March 19, 1988: DMC International DJ Convention, Keith Sweat, Pebbles, Gwen McCrae, Sargent Tucker


Derek B is the latest remixer of Eric B & Rakim ‘I Know You Got Soul’, his “Eric and Derek” mix having an element of ‘Superstition’ (meanwhile, the Streets Ahead Changing Gears Remix of his ‘Goodgroove’ hit is 98-96⅔-0bpm)… rm’s new readers should note that “bpm” stands for beats per minute, useful information for DJs who need to know the relative speeds of different records so that they can synchronise them together in a mix… Supreme Records have put out Acid House Mixes of Project Club ‘How Low Can You Go’ (SUPETX 125), now a far tougher properly acidic 0-119¼bpm instrumental (apart from its “bass” title line), and Mel & Kim’s ‘That’s The Way It Is’ (SUPETZ 117), a harder driving 118bpm starker and sparser arrangement though hardly hydochloric!… rm’s free ‘Cool Cuts 1’ single has Richie Rich’s 106bpm Trouble Funk mix and Rob ‘Hotrod’ Manley’s 0-119⅓-117⅓-118-0bpm Breakout megamix, while free with rm on ‘Cool Cuts 2’ next week will be exclusive remixes of the aggressively juddering 87½bpm Derek B ‘Def Beat Boy’, ‘Baby Wants To Ride’-ish muttered wriggly quite acidic cantering 123¼bpm Julian Jonah ‘Jealousy & Lies’ (an impressive newcomer), and percussively bounding 121¼bpm Jellybean ‘Jingo’… Jellybean incidentally has a hush-hush double LP due containing unreleased remixes of all his current album’s tracks and more (he got rather shifty when I mentioned ‘Was Dog A Doughnut’, so could something special be coming?!)… Quark Records (the label Blaze are on) is setting up a London branch, co-owner Curtis Urbina purchasing a ready made company while here for the DJ convention – he and Jellybean were at reform school together in the Bronx when aged around 14 to 16 (for joy-riding in cars, that sort of thing), and by the time they next met about seven years later they found they were both in the music business (Curtis then working for the Emergency label)… Danish DJs Kenneth Baker and World Mixing runner-up Mick ‘Cutfather’ Hansen have created an excellent Baker’s Brutal House Remix of Nitro Deluxe, which Cooltempo are considering for UK release – full of overlays, inserts and edits in the current style, it’s very different in spirit from the original but retains that nagging “wheee-ee” noise throughout, it all being a bit LA Mix-like in style… S-Express, sizzling on white label, isn’t now out fully until April 11… Groove’s follow-up will be an updated remake of Herbie Mann’s ‘Hijack’… Fourth & Broadway have picked up Stereo MC’s and Cesare here too, perhaps misguidedly putting most emphasis on the less good vocal versions and, with radio in mind, making ‘Move It’ the A-side (12BRW 94)… I have, for understandable reasons, not had time to review so many newies this week, like the import LPs by Atlantic Starr-ish excellent Visions (US Polydor), rather patchy Mantronix (US Capitol), and a Scott La Rock-remixing Boogie Down Productions twin-LP (US B Boy Records)… Pete Waterman came on stage for the seminar session about sampling with a portable telephone… Alan James Jewell brought a cute Chinese girl trio called Passion with him from Hong Kong, plus two 15 year-old mixing champions, Singapore’s Gabriel Chong and Hong Kong’s Simon Choi (the latter got into the final by, according to 1987 champ, Chad Jackson, copying everything he’d demonstrated while staying at Alan’s over the New Year – Chad was spluttering “I wish I had competed again now!”)… WEA’s often controversial and always idiosyncratic disco plugger Fred Dove finally won the Club Promotion Man Of The Year award… MCA Records’ party at Brown’s was in fact at night, not lunchtime, after the mixing finals, and was so besieged by a roadblock of people that many invited stars couldn’t get through; however, once inside and allowed upstairs to the uncrowded “star bar”, it was the most pleasant part of the entire three day jamboree… Baz Fe Jazz’s new venue, detailed last week, in fact has been unable to open this month… Big ‘H’ is successfully running the fortnightly Friday (this week, March 18) Harry’s House members club in Windsor, details on 0753-652611… Steve Wren jazz-souls Fridays at the Toejammer in Harlow’s Monroes, and Saturday (this one being a Fourth & Broadway night) with Kev Hill at the Sweat Box in Harlow’s HighWire… Sundays at Streatham Zigis are trendy Seventies dance fashion nights, with Carl Cox and Maxine from Brick House and the Boiler House boys Ben and Andy (the latter are with Glen Gunner on Wednesdays at Kingston-on-Thames Options)… John Matthews funks Harrow’s Tudor Club (opposite civic centre) every Thursday… Terry Billy not only looks like but is also a great friend of Janet Jackson… Nicky Holloway – who was having a slight nose job on Monday! – is yet another DJ making a record, under the clever group name of Beats Working… Narada Michael Walden has finally recorded himself again, to reportedly stunning effect… Hindsight are the latest UK soulsters to hit the US black charts, and do comparatively better there than here… Hashim ‘Al-Naafiysh’ has suddenly started selling like crazy again – maybe “its time” has come, after so much use by mixing competitors!… ‘One Bad Apple’ was the Osmonds’ first US chart-topper but never hit here back in 1971, so now, because it blatantly borrowed the early Jackson 5 sound, it’s inevitably become – guess what? – a rare groove!… Slim Gaillard was using the word “def” back in the Forties, as part of his gobbledygook jazz “slanguage” – there ain’t nothing new, attitudes and incidentals stay the same, it’s just the noises that change… GET OFF!


