June 25, 1988: “Balearic Beat”, Public Enemy, Guy, Kraze, Loose Ends


Pascal Gabriel (currently calling himself Emilio Pasquez!) has been snapped up by MCA Records from under the noses of both Phonogram and WEA… S’Express’s upcoming ‘Superfly Guy’ is sadly less catchy than their chart-topper, a monotonous 117½-0bpm chugging thudder with chanting girls, shouting guys, various percussive breaks and some sampled speech… Phil Harding and Ian Curnow have not only remixed the Four Tops’ new debut single on Arista, ‘Indestructible’, but also created a frenetically scurrying and stuttering 0-120-121½-122-122⅓-122¼bpm remix of their classic ‘Reach Out, I’ll Be There’ for imminent Motown release!… MCA Records, as you probably heard, are in the process of buying Motown (whom they already distribute in the US) for $85,000,000, which does not include the still independent Jobete publishing division… US pressings of the Mac Band featuring the McCampbell Brothers ‘Roses Are Red’ are available here at normal UK price, which is why there’s been no new review… Ten City is now out here with the full length import version of ‘One Kiss Will Make It Better’ as A-side (Atlantic A9088TX), flipped by the full Extended Mix (but no NY Mix) of ‘Right Back To You’… Breakout have picked up Mr Lee ‘Pump Up London’ and Stetsasonic ‘DBC Let The Music Play’ for UK release… Anthony & The Camp’s previously reviewed import LP is now out here, ‘Suspense’ (Warner Bros 925 648-1)… James Brown’s album sleeve for some reason has been totally changed for the UK and made to look cheap… Tiffany ‘I Saw Him Standing There’ should be (0-)160⅔bpm, and Tony Terry ‘Forever Yours’ 63¾-0bpm, while Tracie Spencer isn’t quite that young, she’s just turned 13!… Les Adams, remixing Desireless’s follow-up, ‘John’, is available for live mixing gigs via DMC on 06286-67276 (actually, as you read this, he, LA Mix partner Emma Freilich and myself are on the way back from watching the longest day staying light all night on the north-west tip of Scotland!)… Robert Clivilles and David Cole have remixed Evelyn ‘Champagne’ King’s ‘Hold On To What You’ve Got’ for imminent UK release… Jaki Graham is due to return with ‘No More Tears’, a jittery smacker in a stuttery 106⅚bpm Fon Force remix and producer Derek Bramble’s own even more juddery 0-107⅓bpm Home-Base Mix, too violent possibly for pop fans… Gwen McCrae’s brand new ‘Generate Love’, a jittery lurching 107⅚bpm ponderous basher, is due in three weeks on The Dance Yard, the James Horrocks label which has also signed Hackney soul group Deluxe… Ingram Inc ‘Zone’/’House’, originally reviewed on Bass Records, is now on Champion (CHAMP 12-71)… GRC are boosting their ‘House Music Vol 1’ compilation with 12 inch promos of its previously unissued The North South Connection featuring Legacy ‘Gotta Keep Dancin’’, a smoothly jittering 0-122¼-0bpm acid disco bounder borrowing from Hamilton Bohannon’s ‘Let’s Start The Dance’ and other Seventies classics (there’s a commercial Bam Bam remix due later), and Charm ‘Housegirl’, a girl giggled and man muttered sparse 0-120¼bpm acid bubbler… London DJ Jazzy M shares vocals with Julian Jonah, and both co-produced, with guitarist Bam Bam, the Fingers Inc and Larry Heard accompanied ‘Living In A World Of Fantasy’ which, credited to J & M Connection, will be the first single from ffrr’s upcoming ‘The House Sound Of London, Vol IV – The Jackin’ Zone’ (a switch on the series’ previous title)… Edgbaston’s Libertys opens a Monday night Insomnia club for club people – ie: for only those employed in the club and bar industry – with DJs Wee Willie, Paul Jones, Freeky Dee, Paul Dakeyne, Mixmaster Kiwi and Pete Roberts due in that order between next Monday (27) and August 1… Tuesday (28) sees Stu Allan, Malcolm T, Wes & Kim, the Midnight Mixer and Paul Williams funk/house/grooving Wigan Pier… Tony Cochrane, taking Shirley Lewis on a PA tour of Scottish clubs, had an unexpected extra passenger, her boyfriend Luke Goss from Bros – who kept his presence low key but still caused something of a stir!… NANU NANU!


