ODDS ‘N’ BODS
I am the guy that got thrown out of Paradise Garage, for having the temerity to suggest that after all the publicity I have given to both the New York club (which doesn’t close until next year now) and its DJ Larry Levan they might like to let me in for free – so there goes any further mention of “garage” music! … ‘House’ is in any case the correct term for what we’ve been calling ‘garage’, a real producers’ music form to the extent that it’s the producers rather than the artistes who get the main label credit: thus Farley ‘Jackmaster’ Funk & Jessie Saunders have taken precedence over the actual singer of ‘Love Can’t Turn Around’, the incredible six and a half octave ranged Darryl Pandy, who sounds like Little Richard, looks like Fats Domino, with a satchel mouth like Louis Armstrong, a true star waiting to be discovered! … I had the pleasure at Arthur Baker’s Shakedown Studio of watching Farley Keith re-record (rather than remix) Darryl’s ‘Love Can’t Turn Around’ vocals for a future alternative release (photos next week if they come out) … Arthur’s own 122½bpm ‘I Want To Go To Chicago’ by RT & The Rockmen Unlimited has reached acetate stage, but the big news is that together with DJ International Records owner Rocky Jones he has produced a Chicago/New York All Stars session featuring such as Chip E, Farley Keith, Darryl Pandy, Afrika Bambaataa, Melle Mel, Will (Wally Jump Junior) Downing, Hubert (‘D’ Train) Eaves, André Booth, Bruce Forest and more, the results being split between his own Criminal Records and DJ International for release … Frankie Knuckles was the DJ at Chicago’s Warehouse, which actually closed three years ago, playing such obscure New York records only ever heard there that they came to be called “House” – he cites among many Master Jay ‘TSOB’, Liquid Liquid ‘Cavern’, MFSB ‘Love Is The Message’, and various Gino Soccio titles … Chip E’s singer Jack In House explains that “jack” is another word for dancing, “when the music is loud and pumping like a jackhammer”! … Chicago’s broadminded black mayor Harold Washington is so clued up on the impact of house music that he seems likely to be promoting it himself internationally! … New York’s New Music Seminar as usual had a scratching and rapping contest, but the results were discredited by political manoeuvrings which will be detailed in full next week: suffice to say that UK champ Chad Jackson did magnificently in the initial heats, beating the Get Fresh Crew’s Barry B on applause after cutting up the words “Get Fresh Crew” in real blood-letting battle, but then these initial heats were run again to accommodate someone whose dad owns a radio station, the finals eventually (and deservedly, despite unfair scoring by his manager on the judging panel) won by Jazzy Jeff, while Grandmaster Kaz won the rapping … New York’s urban contemporary radio now isn’t even as upfront as Tony Blackburn on Radio London – make of that what you will! … Timex Social Club now tops US Black 45s, Club Play, and 12 Inch Sales in Billboard! … Livewire, the people who encourage the unwary to ring up huge ‘phone bills, from this week start a new funky service hosted by Radio London DJ Dave Pearce which includes the RM Dance Line, spotlighting several fast new risers on our Disco chart – the service is in London only at the moment, on 0066-66012 costing a maximum 35p for one and a half minutes at peak times, 12p off-peak … Steve Walsh has dubbed his own singalong lyrics over the top of Fatback ‘I Found Lovin’’ for imminent release, and picked up Hanson & Davis for his Total Control label … Club have Wally Jump Junior, and Janet Jackson’s ‘When I Think Of You’ album “sleeper” is finally due next week … Dancin’ Danny Poku has concocted a promo-only re-edited 0-98½-92-101-98½-0bpm ‘Real Roxanne Meets Pee Wee Herman And Howie’s Teed Off’, with scratching by Hardrock Soul Movement, while commercially The Real Roxanne ‘Bang Zoom’ is also out in an instrumentally started 