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

BEATS & PIECES

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!


BALEARIC BEAT

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.


HOT VINYL

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.

LOOSE ENDS ‘Watching You’ (US MCA Records MCA-23854)
Instead of ‘Mr Bachelor’, the US has this Timmy Regisford remixed more typical chunkily lurching (0-)99⅓bpm jiggly wriggler, producer Nick Martinelli adding some go-go bounce to their old style (in five mixes).

KING TEE ‘Bass’ (US Mack Daddy MD-9035)
Lyrically inspired by Public Enemy but otherwise different, strong 100½-0bpm scratching rap jolter with good sparse ingredients – pointed out as it progresses by rapper Tee McBride – sampling and cutting Zapp and many more (repeated on both sides).

STEVEN DANTÉ ‘I’m Too Scared (R&B Mix)’ (Cooltempo DANTEX 1)
East London’s ‘The Real Thing’ singer sounds breathy then tough on a Robert Clivilles & David Cole-remixed jittery 115¾-0bpm leaping canterer, produced in Minneapolis by Monte Moir and Gardner Cole, stronger the longer it’s on (disjointedly starting emptier House Vocal Version too, plus the 0-114¼-114⅔-0bpm El Barrio Mix of Jellybean’s ‘The Real Thing’).

DEREK B ‘We’ve Got The Juice (Fresh Squeezed Mix)’ (Tuff Audio DRKB 212)
Much remixed from his album, yet another wriggly 111⅙bpm rap that’s all about himself, with James Brown samples and doodling sax (instrumental too), flipped by the Tim Westwood introed more subduedly meandering 0-97⅔bpm ‘Power Move (With X-Tra Strength Boyee!!!)’.

KURTIS BLOW ‘Back By Popular Demand’ (US Mercury 870 328-1)
Good but strictly specialist monotonous 0-102bpm rap jiggler scrubbingly scratched by Marley Marl, with even the cheering crowd effects scratched in (nice instrumental Trumpet and Organ versions too, plus an edit).

JUNGLE BROTHERS ‘Straight Out The Jungle’ (US Warlock WAR-2704)
Interestingly different ominous muttering conversational raps set to subdued slippery rare groove funk rhythms (spot them for yourself) on the 100bpm title track, Marvin-quoting 102bpm ‘What’s Goin’ On’, 93⅓bpm ‘Jimbrowski’, 89bpm ‘I’m Gonna Do You’, 0-90bpm ‘Behind The Bush’, 0-96bpm ‘Braggin’ And Boastin’’, 111¾bpm ‘On The Run’, 118bpm ‘Black Is Black’, 0-118¼bpm ‘Sounds Of The Safari’, 0-99⅙bpm ‘Jimmy’s Bonus Beat’, and UK 12 inch-issued 103bpm ‘Because I Got It Like That’.

THE SINGING M.C. BREEZE FEATURING D.J. TREVOR ‘Damn I’m Good’ (US 4th + B’way BWAY 465)
Mantronix-type bright nervily jerking 0-100bpm angry rap cutting in James Brown grunts and slithering scratches (in three mixes).

VANESSA WILLIAMS ‘The Right Stuff’ (US Wing Records 835 694-1)
The disgraced beauty queen’s voice is serviceable rather than sensational on a Jody/Whitney-style black pop set (selling especially for its inner sleeve photo!), with the snappily strutting 0-112¾-112⅔bpm title track single, attractively jogging 102bpm ‘If You Really Love Him’, jiggly lurching 102bpm ‘(He’s Got) The Look’, rolling (0-)105bpm ‘Security’, jolting (0-)106⅓bpm ‘Be A Man’, swaying (0-)84bpm ‘Dreamin’’, smoochy 0-32½/65bpm ‘Darlin’ I’, frenetic 118½bpm ‘I’ll Be The One’, shrill (0-)107½bpm ‘Am I Too Much?’, slushy 0-32-0bpm ‘Can This Be Real?’ and 0bpm ‘Whatever Happens’.

FAT BOYS ‘The Twist’ (Urban URBX 20)
Label details were totally garbled on the promo I reviewed last week, so that the 0-155¾-155¼bpm extended B-side should be credited as Yell For More! instead of Twist So Def Version, as that 0-155¾-0bpm mix is what I took to be the Yo, Twist! seven inch version, this latter indeed turning out to be the “Chubby Checker compatible” 0-156-0bpm punchiest mix which I credited as Yell For More – what a mess!