Last summer London DJs Nicky Holloway, Paul Oakenfold, Johnny Walker and Danny Rampling holidayed in Ibiza in the Balearic Islands (pronounced “Ballay-aric”), and, getting away from the rowdy tourists on the coast, discovered inland a club scene that bowled them over. At such expensive nightclubs as Amnesia, Ku Club, Pacha, Glorys, Es Paradis and Manhattans, the local DJs mixed together a diverse cross-section of dance music, from acid house to the Thrashing Doves, to Spanish rock, Prince, and Cyndi Lauper (in other words, these previously black music specialising London jocks were experiencing the standard upmarket DJ-ing style!). This so inspired them that once back in London they started no longer to conform to other people’s preconceptions of what they ought to be playing, and formulated instead the concept of “Balearic Beat”, defined by Nicky as “anything you heard on holiday but would be too frightened to play back at home because people would think it was too commercial”. This doesn’t mean straight Eurodisco, it’s less tacky than that — more like New Order ‘Blue Monday’, Nitzer Ebb, Split Enz, Code 61 ‘Drop The Deal‘, crossed with acid house.

Danny’s short lived Shoom club set the ball rolling, Paul (with Nancy Noise) now Balearics The Sanctuary on Thursdays and, with Johnny Walker, Spectrum on Mondays (both at Charing Cross’s Heaven), while Nicky is currently running Trip at the Astoria on Saturdays. Packed with trendies, many more white than black, Spectrum and Trip both mix acid house, indie dance rock, Martin Luther King speeches, psychedelia, tribal chants and off-the-wall oldies amidst Sixties-style light shows and lasers, many of the frantically arm waving dancers wearing hippy dress (and taking drugs to keep up the pace, it not being called “acid” for nothing). Balearic Beat records are already beginning to appear, Nicky Holloway being behind Beats Workin’ ‘Sure Beats Workin’‘ (on ffrr soon), a jauntily rolling 0-113¼-0bpm instrumental leaper combining ‘Stone Fox Chase’ (the ‘Old Grey Whistle Test’ theme) with bursts of Winston Churchill speech, Paul Oakenfold being involved with Electra’s upcoming cover of Elkin & Nelson’s old ‘Jibaro‘, while now out is The Project Club ‘Dance With The Devil (Balearic Mix)‘ (Supreme SUPET 131), a monotonously looping instrumental jitterer interspersed with a female title line, percussion breaks, some naughty praying on the flip’s 120-0bpm Cult Mix, and clanging chimes borrowed from the rattling and bashing old 129½bpm Fini Tribe ‘Let The Tribe Grow‘ (Cathexis Recordings CRF 611, via Rough Trade), one of the style’s indie influences. The danger is that everyone will leap onto the Balearic bandwagon and flood the market with dross, because it is so simple and, also, because it’s so white, other DJs will stop bothering to play soul because in reality it’s what their audience deep down would like to hear anyway. It’s fun, for the moment.


PUBLIC ENEMY ‘Don’t Believe The Hype’ (Def Jam 652833 6)
Yes, the nation’s favourite rappers are back, in totally typical 98⅓bpm style right down to the repeated JB sax squeal “noise”, flipped by the urgently jittering 0-99⅙-0bpm ‘Prophets Of Rage’ and its more tensely dubwise 0-99½-0bpm Power Version, plus an acappella 100bpm ‘The Rhythm, The Rebel’ from ‘Rebel Without A Pause’ especially for samplers to use!