The opportunity to meet people in the same business is what makes any convention worth attending, so, viewed as a three day continuous cocktail party (which is what it amounted to!), the Disco Mix Club’s 1988 International DJ Convention must be judged a great success. By being over three days for the first time, it had the appearance of a more substantial event so that the expense of a visit could be more readily justified, and it was noticeable how many Americans in particular had made the trip this time. I say the appearance, because not much of any substance really went on.

The opening Sunday evening party at the Hippodrome included a host of PAs and pivoted around the Jive Records/Shure Golden Microphone UK Rapping finals — interminably, it seemed, considering there were only six contestants. Marked at each stage (by judges including Derek B, the Cookie Crew, Mike Allen, and US DJ/producer Mark Kamins), the rappers began with a solo and then were paired off to “dis” each other — trade spontaneously rapped insults — which was good fun at first, the most riotously obscene and amusing dis being between American-born MC Brooklyn and London’s Einstein, the big audience pleaser of the whole evening.

But then this process was continued through three more elimination stages, to end up with Brooklyn being beaten by Huddersfield’s MC Fresh J in a final dis to which the weary audience hardly responded. Fresh J (real name Martin Jaffier) won a gold plated £400 Shure microphone, two days’ recording time at Battery Studios, and a red leather Adidas track suit.

Monday afternoon’s actual seminar, further up the Charing Cross Road at the Astoria, featured two panel discussions on the stage, a long way from the balcony where most of the audience continued drinking and talking right through the opening debate about radio, which was informative for those who made the effort to hear it. However, everyone did shut up for the debate about sampling, probably the best that I’ve heard at any convention. Skilfully moderated by Tony Prince, the panel consisted of Arthur Baker, Jeff Young, Chris Hill, Pete Waterman, Simon Harris, Les Adams, Paul Dakeyne and Ben Liebrand. Pete began by stating that in America, sampling is illegal if it contains anything you can recognise, unless — the point he kept repeating — permission is sought to use it. Here, as Les pointed out, guidelines are needed to clarify what one can sample, as the technology itself is not illegal. He then cleverly trapped Pete into admitting that Stock Aitken Waterman are plagiarists, copying the basslines from ‘Trapped’ and ‘Dancing In The Key Of Life’ for the first two Rick Astley hits but with four notes changed, because, as Pete unguardedly revealed they’d thought, “We’ll get away with that”. “A-ha!”, cried the entire audience! But, as Pete maintained, plagiarism (recreating something yourself) is not sampling (lifting the original sound electronically), and he never samples anything without permission and/or payment. James Brown got paid for ‘Roadblock’, Arthur Baker drily muttered, “The Bugga Groove?” – referring to the ‘Roadblock’ remix’s added vocal lines, the owners of some of which were not in fact traceable, as he well knew! Chris Hill, with his ‘Renta Santa’ hit in 1975, used snippets from 20 different artists, all of whom were paid (including even the strings session on a Stylistics clip!), his ‘Top Of The Pops’ appearance costing £6,000 in royalties. Ben Liebrand admitted to building up a drum sound by combining several different samples of Phil Collins, citing economics as his reason — it’s cheaper to sample than pay for live musicians and studio time. Paul Dakeyne, who uses samples in his mixes, has got so interested in the creation of music that he’s now actually learning to play the guitar and piano, because he wants to be sampled by other people! Jeff Young reckoned that by the summer we will be bored silly by sampled volume pumping hits and want to hear proper songs again, while Arthur (who used David Cole to recreate Vince Montana’s vibes sound for ‘Private Party’, rather than sampling it) summed up by saying that comparing sampling with creative music was “like comparing graffiti with Gauguins”. Monday was then lengthily culminated by the World Mixing Final eliminations, which over-ran by hours, with the 19 international winners being weeded down to a final nine. This, however, was in many ways even better than the actual finals the following night, with the best DJs coming across much more exciting than at the Albert Hall.

The Hippodrome and the Astoria had only been open to those actually attending the DJ Convention, whereas the Royal Albert Hall was open to a certain amount of the general public. By the nature of the beast, mixing for competition purposes has inevitably come to mean scratch mixing, as unfortunately, satisfying though they may be, long beat on beat, chord on chord running mixes don’t exactly get people screaming, and they take too long out of the short time available to each competitor. Scratching is fast and furious, ideal for creating maximum impact in minimum time — granted, its best practitioners have developed subtle slow techniques too. Although the evidence would suggest that the majority of Disco Mix Club members are pop-orientated in their tastes —voting for the likes of Sinitta, Bananarama and Rick Astley in their annual poll — these were not the sort of artistes that interested the specifically scratch and rap fans who mobbed the Royal Albert Hall on Monday night!

Luckily, most of the night had been geared very much to their taste, although Tony Prince, with utopian vision, had promoted the evening as a star-studded music biz awards night for the industry in general. Next year he may well have to separate the pop acts from the rap acts, or restrict admission in order to take full advantage of the Albert Hall as a prestige venue, as this year somehow the balance there was definitely wrong. None of this is to suggest that anything ugly happened (indeed, certain behaviour last year when Chad Jackson won was far more disgraceful).