RANDY BROWN ‘Are You Lonely?’ (Threeway Records WAY 103T)
Booker Newberry III-ish throatily emoted well-made wriggly smacking 106⅔bpm traditional soul jogger, nothing new though pleasant and likely to mean most now around Manchester (equally classy 109⅔bpm ‘Lifetime Of Happiness’ and 83⅓bpm ‘Trying To Hold On’ flip).

NATALIE COLE ‘Everlasting (12” Mix)’ (Manhattan 12MT 46)
Promo pressings include 1975’s glorious piano swung soaring 123-125-125⅔-125-125⅔bpm ‘This Will Be’ finger-snapper, but the commercial A-side is this pleasant if unexceptional 115bpm wriggly ticker, coupled with a 75¾bpm reading of her father’s ‘When I Fall In Love’, lacking his mellow roundness.

PETE QUINTON featuring Helen Rogers ‘Shifting Sands’ (Premiere UK ERET 502, via PRT)
Sweet voiced Helen sings again for the Direct Drive guy on a Paul Hardcastle co-produced jauntily bubbling 0-103½bpm lightweight gentle go-go-ish jiggler (similarly jiggling 94½bpm ‘Oh Yeah’ jazz-funk instrumental flip).

MILLIE SCOTT ‘It’s My Life’ (US Island 0-96655)
Jeff Lorber co-prod/penned disappointingly flat and lacklustre 114½bpm jittery canterer (inst too), flipped by the far better sassily strutting Jocelyn Brown-ish 109bpm ‘Keep It To Yourself’.

M.E.S.H. ‘Meet Every Situation Head On’ (Castalia Recordings TAB 001, via Revolver/The Cartel)
Latest in what looks like becoming a flood of UK “acid” house created by ex-punks and indie rockers who, with limited musical ability, are hailing the form as “the new punk”, this episodic limp 127¼-127-126¾-0bpm ramble through quotes and pastiches of past house hits combined with hippy dippy psychedelia – taking the drug connotation of “acid” literally to make what they call “L.S.D. N.R.G.” – just doesn’t amount to a tough enough groove.

FEET INC. ‘Throwdown’ (Vinyl Lab Records VL 0001, via 01-74009881)
Brian ‘Baam’ Mitchell-produced murkily burbling 120¼bpm monotonously inconclusive house, not acid, from Shepherds Bush (120bpm Street Cut too), flipped by the drumkit bumbled more acidically doodling 120⅓bpm ‘Ace’s Jam’ (120¼bpm Street Cut too), both at least interestingly different without being in any way essential.

HOTLINE ‘Stay Away’ (Rhythm King LEFT 24T)
Beatmasters-produced jangly urgent 0-120-119⅔bpm old fashioned Colonel Abrams-ish mournfully hollered house from the Huddersfield duo, helped by P.P. Arnold, with a disjointed sparse 120¼-119¾bpm Dub Mix named after its most dominant lyric line, ‘Don’t Want You Back’.


POP DANCE

CATHARINE BUCHANAN ‘Love Is’ (Arista 611 500), the ‘Sidewalk Talk’ singer solos with her own unusual ultra-jittery and busily backed 102⅚bpm talking rap, combining go-go, hip hop, Chic-ish guitar, Big Ben and wedding bells, along the lines of Talking Heads or Will Powers, and certainly different;

FRANCE GALL ‘Ella Elle L’A’ (WEA WZ197T), touted as the next French-sung hit, this surging 100-99⅔bpm haunting pop swayer is a tribute to Ella Fitzgerald (without sounding in any way like her!);

MORY KANTE ‘Yé Ké Yé Ké (The Afro Acid Remix)’ (London LONX 171), West African percussive speedy ethnic chanter that’s massive in Holland, Belgium, Germany and France so far, where it’s hitting in the here promo-only 126-125¾bpm Extended Mix, of which a tighter 125½bpm French Remix is flip to this 125bpm UK version, which inevitably overlays twittering “washing machine” synth to conform with standard trendy thinking here (and make it more Balearic);

BUSTER POINDEXTER & HIS BANSHEES OF BLUE ‘Hot Hot Hot’ (RCA PT 49582), David Johannson of the New York Dolls adopts an alter ego for this recent US hit 0-128¼-130¼-132bpm pop treatment of Arrow’s classic leaper, which, being soca, has naturally been held back here for the summer (just when you don’t want to jump up and down, and get hot!);

MEAT BEAT MANIFESTO ‘Strap Down’ (Sweatbox SOX-032), jerkily juddering 0-126½-0bpm frenetic shouting lurcher with samples and stutters, but more Balearic than bass bombing;