GUY ‘Guy’ (US Uptown/MCA Records MCA-42176)
Teddy Riley’s own trio make strong chunkily danceable soul on the 0-108-0bpm ‘Groove Me’, 0-104⅔bpm ‘Teddy’s Jam’, 110bpm ‘Don’t Clap – Just Dance’, 107bpm ‘‘Round And ‘Round (Merry Go ‘Round Of Love)’, 0-99½bpm ‘My Business’, 110¼bpm ‘Spend The Night’, 109⅓bpm ‘You Can Call Me Crazy’, 105⅓bpm ‘I Like’, 75bpm ‘Piece Of My Love’, 82¼bpm ‘Goodbye Love’, even the two slowies being quite funky in a consistently good set.

KRAZE ‘The Party (Club Mix)’ (US Big Beat BB-0002)
Very simple raucously shouted exciting 121bpm piano nagged house leaper (in four mixes), much used by such pioneering “Balearic beat” DJs as Paul Oakenfold, and worth finding by pop jocks. Continue reading “June 25, 1988: “Balearic Beat”, Public Enemy, Guy, Kraze, Loose Ends”

June 18, 1988: Tracie Spencer, Eric B & Rakim, Al B Sure!, Masters Of Ceremony, Dinosaur L


Public Enemy’s new single is due now on import 12 inch but began selling two weekends ago on seven inch, the totally typical 98½bpm ‘Don’t Believe The Hype’ with familiar vocal patterns and a nagging “noise”, flipped by the more tensely jittering 0-99⅓-0bpm ‘Prophets Of Rage’ (US Def Jam WS4-07934)… Gwen McCrae ‘All This Love That I’m Giving’ has also suddenly started selling on seven inch as people discover that it’s flipped by the weaving slow 0-80½-80⅓bpm throatily soulful ‘90% Of Me Is You’ (Flame Records MELT 7)… James Horrocks, incidentally, has taken Gwen as well as Taffy with him from Rhythm King to his own new label, The Dance Yard… Yo Yo having left to engineer exclusively for Stock Aitken Waterman, the remixing Extra Beat Boys are now Jamie Bromfield and Kevin O’Reardon… LPs reviewed in full on import and now due out here are James Brown ‘I’m Real’ (Scotti Bros POLD 5230), Run-DMC ‘Tougher Than Leather’ (London LONLP 38), and Magic Lady ‘Magic Lady’ (Motown ZL 72367)… Bass Records, whose two debut releases were pressed like US imports (not that they fooled me!), turns out to be a new subsidiary of Champion… ‘Powercuts’, the Vibrettes ‘Humpty Dump’-pivoted rare groove megamix presumed to be a bootleg as it was originally on totally anonymous white label, turns out to be produced by Mick Power and Brian ‘Baam’ Mitchell, and credited as being by Power Cut Crew on Vinyl Lab Records (VL 0003, distributed by Rough Trade/The Cartel)… Coldcut’s currently promoed ‘The Only Way Is Up’ creation for Yazz and the Plastic Population is hi-hat hustled speedy 0-124½-0bpm old fashioned Hi-NRG disco!… ‘I Feel Dynamic’, the Smiley Culture-ish 121½-0bpm UK rap scratched by DJ Sasha to James Brown’s ‘(Call Me) Super Bad’ beat (to quote my original review), was due out on March 15 by the Dynamic 3 but has only now surfaced, credited instead to The Dynamic MC’s (still on Tuff Groove TUFF 002)… Annette Taylor ‘It Must Be Right’ is another that amazingly is only just now out commercially on Cooltempo, when – like Julian Jonah too – I thought it had been out for months (it would be very useful if the white labels people send me could include such little details as the release date and the name of the record company, as I’m not clairvoyant!)… Curtis Mayfield is about to tour here and may find that the re-issue on his own Curtom label, via Ichiban Records, of the ‘Superfly’ soundtrack LP is suddenly rather timely!… James Brown’s ‘It’s A Man’s, Man’s, Man’s World’ is currently to soundtrack to a Tennents Extra lager commercial, and Ray Charles’s joyously boogieing ‘Mess Around’ from 1953 is highlighted in the hilarious ‘Planes, Trains And Automobiles’ film – could they deserve re-release?… M-D-Emm, temporarily deleted in the hope that real demand will build, based the ‘Give A Little More Body Action’ remix on a combination of Brass Construction ‘Partyline’ and the Jammers ‘And You Know That’… Leigh Guest, the Double Trouble remixer, this weekend starts creating a 15 minute megamix for Chris Forbes every Sunday morning on Capital Radio at around 2.30am… Broadcasting Research Unit poll findings indicate that only 36 per cent of the population wants more radio stations, most people apparently being happy with existing services… Passion and Debut have moved addresses to Skratch Music House, 81 Crabtree Lane, London SW6 6LW (01-381 8315)… GEE st Records look like forming a Westbrook/G Records label with Chicago producer Bam Bam for house release here… Bournemouth’s The Academy disco has launched its own MusikTek label… Eric B & Rakim, currently doing interviews in London, may be due for a real “volume pumping” remix!… Nicky Holloway has swapped his now defunct “doos” for the Saturday “Trip” at London’s Astoria, causing roadblocks outside while inside the acid house and Balearic beats (full details next week) get all the trendies waving their arms in the air – the result is the most like a late Seventies New York disco that I’ve ever encountered in London (which is not necessarily a recommendation, as the “disco dross” syndrome is becoming apparent too)… Johnny Walker’s upcoming acid/Balearic gigs in London are Thursday (16) at Future in Hungerford Lane’s The Sanctuary, Friday (17) at Enter The Dragon in Kensington’s The Park, Saturday (18) at Elysium in Clink Street with Steve Proctor, and every Monday at Spectrum in Charing Cross’s Heaven… Simon Dunmore and Bob Jones in contrast play modern soul upstairs at Soho’s Wag every Tuesday… Robin King of the defunct Delirium is opening a new small members club in Covent Garden at the end of July, for “affluent acid fans”… Paul Simpson was all ready to release a remix of Serious Intention ‘You Don’t Know’ in the UK until he heard LA Mix’s adaptation of its chorus in ‘Check This Out’, which he’s hoping to make some money out of!