Matt Aitken was booed when he took his place on stage as a judge, and then at the start of the Stanton/DMC World DJ Awards ceremony halfway through the evening, Stock Aitken Waterman had some bottles and cans thrown at them. Obviously, it was pointless continuing along commercial pop lines, most of the other award winners being more “street credible” in any case … an understatement! Check the photographs to see what I mean. Public Enemy were inevitably the real heroes, more so than Run-DMC, but then James Brown strolled on stage and the applause lasted a full six minutes!

But what of the Technics World DJ Mixing Championship finals? Finland’s Kari Vesala did some interesting slurred scratches amongst other tricks; Australia’s jet lagged Andrew Muirhead scratched Public Enemy and Derek B; Hong Kong’s 15 year-old Simon Choi seemed dull on the big night but synched ‘White Christmas’ through ‘Pump Up The Volume’; Sweden’s Robert Watz (who I thought deserved a runner-up place) was a slippery scratcher who brilliantly changed the record speed pitch while transforming to make a stunning finale; France’s Dee Nasty aggressively fast cut the words “nasty” and “bad/good”; Britain’s Cutmaster Swift also did fast “stop/go” cuts and had his usual odd little syncopated tricks but seemed a bit lacklustre; 1987’s defending runner-up, Joe Rodriguez cut up Wild Cherry and Vaughan Mason’s ‘Bump Rock Skate Roll’ at length and actually did running mixes, but seemed dull. In the end, third place went to Holland’s Juan Elmroon, who climaxed his repetitive cut-backs by combining a Cash Money-namechecking record with an obscene comment from another, very cheeky! Second was Denmark’s Mick ‘Cutfather’ Hansen, who cued accurately if sometimes a bit jerkily without using headphones, and synched Run-DMC’s ‘It’s Tricky’ with Olivia Newton John & John Travolta’s ‘Summer Nights’.

Almost inevitably, the winner (by communal wish fulfilment?) was America’s Cash Money — with Marvelous as his record feeder —who began slowly before basically alternating beats, but also stood on a chair to scratch with his foot, then his elbow, before using his mouth and stomach to manipulate the crossfader! A popular win, then, although I must say (as one of the judges) that none of the finalists seemed fantastic on the night. The other judges were Mantronik, Ben Liebrand, Phil Harding, Les Adams, Red Alert, Derek B, Paul Dakeyne, Sanny X, Def Jam’s Dr Funk-En-Klein, and Matt Aitken, all of whom knew what to look for!

CJ MACKINTOSH and DAVE DORRELL collected the award from BOY ‘Loads Of Money’ GEORGE for best single, M|A|R|R|S ‘Pump Up The Volume’. A year earlier, CJ was the UK champion and competing unsuccessfully on the same Albert Hall stage for the World title.



KEITH SWEAT ‘Something Just Ain’t Right (Extended Version)’ (US Vintertainment 0-66776)
Jogged along by percolating Timmy Thomas-type, Anne Peebles ‘I Can’t Stand The Rain’-like synthetic beats, his album’s hottest cut is now in a strong soulfully weaving 0-105⅔-0bpm remix (in four versions), obviously targeted at black radio in the US as right now his previous black smash, ‘I Want Her’, is top 10 pop.

PEBBLES ‘Girlfriend’ (MCA Records MCAT 1233)
Perri McKissack used to sing with jazz-funker Bill Summers but her first solo US smash is a frothy, perky 118¼bpm pop chugger with squeaky baroque “strings” —which are missing from the Dance Remix (MCA Records MCAX 1233).

GWEN McCRAE ‘All This Love That I’m Giving’ (Rhythm King MELT 7T)
For some reason a big current rare groove — doubtless because (rather than why) it was bootlegged — this surging, jiggling and jogging 111¼-112-114⅔-112-112⅓bpm brass stabbed soul wailer from a mid-Seventies album on Cat is actually flip, on legal white label at last (not due fully until April 11), to a more jerkily lurching 111-114⅔-112-114-111-112⅔bpm extended UK re-edit.

SARGENT TUCKER ‘Come See Me (Dance Version)’ (Macola Record Co COLAT I, via Westside/PRT)
Purposefully thudding and rolling 98⅓bpm powerful soul jogger (in two mixes), a really nagging groin grinder by a gospel trained 20-year-old San Franciscan, flipped by the sexily slinky 64⅔bpm THE WORLD CLASS WRECKIN CRU ‘Turn Off The Lights‘ (instrumental too), out of character for the Californian rappers.

AFRIKA BAMBAATAA and FAMILY ‘Mind Body And Soul’ (EMI 12EM 41)
Unlike the jaunty 114¼bpm pop-reggae ‘Reckless‘ top-side (admittedly catchy but it had to hit on radio to work on top 20 dancefloors), this really fierce hip hop flip is set to James Brown’s starkly jiggling ‘Esacpism’ beats in 97⅔bpm Rap and 0-97½bpm Serous Instrumental Mixes, speaker shaking and hard as hell! Why wasn’t it promoed before?

PAUL HARDCASTLE ‘Walk In The Night’ (Chrysalis PAULX 4)
What’s this, Hardcastle short of inspiration? Instead of something original, his overdue return is a workmanlike 0-111bpm remake of Jr Walker’s classic walking bass driven jazzy sax instrumental, flipped by the jiggly pleasant light vibes and flute instrumental 107½-0bpm ‘Just Passin’ Thru‘, and ponderously sub-’19’/Two Tribes’-type wordy synth burbled 0-104⅔-0-104⅔-0bpm ‘Star Wars‘, attacking Reagan’s defensive scheme.

