONE BODY, Marc Reed, 20/20 Records 12in
97 re TAKE A PIECE OF ME, Booker Newberry III, Omni 12in
98 re I FOUND LOVIN’, Fatback, Important Records 12in
99 — SWEET LOVE, Anita Baker, Elektra 12in
100=90 DO YOU GET ENOUGH LOVE, Shirley Jones, US Philadelphia International 12in
100=95 LOVE INTENSITY, Glenn Jones, RCA 12in promo


01 02 CAN’T LIVE, Suzy Q, Belgian ARS 12in
02 01 REFLEX ACTION, Louise Thomas R&B 12in
03 03 IN THE HEAT Of A PASSIONATE MOMENT, Princess, Supreme Records LP
04 07 OH L’AMOUR (REMIX)/GIMME GIMME GIMME, Erasure, Mute 12in
05 09 HOW MANY HEARTS, Evelyn Thomas, Record Shack 12in promo
06 08 YOU’RE GONNA BE MINE, Novo Band, German Ariola 12in
07 05 MALE STRIPPER, Man 2 Man meet Man Parish, US Recan 12in
08 06 VENUS (HELLFIRE MIX), Bananarama, London 12in
09 04 RUNNING AWAY FROM LOVE, Astaire, Passion LP bonus 12in
10 13 AMERICAN LOVE, Rose Laurens, German WEA 12in
12 12 NEW BEGINNING, Bucks Fizz, Polydor 12in
13 14 CITY NIGHTS MANHATTAN CAFES, Cory Daye, US Blue Chip 12in
14 — I LOVE MUSIC, Terry M, MCA Records 12in
15 16 AGAIN, Do Piano, French EMI 12in
17 19 I’M YOUR LOVE, Joe Yellow, Italian Power 12in
18 10 ANGEL IN MY POCKET, One To One, Bon Aire/Arista 12in
19 18 HANDS UP, Kelly Marie, Passion 12in
20 15 I’M YOUR MAN (REMIX), Barry Manilow, RCA 12in
21 17 THIRD TIME LUCKY, Pearly Gates, Funkin’ Marvellous 12in
22 21 BAND OF GOLD, Bonnie Tyler, CBS 12in
23 23 SHY SHY SUGARMAN, Jack’s Project, German Ariola 12in
24 24 I LOVE MY RADIO (MIDNIGHT RADIO) (US REMIX), Taffy, US Emergency 12in
25 25 COME BACK TO ME, Prototype, German ZYX 12in
26 — GROOVE BOY (COME TO LOTUS LAND), Shanghai Lil’ featuring Perri Halevy, Fantasia Records 12in
27 26 ONCE MORE, Taffy, Italian Ibiza 12in
28 28 DISENCHANTED (REMIX), The Communards, London 12in
29 27 HUMANOID INVASION, Laser Dance, Dutch Hot Sound 12in
30 — ITALIAN GIRL, Mark McDean, Italian FDT 12in

4 thoughts on “June 21, 1986: Sleeque, Farley ‘Jackmaster’ Funk & Jessie Saunders, Janice, Dinosaur L, The Latin Rascals”

  1. Laser turntables might have sounded like the future – say goodbye to needle jumps forever! – but the idea never took off, and the Finial device mentioned here never actually went into production. One big snag, according to Wikipedia: “The prototype revealed an interesting flaw of laser turntables: they are so accurate that they play every particle of dirt and dust on the record, instead of pushing them aside as a conventional stylus would.” So that’s a pretty hefty flaw, then.

    James is highly prescient in his comments on “Love Can’t Turn Around”, which did indeed become house music’s defining breakout hit – it was inescapable for the next six months – but the mystery remains as to why the full vocal version (featuring the as yet unnamed Daryl Pandy) was relegated to the B-side (on both the US and UK releases), and listed as the dub version which it so clearly wasn’t. His comments in the Trouble Funk review, noting that hip hop’s use of go go rhythms has eclipsed the DC acts commercially, are also on-point, but he gets it wrong with Anita Baker’s “Sweet Love”, which went on to hit #13 on the UK pop chart, thus breaking her into the mainstream.

    Gwen Guthrie’s “Ain’t Nothin’ Goin’ On But The Rent”, another inescapable track for the next six months, makes its debut this week; much as I initially loved it, over-exposure ultimately dulled its charms, and I still feel a bit weary of it, even today. Meanwhile, the success of our new Disco chart-toppers Nu Shooz and their irritatingly lightweight “I Can’t Wait” baffles me as much now as it did then.

    Elsewhere, the Eurobeat chart continues to deliver enticingly titled obscurities which turn out to be fairly bog-standard, this week’s example being “Groove Boy (Come To Lotus Land)” by Shanghai Lil’ featuring Perri Halevy. Come on, how could that not be at least a bit fabulous? Oh, it isn’t.


  2. I think James is making the mistake which many do when he’s going on about “Asian record buyers” ie Asian in the US means people from the Far East rather than from India/Pakistan etc which is does over here. Hence the non alignment in musical tastes he mentions. He also mentions the other confusing habit if Americans to call everything back then with synths ‘new wave’ they still call stuff we’d call synth pop or new romantic or other electronic dance new wave when over here in the land of all those music types new wave meant something completely different and anyway hadn’t been used for anything since about 1979.,

    Didn’t someone say something about Britain and America being “divided by a common language!”

    And in the review of that first big house hit by Farley Jackmaster Funk what was the chance that he’d use the expression raving (at least two years before it meant anything in its modern context which was indirectly kicked off by that record!)? So JH was again the first to use an expression in print (in this case anywhere in the world) without even realising what it’d give to mean.

    I find these columns endlessly interesting – it’s about the closest most accurate depiction you’re ever going to get about what really happened as popular culture changed so radically over the next few years from 1986. It’s clearly obvious by this week that those house hits are starting to stick around in the chart and with ‘Love can’t turn around ‘ being the highest new entry things are really starting to move fast by this point. Although of course they’ll also be a lull in 1987 for nearly a year between the jack track invasion of the pop charts and the start of any mass (acid) house/rave scene in the way we cane to know itz


    1. 1987 is going to be interesting to track: my memory is that house remained strong throughout the year in the North & the Midlands, but was almost entirely shunned in the South. But we shall see!

      I certainly remember the term “rave” being used well before the advent of acid house; my sister talked about going to Kiss FM “raves” from 1987, maybe even a little earlier. I guess the common link was venue-related rather than music-related, i.e. the warehouse scene was to some extent already up and running before the music and culture changed. (NB “drum and bass” was also around as a term, at least in KISS-type circles, well before it was applied to jungle.)

      Liked by 1 person

  3. That’s interesting about raves – I think Peter Stringfellow used to say he invented the term in the country as he used to put ‘raves’ on in the mid 60s – and the ads for them do exist so maybe he had a point. I never knew the term to mean what us does today before sonetime in 1988 (?) when people used to talk about “going raving” but not “going to a rave”.

    I don’t know it was shunned in the south east as while the big house hits came through you heard loads of it at any mainstream or the right type of underground club (Obviously not the up their own arses coolest places) all over London and the surrounding area – it was just looked on as the latest disco music. But as with the whole of England It had a far higher proportion of blacks into it early on – I used to work with black blokes who were well into it in 1987. But there’s always been a tradition of blacks being into something very early on and then moving onto other things very quickly.


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