TRACIE SPENCER ‘Symptoms Of True Love (The Symptomatic Dance Mix)’ (Capitol 12CL 490)
A shrill swirling 120bpm breezy bounder by one of the youngest US nymphets yet, a 10 year old, quite soulful in her way, with remixer David Todd adding pixilated piano, and more loosely bubbling jaunty 120⅔bpm The Mercyful Energy Mix (Percussapella too).
[the artist’s age is corrected to 13 in next week’s column]

ERIC B & RAKIM ‘Follow The Leader’ (MCA Records DOPET 1)
As already exclusively revealed, their eagerly awaited new label debut is a typically vocal toned fast talking 0-110-0bpm strange rumbling and swirling dramatic throbber with “strings” and things in the backing, to create a totally new type of accompaniment for a rap, all very atmospheric and compelling (dub/acappella flip).

AL B. SURE! ‘Off On Your Own (Girl) (Street Mix)’ (US Warner Bros/Uptown 0-20952)
Billed on the sleeve but not the label as side one, although it is the main vocal version, this ethereally squeaked nagging tricky bumpily wriggling 0-97⅚bpm “go go hip hop”-type half-stepper will probably be too strange and specialist for mass acceptance outside soul circles and thus makes an odd choice of follow-up, the other side’s 97⅔bpm Remix being even trickier and more dub than song (tighter jittering 0-97⅚bpm Radio Edit, and the previously announced Spanish translated 0-91½bpm ‘Noche Y Dia’ version of ‘Nite And Day’, too). Continue reading “June 18, 1988: Tracie Spencer, Eric B & Rakim, Al B Sure!, Masters Of Ceremony, Dinosaur L”

June 11, 1988: James Brown, Full Force, J.M. Silk, Jazz & The Brothers Grimm, Meli’sa Morgan