GWEN GUTHRIE ‘Can’t Love You Tonight (Extended Remix)’ (US Warner Bros/Jellybean 0-20859)
Ain’t nothing goin’ on but AIDS and Herpes, in this self-prod/penned 0-108¼-108-107⅔bpm interesting reversal of the traditional “give me your body” disco lyric, with a jittery 108-0bpm Dub and guy-rapped harder 0-107bpm The Surgeon General’s Funky 4/4 Beat.

RANDY HALL ‘Slow Starter (Extended Dance Version)’ (US MCA Records MCA-23840)
Kashif-ish breathily swooping and wailing lightly impassioned, if not exactly intense, wriggling 110½bpm jittery electronically backed lurcher (in five mixes), likely to be large with the soul crowd.

THE KANE GANG ‘Don’t Look Any Further (Mantronik Mix)’ (Kitchenware Records SKX 33)
The Tynesiders’ Dennis Edwards remake here replaces Francois Kevorkian’s US remix with a squeaky synth topped and tugging bass bottomed percussively juddering 98-0bpm exclusive UK remix by Mantronik, flipped by a re-edit of his jerky 98bpm B-Boy Vocal Dub.

JACK FACTORY ‘Jackin’ James (Club Remix)’ (Warrior Records WR12 002R)
James Brown grunts and catchily jangling piano prod this 0-120bpm UK jack track, remixed (instrumental too) and recoupled with the sample and ‘Planet Rock’ scratch-filled energetically “acid” 0-124½bpm X-10-CIV ‘Cut It Up (The Cutting Mix)’, this Harrow group being pronounced “Extensive”. They replace Adrenalin MOD’s ‘Bouncy House’, due next week on MCA Records in a slippery new 0-120½bpm Underground Mix.

SUZIE AND THE CUBANS ‘I Feel It (Construction Mix)’ (Champion CHAMP 12-70)
Episodic 119-118⅓-0bpm house chugger, stuttering up “my name is Bond” and slipping into ‘The Brutal House’ amongst other ingredients, with a here 119½bpm possibly more commercial Makumba Mix flip, sorta ‘Set It Off’ meets ‘Jingo’.

THE BASEMENT BOYS ‘Love Don’t Live Here No More — Zanz Mix’ (US Jump Street JS 1014)
Introduced on the label’s ‘Welcome To The Club’ sampler LP, the worriedly moaned leaping and jangling garage-cum-house Rose Royce remake is now in this 119-118½-118¾-118⅓bpm Tony Humphries remix (dub/edit/beats too), plus the Boys’ own less fluid instrumental 118-117¾bpm Subliminal Sub-Pump Mix.

CRITICAL MASS ‘No Nonsense’ (Kool Kat KOOL T12)
I’m not quite sure what the repeatedly sampled “take off the glove — sock it to us” signifies, but it and other bits of American speech suggest something political in a trumpet brayed jerky 119bpm bright jitterer, apparently created by Two Guys A Drum Machine And A Trumpet (backspins and bumps on the harder 119½bpm flip), currently white labelled.

SHOKK ‘Amazin’’ (Raja Records ROXA T001)
Last year’s “sleeper” by the girl-led London duo is now reissued in its soulfully jogging (0-)101⅓bpm Original and a more SOS Band-like strong 100½bpm Remix, flipped by the similar ‘Stay’ in a 98bpm Vocal Remix and Mike Stevens-saxed 97⅔-0bpm Instrumental Remix.

ST. PAUL ‘Intimacy (Extended Version)’ (US MCA Records MCA-23836)
Pleasant steadily rolling 105⅓bpm smacking swayer (in four mixes) by a lightly soulful pretty white boy – from, and named after, Minneapolis’s twin city.

RUSSELL PATTERSON ‘I Surrender (Club Mix)’ (US Culture Shock Records CS-12-2202)
Synth squiggled and swirled mournfully nagging 0-111¾-0bpm bass rumbled purposefully chugging lurcher (in four mixes), a bit of a throwback to the earlier Eighties and thus getting soul support.

VANEESE THOMAS ‘(I Wanna Get) Close To You (Club Mix)’ (US Geffen Records 0-20779)
Backbeat bumping chunkily lurching but attractive 106⅓bpm rolling husky soul swayer (in four mixes), serviced to DJs but maybe not in the shops.

TEENA MARIE ‘Ooo La La La (Extended Mix)’ (Epic 651423 6)
The girl who (along with Minnie Riperton) must have influenced Taja Sevelle soulfully wails and squeaks a sinuous swirling tense 86⅔bpm slow soul jolter (easier (0-)86bpm edit too), generating more reaction for the flip’s gently doodling 86/43bpm piano instrumental adaptation of the same basic tune, now called ‘Kathryn’.

DEEP!! ‘House Of Helmer’ (Kool Kat DEEP 1)
Flared and afroed “wukka wukka” ‘Shaft’ guitar meets hustling “pshta pshta” disco hi-hats for a timely if calculatedly trendy 120¼-0bpm Seventies Revival house instrumental, stretched out more with beefier bass and no guitar on a longer version, and flipped by the white boys chanted excitingly bounding Hi-NRG house 125½bpm ‘Grace Under Pressure’, worth finding (on white label at present).