98⅚-99-0bpm The Fresh New Beat Remix (incidentally, on watching ‘Back To The Future’ again in mid-Atlantic, it suddenly became obvious that “bang zoom” was a catchphrase from the vintage Jackie Gleason TV show) … Princess ‘Tell Me Tomorrow’ has reverted to 10-inch size for yet another different 104⅔bpm Saturday DJ Edit mix, while O’chi Brown ‘100% Pure Pain’ is on a Special DJ Copy “white label” as a much altered tighter 113¾bpm US Extended Remix, and finished commercial copies of Phil Fearon have as flip the self-penned accomplished 140-147½-150-151-0bpm jazz instrumental ‘Il Gurnata’ … Epic have released the rock-guitared (0-)101-0bpm ‘House Rocker’ (TA 6952) as Lovebug Starski’s follow-up … Billy Crystal’s smarmy 0-112½-0bpm ‘You Look Marvellous’ (US A&M) is taking off again thanks to its video, as before mainly in the Thames Estuary area so far … London group Zuice, whose 110¼bpm ‘Everyone A Winner’ (a juddery title line looking for a song) isn’t out on Club for a fortnight, are being launched like Total Contrast last year at special DJ parties, in Manchester at Richfields next Monday (28), Glasgow at The Cotton Club Tuesday (29) – see you there? … Nick Graham revives three decades of Pressure Cookin’ black dance music this Thursday (24) at Bromley South’s Dr Crippens … New York saw Chad Jackson diving mouth first into all the exotic frozen cocktails, Damon Rochefort give a taxi driver $100 instead of $1 (notes are the same size!), Steve Walsh chatting to a girl who turned out to be a fellah, being pickpocketed, and escaping from a head-on taxi crash, while Simon Bates seemed not to want people to know he’d been to the New Music Seminar (it might ruin the credibility of Radio One DJs!) … SORRY, WRONG BEAT!
Roger Troutman, during Zapp’s London visit, finally revealed how he creates his distinctive “vocoder” vocal sound. Through a plastic tube he breathes into his mouth helium, a gas that makes his voice go squeaky, the sound of which is taken by microphone into an amplifier and then fed through a synthesizer, the keyboard of which Roger plays to coincide with the words that by being fed through it have now become the sound signal he’s manipulating into “music”, bending and stretching them. This takes practice!
Stock Aitken Waterman present MONDO KANÉ featuring Dee Lewis & Coral Gordon, guest star GEORGIE FAME ‘New York Afternoon’ (Lisson Records DOLEQ 2, via PRT)
With the overall concept’s name now phonetically respelt to prevent confusion with a Dutch group called Mondo Cane, production team Stock Aitken Waterman’s debut as “artistes” stars the inimitable nasal tones of the ‘Yeh Yeh’ man crooning Richie Cole’s gloriously breezy 102⅔bpm samba as if it had been written for him. Edited 103⅚-103⅔bpm Little Samba and Fame-less 0-104bpm Nip On mixes join the flip’s oddly wowing (0-)106⅔bpm similarly samba instrumental ‘Manhattan Morning’. Not many know it, but DJ Chris Hill was behind this whole idea.
DEBBY BLACKWELL ‘Once You Got Me Going’ (10 Records TENT 151)
Squalling shrill Debby virtually duets with a mellow soulful backing fellah on this Leroy Burgess co-penned fast frantic 117½bpm jittery flier, sort Aurra and Skipworth & Turner gone Hi-NRG (in four versions).
JAK TO JAK ‘Take It Easy’ (Boiling Point POSPX 806)
The S and M of DSM, Birmingham DJs scratching Shaun Williams and Mambo now join huskily talking rapper Gilly (a guy) who rides the rhythm of a not surprisingly DSM-like mellow ticking 110⅓bpm shuffle groove (jazzier and harder more ‘Twilight’-ish dub flip).
CA$HFLOW ‘Can’t Let Love Pass Us By’ (Club JABX 33)
An unlikely A-side, this intensely chugging tight 115⅓bpm whipper does become quite nagging on a monotonous level, as do the flip’s already charted rambling jiggly 94⅔bpm ‘Spending Money’ and pent-up wriggly 112⅔bpm ‘I Need Your Love’, all having a cumulative soulfulness rather than being strong songs. Continue reading “July 26, 1986: “I am the guy that got thrown out of Paradise Garage””