L.A. Mix ‘Check This Out’ is now on CD single, just in its original 12 inch mixes, one of only a few disco hits to get this treatment so far… ‘Tricky Dicky’ Richard Scanes is helping fill the void left by Record Shack’s closure and opens another Hi-NRG shop, Trax in London’s Soho at 55 Greek Street, Hazell Dean performing the opening ceremony next Wednesday (June 15) at 1 pm — meanwhile, veteran gay DJ Dicky’s existing Record Cellar in Newport Court will continue more as a collectors’ shop… rm’s Hi-NRG chart, incidentally, is compiled with scrupulous honesty but can only be as good as the DJs’ chart returns that we receive, which means its critics have themselves to blame if they don’t send us their own returns (it’s fair to point out that the critics seem evenly divided both for and against a certain prolific Hi-NRG producer, so we must be doing something right if the chart manages to offend everybody — so stop your bickering, girls, or we’ll use the space for something else!)… Pete Waterman only identifies himself as “The Hitman” on his Saturday 10am-noon Radio City show (soon to be more widely networked), without apparently plugging his real name at all — although he does rather plug his productions!… Charlie Dickson’s soul show on County Donegal’s DCR FM 100 has moved to a new midnight-3am time slot on Sunday and Monday mornings (that’s Saturday and Sunday nights)… Psychic TV’s use of the Superman name and DC logo has, as suspected, attracted the attention of trademark owners DC Comics and caused the rapid withdrawal of ‘Tune In (Turn On The Acid House)’, in that form anyway… Pascal Gabriel’s pseudonymous solo is at last now due out, on WEA, credited on the sleeve’s sticker as “Emilio Pasquez presents Batman — quality sonic sounds from the pink sandbox”… S-Express have been filming a video in New York for their upcoming ‘Super Fly Guy’ – super fly, fly, fly-fl-fl-fly guy? (or doesn’t anyone remember the, what amounts to stuttered and scratched, Dickie Goodman send-up of Curtis Mayfield’s ‘Superfly’, a real rare groove?!)… M-D-Emm’s ‘Get Acidic’ is 121¼-120⅔bpm not too easy to read last week… The Funky Worm’s nervily shuffling 120¾bpm ‘Hustle (To The Music)‘, its correct title, will be out commercially at the end of June actually on FON through WEA, and does drop into the ‘Spanish Hustle’ rhythm riff, while it’s the flip’s 121¼bpm Freestyle Sax Mix that’s Manu Dibango-ish — the trio from Sheffield comprise DJs Parrot and Ping Pong with singer Julie Stewart (previously seen dancing behind Krush)… Area Code 615’s distinctively harmonica-ed ‘Stone Fox Chase‘, best known as the theme tune from TV’s ‘Old Grey Whistle Test’ but long established as a US break beat and due to reappear here soon as the basis for various new bass bombers (well, it beats workin’), is currently selling as an old import in a 110⅔bpm disco remake from 1986 by Icarus, on Canadian Unidisc (MM-012)… Rhythm King are promoting their upcoming ‘Latin Hip Hop’ compilation LP with white labels of the weedy shrill Shannon-meets-Madonna type 0-122⅓bpm Sa-Fire ‘Let Me Be The One‘ — if this is Latin hip hop, you can have it!… The Mafia ‘ABC’, described last week, turns out to emanate from Waterlooville (Portsmouth) based BBH Records… Brand New Heavies lead singer is called Linda Muriel… GEE st Records rapper Goldtop gets his name because, a nice idea, he’s actually a white boy with bright blond hair!… Skinny Boys ‘Get Pepped‘ has already been promoed here hard on the heels of the import, on Jive (JIVE T 177)… Martyn ‘Griff’ Griffith is the latest South Wales soul jock to try weekly funk/house/hip hop at Bridgend’s Astons, starting this Wednesday (June 8)… 10 Records are having a private “house” party this Thursday (9) at Mayfair’s Legends, ahead of 10pm public admission, with Kevin ‘Reese’ Saunderson, Derrick May and Blake Baxter jocking and PAing (supported on the wheels of steel by London’s own Paul Oakenfold and Colin Faver) — but, even more interestingly, Kool Kat get a bigger look in when the same “techno” trio check in on Sunday (12) at Kingswinford’s Christopher’s America (between Dudley and Wolverhampton) with PAs by T-Cut-F, Hotline and more plus DJs Mike Pickering, Graeme Park, Neil Rushton, Kenni James and Winston… DJ Tee has brand new equipment to play with at South London’s refurbished Thomas A’Becket in the Old Kent Rood, funkiest on Fri/Saturday… Pieces Of A Dream’s album sleeve features such artily minimal typeface lettering that the song title ‘Feeling For You’ comes out reading “IIIIIN’ IOR YOI” — really useful for radio DJs! … Bowlegged Lou, no oil painting himself, in Full Force’s hilarious ‘Def (I Love All The Women In The World)‘, refers to Fergie (that’s HRH the Duchess of York to you) as “pretty — pretty ugly”!… GET OFF!