BIZ MARKIE ‘Biz Is Goin’ Off (12” Vocal Remix)’ (US Cold Chillin’ 0-20864)
Densely juddering slow but jittery 87⅓bpm rap produced by Marley Marl, with repeated background “go Biz Mark” chants, some Jamaican accents, and especially — the best bit — blatant use of the “I am the magnificent” intro from Dave & Ansel Collins’ ‘Double Barrel’ (dub too). An equal attraction is the unrelated, short though though [sic], slippery scratched, hip hop heroes name-checking 99½bpm ‘The Do Do (Bonus Beat)‘.

BIZ MARKIE ‘Goin’ Off’ (Cold Chillin’ 925 675-1)
Meanwhile the album is out here, with the ‘Double Barrel’-cutting 87⅓bpm ‘Biz Is Goin’ Off’ and deliberately simple muttered grooving (0-)107⅔bpm ‘This Is Something For The Radio’ its hot newies, as many of the low key raps are old singles (some remixed), with the disgustingly amusing 94⅔bpm ‘Pickin’ Boogers‘, shopping mall praising 92⅓bpm ‘Albee Square Mall‘, ‘King Heroin’-like 93½bpm ‘Vapors‘, wordy 94⅔bpm ‘Cool V’s Tribute To Scratching‘, 86½bpm ‘Return Of The Biz Dance’, remixed 93½bpm ‘Biz Dance (Part One)’, 98bpm ‘Nobody Beats The Biz’, 0-97⅓bpm ‘Make The Music With Your Mouth Biz’.

SHANICE WILSON ‘I’ll Bet She’s Got A Boyfriend (Miami Mix)’ (Breakout USAT 625)
Breezily jittering 116¾bpm sing-song “nah nah na-na, nah na” pop canterer by the disturbingly mature looking 14-year-old, remixed by Phil Harding also in a bassier 116⅔bpm House Version, plus its by comparison emptier jerky 115⅓bpm original mix.