JAMES BROWN ‘I’m Real’ (US Scotti Bros FZ 44241)
Good God! UHH! Huh-huh! He’s back, the grand old man of heavy heavy super funk returns in blazing form, but helped immeasurably by the production and writing of Full Force, whose witty approach to this album is reverential although there’s also a slightly tongue-in-cheek element of pastiche as they expertly recreate the feel of his classic old grooves, actually adding crackling surface noise to give that authentic old sound to the storming 0-109bpm ‘Static (Part 1 & 2)’, original saxist Maceo Parker blowing on the (0-)112-0bpm ‘She Looks All Types A’ Good‘, 108-0bpm ‘Keep Keepin’‘ and 54bpm ‘You And Me‘, while tricky funk flows on the 100⅚bpm ‘Time To Get Busy‘, 100bpm ‘Can’t Git Enuf‘, 0-105½bpm ‘I’m Real‘ and human beatboxed 99-98⅓bpm ‘Godfather Runnin’ The Joint‘. In fact, to show how much Mr Brown needs Full Force, the frantically untogether 0-129¼-128½-129bpm ‘It’s Your Money$‘ is his only unaided solo creation, and easily the set’s worst track. That apart, you gotta have it, you need it!

FULL FORCE ‘Your Love Is So Def (F.F. Remix)’ (US Columbia 44-07828)
Even though the original version is from their (pre-‘I’m Real’) most recent LP, and their vocal enunciation and interplay are slinkier, the meaty beaty beefy bruisers weave and worry through a funky drummered 112bpm jerky tense rhythm that’s obviously inspired now by close encounters of the Brown kind – Mr Brown himself being scratched into the dubwise 111⅔-112-0bpm ‘Your Love (So Def — So Dope Mix)‘, while Bowlegged Lou’s 111⅓-111¼-111⅓-0bpm ‘Def (I Love All The Women In The World)‘ is hilariously about Vanity, Patti LaBelle, Anita Baker, Whitney Houston, Tina Turner, Joan Rivers, Lady Di and Fergie, Dolly Parton, Diana Ross, Barbra Streisand, Madonna, and many more (111⅓bpm Single Version too).

J.M. SILK ‘All In Vain (London Mix)’ (Jack Trax JTX 16)
Staccato mournfully sung cymbal schlurped 119-0bpm lurching and bubbling house thudder in four mixes, more stuttery in the B-side’s Dub and Insane Mixes — and more of a song than most Chicago house. Continue reading “June 11, 1988: James Brown, Full Force, J.M. Silk, Jazz & The Brothers Grimm, Meli’sa Morgan”

June 4, 1988: Will Downing, Glen Goldsmith, E.U., London Rhyme Syndicate, Kool G. Rap & D.J. Polo


TONY BLACKBURN was abruptly replaced by Andy Peebles last Thursday at Radio London, ahead of his planned departure date, which will leave him more time in which to check out America’s oldies radio stations prior to joining Capital Gold in July … Roger Scott in turn is quitting Capital Radio after all these years to take over the Saturday afternoon ‘Stereo Sequence’ on Radio 1 from Johnnie Walker, who is moving to the Radio Radio satellite service … Mick ‘Loadsamoney’ Brown may have knobbed me off on ‘Night Network’ but he’s made up for it since, possibly over using on Capital Radio my “oh get off/not again” Hammapella from LA Mix’s remix (it really is very strange driving around and suddenly hearing my own voice unexpectedly on the radio!) … Pete Waterman’s Saturday afternoon Radio City show is being networked across most ILR stations from July, when split frequency broadcasting becomes widespread … Tony and Christine Prince of the Disco Mix Club held their annual barbecue and tennis tournament two Sundays ago, with great food and good fun for all — see the photos to get the flavour! … The Mafia ‘ABC’ is possibly the best limited circulation white label mixer since Coldcut’s ‘Hey Kids What Time Is It?’ — created by an anonymous Torbay lad, it in similar 111-0-102-102⅔bpm style starts with Nina Simone ‘My Baby Just Cares For Me’ and then blends the Jackson 5 ‘ABC’ with James Brown ‘Funky Drummer’ before combining Public Enemy’s “bass how low can you go” with Cheryl Lynn ‘Encore’ (with a monotonous piano looping 118½bpm ‘Gismo’ flip by JFK) … Eric B & Rakim’s brand new MCA Records debut on June 20 will be ‘Follow The Leader‘, a typically toned fast talking 110-0bpm densely rumbling strange swirler with dramatic slabs of “strings” in the backing —meanwhile, Fourth & Broadway’s rival release of the murkily meandering 0-92⅔-92¾-0bpm ‘As The Rhyme Goes On (Pumpin’ The Turbo — Chad Jay In Effect)‘ has Sefton The Terminator’s human beatbox and Chad Jackson’s transformer scratches but still sounds tired … GQ’s ‘Disco Nights (Rock Freak)’ from 1979 is the next retrospective remake, as the rap augmented 120½bpm Jazz & The Brothers Grimm ‘(Let’s All Go Back) Disco Nights‘ on Ensign … Ten City’s totally remade seven inch is indeed beefily concise, on the 120¼-120bpm ‘Right Back To You’ and especially the 0-104bpm ‘One Kiss Will Make It Better’ … Ellis, Beggs & Howard (whose ‘Big Bubbles, No Troubles’ was recently reviewed) turn out to be vocalist Austin Howard with ex-Kajagoogoo guitarist Nick Beggs, and keyboardist Simon Ellis … Tim Palmer at CityBeat has been badgering Sleeping Bag Records for over a year to remix Dinosaur L’s ‘Go Bang’ (which he released here), and is not entirely happy that the Todd Terry Project ‘Bango’ (on Sleeping Bag) amounts to that remix, so he’s rushing a UK remix of ‘Go Bang’ by Hard Times Productions instead … Byron Byrd of old US funk group Sun turns out to have produced Blaztzone, and owns Blip Blop Records plus a 24-track recording studio in Plumstead, South-East London! … B/Ware, the label that now has Pablo, is tying in with Crash Recordings to release The Funky Ginger ‘Slaughterhouse’ fully here on June 13 … Ian Levine is considering buying Soho’s liquidated Record Shack shop now that Bluebird have dropped their option … Morgan Khan’s ambitious plans for the UK Fresh 88 hip hop extravaganza seem to have scaled down in size, it now being held just on August 6 in a tent on Wormwood Scrubs in West London (mind you, the tent holds 10,000 — I hope security is good!) … South Eastern Disco Association has its annual SEDA 88 disco exhibition this Sunday (5) at Gravesend’s Woodville Halls, noon-6pm … Robbie Vincent starts weekly this Thursday (2) at Bagshot’s Pantiles (no T-shirts for some reason) … Friday (3) finds Eon Irving and DJ team Pleasure funking Vauxhall’s The Arch for a Pleasure Dome … Saturday (4) Paul Oakenfold and Manchester’s Mike Pickering (with T-Coy) kick off Trip, at London’s Charing Cross Road Astoria for the next five Saturdays … M-D-Emm actually list my review’s beats per minute on their label now, right down to the fractions — a first, and why not? … Les Adams has swapped his old 8 track sequencer for a 24 track computer sequencer, his latest studio equipment acquisition — ‘Check This Out’ in fact only cost £58 to record, the price of two reels of tape! … GET OFF!