THE CLUB CHART – March 19, 1988

01 02 BEAT DIS (EXTENDED DIS) Bomb The Bass, Mister-Ron Records 12in
02 01 I KNOW YOU GOT SOUL (NORMAN C & DJ D REMIX) Eric B & Rakim, Cooltempo 12in
03 03 I WANT HER (EXTENDED VERSION) Keith Sweat, Vintertainment 12in
04 05 GOODGROOVE Derek B, Music Of Life 12in
05 06 DOCTORIN’ THE HOUSE/SPENG Coldcut featuring Yazz, Ahead Of Our Time 12in
06 07 BASS (HOW LOW CAN YOU GO) (BOMB THE HOUSE MIX) Simon Harris, ffrr 12in
07 04 DO THIS MY WAY/NORMAN C & DJ D REMIX Kid ‘N’ Play, Cooltempo 12in
08 08 DON’T LOCK ME OUT (SUPER BASS CLUB MIX/CLUB MIX) Terry Billy, Atlantic 12in
10 10 PRIVATE PARTY (LES ADAMS’ REMIXES) Wally Jump Jr & the Criminal Element,  Breakout 12in
11 13 IT TAKES TWO Rob Base & DJ E-Z Rock, US Profile 12in
12 33 YES IT’S YOU Sweet Charles/THINK (ABOUT IT)/ROCK ME AGAIN & AGAIN & AGAIN & AGAIN & AGAIN & AGAIN Lyn Collins, Urban 12in
13 25 WAM BAM (12” REMIX) NT Gang, Cooltempo 12in
14 22 LOVE IS CONTAGIOUS (EXTENDED MIX) Taja Sevelle, Reprise Records 12in
15 12 COME INTO MY LIFE (CLUB VERSION) Joyce Sims, London 12in
16 17 HOW LOW CAN YOU GO Project Club, Supreme Records 12in
17 23 THAT’S THE WAY IT IS Mel & Kim, Supreme Records 12in
18 16 FAITH (EXTENDED VERSION) Wee Papa Girl Rappers, Jive 12in
19 30 PINK CADILLAC (CLUB VOCAL)/I WANNA BE THAT WOMAN Natalie Cole, Manhattan 12in
20 29 MOHAMED’S HOUSE Sheik Fawaz, Circa Records 12in pre-release
22 21 STRONG ISLAND J.V.C.F.O.R.C.E., US B Boy Records 12in
23 20 NEVER KNEW LOVE LIKE THIS (EXTENDED) Alexander O’Neal featuring Cherrelle, Tabu 12in
24 19 RAW Big Daddy Kane, Cold Chillin’ 12in
25 18 NOBODY CAN LOVE ME Tongue ‘N’ Cheek, Criminal 12in
26 09 GIVE IT TO ME (RADIO MIX/INSTRUMENTAL MIX) Bam Bam, Serious Records 12in
27 14 SHE’S THE ONE (FUNKY DRUMMER REMIX) James Brown, Urban 12in
28 36 THEME FROM S-EXPRESS S-Express, Rhythm King 12in white label
29 81 I FOUND YOU Dee Dee Wilde, Fourth & Broadway 12in
30 31 PIANO IN THE DARK Brenda Russell, Breakout 12in
31 26 SPY IN THE HOUSE OF LOVE (STREETSAHEAD MIX) Was (Not Was), Fontana 12in
32 27 BABY WANTS TO RIDE (STEVE ‘SILK’ HURLEY CLUB MIX) Jamie Principle, ffrr 12in
33 15 LOVER’S LANE (NEW AFTER HOURS VOCAL MIX) Georgio, Motown 12in
34 45 HEROIN (“JUST SAY NO” MIX) Black Britain, 10 Records 12in
35 42 CLAP YOUR HANDS/OHH GIRL Davy D, Def Jam 12in
36 35 ROK DA HOUSE The Beatmasters featuring The Cookie Crew, Rhythm King 12in
38 54 SUBMIT (TO THE BEAT)/DANCING AND MUSIC (REMIXES) Groove, Submission 12in
39 40 LOVIN’ ON NEXT TO NOTHIN’ (EXTENDED) Gladys Knight & The Pips, MCA Records 12in
40 34 PARTY PEOPLE/KEY THE PULSE Royal House, Champion 12in
41 39 DREAMING (EXTENDED DANCE MIX) Glen Goldsmith, RCA 12in
42 75 WALK IN THE NIGHT/JUST PASSIN’ THRU Paul Hardcastle, Chrysalis 12in white label
44 48 FISHNET (BIG LEG MIX) Morris Day, Warner Bros 12in
45 58 HOUSE TRAIN (NEW YORK MIX) Risse, Jack Trax 12in
46 47 BIG THING (EXTENDED) Blue Zone, Arista/Rockin’Horse Records 12in
47 24 I GOT DA FEELIN’/IT’S LIKE THAT Y’ALL Sweet Tee, Cooltempo 12in
49 28 LET’S GET BRUTAL (MEGA MIX/US VERSION) Nitro Deluxe, Cooltempo 12in
50 69 I FEEL IT (CONSTRUCTION MEDLEY/MAKUMBA MIX) Suzie and the Cubans, US Popular Records 12in/Champion promo
51 52 ANYONE… Smith & Mighty featuring Jackie Jackson, Three Stripe Records 12in
52= 72 MY MIND (LONG VERSION) Vanessa Franklin & Midnight Energy, CityBeat 12in
52= 79 DOCTORIN’ THE HOUSE (THE UPSET REMIX/ACID SHUT UP) Coldcut featuring Yazz, Ahead Of Our Time 12in
54 55 TELL IT TO MY HEART (CLUB MIX/DUB MIX) Taylor Dayne, Arista 12in
56 51 SAY IT AGAIN (EXTENDED REMIX) Jermaine Stewart, 10 Records 12in
57 96 I WANT HER (DANCE ‘TIL YA SWEAT MIX) Keith Sweat, Elektra 12in
60 50 BANGO (TO THE BATMOBILE)/BACK TO THE BEAT The Todd Terry Project, US Fresh Records 12in
61 60 HOUSEDOCTORS (GOTTA GET DOWN) The Housedoctors, Big One 12in
62 38 I’M ALL SHOOK UP Spoonie Gee, Sure Delight 12in
65 37 I’M SO HAPPY (12” REMIX) Walter Beasley, Urban 12in
66 85 OOO LA LA LA (EXTENDED VERSION) Teena Marie, Epic 12in
67 78 YOU GIVE ME SO MUCH Cousin Rachel, Supreme Records 12in
68 91 I NEED SOMEBODY Kechia Jenkins, US Profile 12in
69 41 JACK THE RIPPER LLCool J, Def Jam 12in
70 92 SO GLAD (CLUB MIX) Fingers Inc, Jack Trax 12in
71 43 JACKIN’ JAMES (CLUB MIX) Jack Factory/BOUNCY HOUSE (BOUNCY MIX) Adrenalin MOD, Warrior Records 12in
72 97 GIRLFRIEND (EXTENDED VERSION) Pebbles, MCA Records 12in
73 88 SET IT OFF (BUNKER 88/YOJAM MIXES) Bunker Kru/Harlequin 4’s, Champion 12in
77 65 ROOKIES REVENGE (QUANTUM JUMP MIX) Lou, Supreme Records 12in
79 53 PUSH IT (FULL LENGTH REMIX)/I AM DOWN (CLUB MIX) Salt-n-Pepa, ffrr 12in
80 — DON’T TURN AROUND (REMIX) Aswad, Mango 12in
82 — BIZ IS GOIN’ OFF (12” VOCAL REMIX)/THE DO DO Biz Markie, US Cold Chillin’ 12in
83 56 100% Mini Curry, Timeless Records 12in
84 re COME BACK LOVER (REMIXES) Richard Valentine, US Sleeping Bag Records 12in
85 61 GET OUT OF MY LIFE TC Curtis, Hot Melt 12in
86 — PLAY THAT THING Scratchmo, Fourth & Broadway 12in
87 66 WHO DO YOU LOVE (EXTENDED 12” MIX) Rodney Saulsberry, US Ryan Records 12in
88 — YOU CAN’T HAVE MY DREAMS (CLUB MIX) Eleanore Mills, Debut 12in
89 64 MOVE THE CROWD (DEMOCRATIC 3 REMIX) Eric B & Rakim, Fourth & Broadway 12in
91 — SOMETHING JUST AIN’T RIGHT Keith Sweat, US Vintertainment 12in
92 68 FOR YOUR LOVE (I’LL DO MOST ANYTHING) (REMIX/SAX DUB) Barry White, Breakout 12in
93 70 SPY IN THE HOUSE OF LOVE (DOCTOR X IN FULL EFFECT) Was (Not Was), Fontana 12in
94 re DOCTOR IN THE HOUSE Coldcut featuring Plastic Man, Ahead Of Our Time 12in promo
95 94 AMAZIN’/STAY (REMIXES) Shokk, Raja Records 12in
97 71 NITE AND DAY/NUIT ET JOUR Al B Sure!, US Warner Bros/Uptown 12in
98 re PUT THAT RECORD BACK ON Cut To Shock featuring EF Cuttin’, US Bassment Records 12in
99 — ON THE EDGE Walter Beasley, Urban LP
100 — SHOUT/TOM TOM/COOL AND DRY/TWO THE MAX Jack Frost and the Circle Jerks/HOUSE THIS HOUSE Mr Lee/GET THE HOLE Townsell/DOWNFALL Armando/GOT THE BUG Phuture Pfantasy Club (‘Acid Tracks’), US Trax Records LP