DISCO MIX CLUB recently moved into a brand new purpose designed office building, just off the A3 to the west of Slough by Exit 7 of the M4, with three studios and warehousing downstairs and the office suites above — not that you’d know it looking at this! Tony Prince seems to have the whole building to himself, while DMC’s star mixers tower over him, (l to r) Ben Liebrand, Les Adams, Paul Dakeyne, plus new recruit John Cecchini (personality DJ of 1986/7, his role will be more administrative).

BEN LIEBRAND, Holland’s star remixer, has been busy beefing up the beats of two established pop classics. Now the B-side of Wouldn’t You Love To Love Me?’ on 12 inch, TAJA SEVELLE ‘Love Is Contagious (Ben Liebrand Remix)’ (Paisley Park Records W8127TX) becomes a brightly uptempo 111¼-0bpm canterer with the original slow waltz-type beats behind her delicate vocal filled in by S-Express-ish hissing hi-hat and tumbling percussion (the remix that first surfaced on the Disco Mix Club subscription service), while PHIL COLLINS ‘In The Air Tonight (Extended Version)’ (Virgin VST 102) is likewise filled in by a lazily chugging 0-94½-0bpm rhythm (flipped by Phil’s own more gently augmented 47¼/94½bpm ’88 Remix, and the old brassily lurching 106bpm ‘I Missed Again’). Taja in particular is causing a sensation, bringing the once sweet slow song a whole new lease of life as a much in demand dancer.

LES ADAMS has already remixed an alternative very different more loosely striding 119¼bpm L.A. MIX ‘Check This Out (The Salt Lake City Mix)’ (Breakout USAF 629) — so called because it incorporates noises from the Osmonds’ ‘Crazy Horses’! — this version, you may be relieved to hear, being without my “heckling”, although the 12 inch does include the Hammapella from which radio stations are already rather over-using MC Jammy Hammy’s isolated “get off”, “oh get off” and “oh not again” catch-phrases! There’s also a new Lyn Collins ‘Think’-sampling 117¼bpm Bonus Beats, plus the original 117-0bpm Fierce Vocal and Sweaty Cuban dub. Incidentally, the ultra-commercial 117½-0bpm seven inch version, which so catchily combines all the best bits with my own modest contributions (naturally I’m not biased!), is the one that’s turned it from a dance hit into a pop smash … and is not available in any even remotely similar form on either 12 inch.

JOLLEY HARRIS JOLLEY set out to rival Stock Aitken Waterman as a producing/writing/remixing team and seem to be fast achieving their aim. Matt Aitken was in fact a school chum of the two Jolleys and lived with them until early last year! Seen here as the latest faces behind the names on the labels, Brian Harris (left) owned the Music Machine dance record shop in Leeds before he started writing songs for Chappell Music, and then plugging for the Sonet label. Anna Jolley actually had a huge Continental hit around 1979/80, ‘Like They Do In The Movies‘, sung solo as Anna. Mark Jolley was a bassist, and sound engineer at Trident Studios (the Jolleys are no relation of onetime Imagination producer, Steve Jolley). The threesome united two years ago to form their production company Reproduction Ltd, which debuted with Exception’s ‘Slap You Back‘ (featuring Anna’s vocal) on CityBeat, since when they have steadily increased in reputation producing Patrick Boothe, Emma, Glen Goldsmith (their biggest success to date), Shirley Lewis and newcomers Reid, plus remixing material by Barry White, Chic, Mica Paris, Swimming With Sharks, and Brenda Russell (her upcoming ‘Gravity‘).


WILL DOWNING ‘In My Dreams (Club Remix)’ (Fourth & Broadway 12BRW 104)
His album’s tripping swayer remixed by Will in London to beef up the now more thudding 0-110⅘bpm beat, and emphasise the lovely lush wordless shimmering harmony surges which are its main attraction, reminding me of something from a Busby Berkley soundtrack of the Thirties (in three mixes). Continue reading “June 4, 1988: Will Downing, Glen Goldsmith, E.U., London Rhyme Syndicate, Kool G. Rap & D.J. Polo”