01 01 GET OUTTA MY DREAMS, GET INTO MY CAR Billy Ocean, Jive 12in
02 02 BEAT DIS (EXTENDED DIS) Bomb The Bass, Mister-Ron/Rhythm King 12in
03 05 TOGETHER FOREVER Rick Astley, RCA 12in
04 04 I SHOULD BE SO LUCKY Kylie Minogue, PWL Records 12in
05 03 THAT’S THE WAY IT IS Mel & Kim, Supreme Records 12in
06 09 I WANT HER Keith Sweat, Vintertainment/Elektra 12in
07 06 TELL IT TO MY HEART Taylor Dayne, Arista 12in
08 07 DOCTORIN’ THE HOUSE Coldcut featuring Yazz and the Plastic Population, Ahead Of Our Time 12in
09 13 GIMME HOPE JO’ANNA Eddy Grant, Ice 12in
10 10 MAN IN THE MIRROR Michael Jackson, Epic 12in
11 14 JOE LE TAXI Vanessa Paradis, FA Prods/Polydor 12in
12 11 I THINK WE’RE ALONE NOW Tiffany, MCA 12in
13 15 SPY IN THE HOUSE OF LOVE Was (Not Was), Fontana 12in
14 08 THAT JACK THAT HOUSE BUILT Jack ‘N’ Chill, 10 Records 12in
15 12 LET’S GET BRUTAL Nitro Deluxe, Cooltempo 12in
16 17 DON’T LOCK ME OUT Terry Billy, Atlantic 12in
17 26 I GET WEAK Belinda Carlisle, Virgin 12in
18 18 WHEN WILL I BE FAMOUS? Bros, CBS 12in
19 24 DO THIS MY WAY Kid ‘N Play, Cooltempo 12in
20 16 SHAKE YOUR LOVE Debbie Gibson, Atlantic 12in


01 I SHOULD BE SO LUCKY Kylie Minogue, PWL Records 12in
02 TELL IT TO MY HEART Taylor Dayne, Arista 12in
03 THAT’S THE WAY IT IS Mel & Kim, Supreme 12in
04 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
05 BEAT DIS (EXTENDED DIS) Bomb The Bass, Mister-Ron 12in
06 SHAKE YOUR LOVE Debbie Gibson, Atlantic 12in
07 TOGETHER FOREVER Rick Astley, RCA 12in
08 GET OUTTA MY DREAMS, GET INTO MY CAR Billy Ocean, Jive 12in
09 WHO’S LEAVING WHO Hazell Dean, Parlophone 12in
10 OH YEAH Yello, Mercury 12in


01 02 TAKE AWAY THE RAIN Sidewalk, Reflection 12in
02 11 SUSPICIOUS MINDS Bobby O, US O Records 12in
03 20 NO REGRETS Quartzlock, Reflection 12in
04 07 TELL IT TO MY HEART Taylor Dayne, Arista 12in
05 01 I SHOULD BE SO LUCKY Kylie Minogue, PWL Records 12in
06 03 SAVIN’ MYSELF (HOT LINE REMIX)/(BLASTER MIX) Eria Fachin, Saturday 12in
07 06 PINK CADILLAC (CLUB VOCAL) Natalie Cole, Manhattan 12in promo
09 09 I CRY FOR YOU Shy Rose, US JDC 12in
10 04 THE WINNER TAKES IT ALL Sandra Edwards, Bolts 12in
11 — POPCORN M&H Band, French Family 12in
12 08 BACK TO YOU Crystal In The Pink, Canadian Power 12in
13 21 STOP ME NOW Midnight Shift, Technique 12in
14 13 SURPRISE ME TONIGHT Norma Lewis, Nightmare 12in
15 16 THAT’S THE WAY IT IS/I’M THE ONE WHO REALLY LOVES YOU (US REMIX) Mel & Kim, Supreme Records 12in
16 14 S.T.O.P Samantha Gilles, Belgian Hi Tension/Italian Time 12in
17 10 SATISFY MY DESIRE Havana, Nightmare 12in
18 05 O L’AMOUR Dollar, London 12in
19 12 MIDNIGHT LOVER Bianca, Belgian Hi Tension 12in
20 32 IF YOU LOVE SOMEBODY (REMIX) Barbara Doust, Canadian Power 12in
21 31 LIES Amanda Scott, Quazar 12in
22 — JUST A MIRAGE Jellybean featuring Adele Bertei, Chrysalis 12in
23 29 THE HEART IS A LONELY HUNTER Bonnie Bianco, German Metronome 12in
24 49 CONTACT (MEDLEY) Disc Drive, US Sizzle 12in
25 18 THE RIGHT COMBINATION Seventh Avenue, Nightmare 12in
26 24 BIG BROTHER Aleph, Italian Time 12in
27 34 DO YOU WANNA FUNK Zone Brothers, US Recca 12in
28 37 A LA VIE L’AMOUR Jakie Quartz, Dutch CBS 12in
29 36 I’M NOT SCARED (DISCO MIX) Eighth Wonder, CBS 12in
30 42 HYPNOTIZE Taste-T-Lips, US Mercury 12in
31 22 SKY HIGH (LES ADAMS REMIX) Jigsaw, Splash 12in
33 30 STOP FOR A MINUTE Sandra, German Virgin 12in
34 15 THIS GIRL’S BACK IN TOWN Raquel Welch, US Columbia 12in
35 38 YOU ONLY YOU Tasha, Belgian ARS 12in
36 19 SCIENCE FICTION Scott Stryker, Nightmare 12in
37 25 THESE ARE BRIGHTER DAYS Barbara Pennington, Nightmare 12in
38 — LOVE Gypsy & Queen, Italian Time 12in
39 — PERFECT LOVE (REMIX) Linda Jo Rizzo, Quartzlock 12in
40 45 TELL IT TO MY HEART (HOUSE OF HEARTS MIX) Taylor Dayne, Arista 12in
41 — SLAVE (FOR YOUR DESIRE) Tracy Ackerman, Passion 12in
42 17 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
43 39 (I DON’T KNOW IF YOU’RE) DEAD OR ALIVE Claudja Barry, US Disconet 12in
44 47 MY HEART’S ON FIRE Patrick L Myles, Canadian Power 12in
45 — CROSS MY BROKEN HEART (HI-NRG REMIX) Sinitta, Fanfare 12in
46 — CROSS MY BROKEN HEART Sinitta, Fanfare 12in
47 — BEAT DIS (EXTENDED DIS) Bomb The Bass, Mister-Ron Records 12in
48 28 I THINK WE’RE ALONE NOW Tiffany, MCA 12in
49 27 LOVE EMERGENCY Rachel, US Atlantic 12in
50 — NEW YORK CITY BEAT/SWINGIN’ ON A STAR Man To Man featuring Paul Zone, Bolts LP

2 thoughts on “March 19, 1988: DMC International DJ Convention, Keith Sweat, Pebbles, Gwen McCrae, Sargent Tucker”

  1. This week, James’s pages get another revamp. BPM becomes DJ Directory, Odds ‘N’ Bods becomes Beats & Pieces (both names remaining in place for the rest of the rm’s lifespan), there are some layout and design changes, and the average weekly word count increases. The Pop Dance chart is reduced to a Top 20, and a “Scottish Dance” Top 10 is introduced. Although I can see the intentions behind the latter – Scottish dancefloors being more uptempo and Hi-NRG-orientated than the rest of the UK – the chart itself is of little interest, and it won’t remain a weekly fixture for long.

    Elsewhere in the magazine, a separate and substantial “rm Dance” section is launched, well away from James’s pages, edited by Tim Jeffery, with contributions from other writers such as Matthew Collin and Malu Halasa. The content is primarily based around brief interview features, but the section also hosts a new “Cool Cuts” Top 20, initially compiled with the help of Citysounds in High Holborn. I don’t recall the methodology of this chart ever being explained (if indeed there was one), and I never found it particularly useful, but it too remained in rm until the bitter end, continuing in Music Week’s pullout dance section thereafter.

    As well as embedding the video of the entire World Mixing Championships, I’ve linked directly to two interesting snippets: the booing of Stock Aitken Waterman (and Waterman’s tart riposte to the crowd!), and the hero’s welcome afforded to a delighted James Brown, whose popularity is now at an all-time high (for obvious hip hop/rare groove reasons).

    It’s remarkable to see how much coverage Derek B is currently getting; he’s having quite the moment in the spotlight, but it’s a moment that won’t last all that long.

    Gwen McCrae’s ‘All This Love That I’m Giving’ was ubiquitous in Nottingham’s clubland during the second half of 1987 – as a rare groove, it wasn’t far behind Maceo & The Macks and The Jackson Sisters in popularity – and I was one of those people who had the white label bootleg 12″.

    I can also confirm ‘One Bad Apple’s rare groove status – at our newest and hippest club, Eden (another James Baillie venture), one particular Saturday night was taken over by Norman Jay and a coachload of his London followers (rather a sulky bunch, I thought), and The Osmonds were indeed played!


  2. I also remember round about this time one of the London pirates doing one if the periodic Top 100 of All Time which usually ended up very skewed to stuff that was currently hot and “All This Love I’m Giving” being number 1 IIRC.

    I can well imagine the London lot who came up with Norman Jay to Nottingham were a bit moody – they may well have included the hipster West End types who made up a lot of the earliest audience for rare groove. and very different to the majority of the clubbers from London and the SE .

    That new chart may have been like the Streetnoise chart in Blues and Soul or the dance chart Judge Jules used to run down on Kiss FM early in Saturday evenings in the 90s which were sort of dance charts where they could miss the less ‘cool’ stuff out and just put all the stuff being talked about on the streets. On Kiss the more mainstream dance chart (Equivalent to
    JH’s main chart maybe but in the Kiss instance based on strict sakes) was rundown by Graham Gold around midday Saturday.


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