TONY STONE ‘This Is Serious (Danny D Remix)’ (Ensign ENYX 615), nervily jittering 114⅔bpm smacking chugger with Hall & Oates-ish intensely worried repetitive title line hooks;

STOP THE WORLD ‘Don’t Stop The Music’ (PRT PYT 12), Peaches Sedillo-warbled striding 121¼bpm bounder in dated early Eighties disco style, with a tinkling “vibes” break and schlurping hi-hats, well produced but old-fashioned (in the fashionable sense);

BIG TROUBLE ‘Crazy World’ (Epic 651625 6), Giorgio Moroder-produced strident girls squawked thudding 123bpm spurting churner with droning rock guitar;

BABAKOTO ‘Magic Potion (Extended Mix)’ (MCA Records KOTT 2), messily recorded surging and thudding 0-109⅓bpm wordy roller, vaguely like Well Red in its use of Sixties-influenced Stax-type brass, but not a good song underneath it all;

NORTHERN SKY ‘I Wanna Be With You’ (Square 1 Records 12SQR 002, via PRT), enthusiastic girl sung but boring jerky 113bpm tugging swirler.


HI-NRG UPDATE

DOLLAR ‘It’s Nature’s Way (No Problem)’ (London LONX 179), Phil Harding & Ian Curnow-produced brightly rattling frantic (0-)126bpm galloper with Spanish guitar, whip-cracks, and other very Euro-type colourations;

SEVENTH AVENUE ‘The Love I Lost’ (Nightmare MARE 56), frantically flying 131⅔-0bpm Harold Melvin & The Blue Notes revival by a trio of nice looking young men, not as soulful as Teddy Pendergrass although they try and the production kicks, flipped by the tediously plodding 0-121½bpm ‘The Right Combination (Dancin’ On The House Remix)‘;

QUANTIZE ‘The Sun Ain’t Gonna Shine Anymore’ (Passion PASH 12 83), instrumentally preambled snappily galloping 125½bpm fast retread of the Four Seasons/Walker Brothers oldie, still a great song although a bit over-stretched at this tempo;

LAYNIE ‘Love Bites’ (Opium Records OPINT 25), strident girl yelled unpleasant over-busy wriggling 119bpm juddery jitterer in the Miami style.


REMIXES

THE PASADENAS ‘Tribute (Right On) (Richie Rich Remix)’ (CBS XPR 1360), on white label – and possibly too hot to release legally! – Richie’s brilliant dubwise 107⅙-107-0-107bpm remix actually slips in brief snips from Little Richard’s ‘Tutti Frutti’ and Elvis Presley’s ‘Jailhouse Rock’;

WAYNE HERNANDEZ ‘Bad News (The News At 12 Remix)’ (Epic WAYNE Q4), Wayne’s own far better 0-107⅚bpm samples stuffed chunkily lurching remix starts with the ‘News At Ten’ music before being punctuated by James Brown grunts and the like;

THE SPECIAL A.K.A. featuring Ndunda Khuze & Jonas Gwengwe ‘Free Nelson Mandela (The Whole World Is Watching Mix)‘ (2-Tone FNMX 1), not maybe what the whole world was expecting, a smoothly pulsing 126¾-0bpm “acid house” remix of what was once an afro knees-up, now complete with twittering synth and transformer scratching!


THE CLUB CHART – June 25, 1988

01 01 RIGHT BACK TO YOU (EXTENDED MIX)/ONE KISS WILL MAKE IT BETTER (HOUSE MIX) Ten City, US Atlantic 12in
02 02 CHECK THIS OUT (FIERCE VOCAL/SWEATY CUBAN MIX) LA Mix, Breakout 12in
03 09 ROSES ARE RED Mac Band featuring The McCampbell Brothers, MCA Records 12in
04 04 TRIBUTE RIGHT ON (THE Q STREET MIX) The Pasadenas, CBS 12in
05 06 CAR WASH/IS IT LOVE YOU’RE AFTER Rose Royce, MCA Records 12in
06 03 DIVINE EMOTIONS (REMIX/DUB MIX) Narada, Reprise Records 12in
07 05 GO ON GIRL Roxanne Shanté, Breakout 12in
08 10 MOVIN’ 1988 (PHIL HARDING EXTENDED MIX/THE LET’S ALL CHANT MIX) Brass Construction, Syncopate 12in
09 12 BACK TO THE BEAT (WITH ‘THE SOUND’) Reese & Santonio, ffrr 12in
10 08 MY ONE TEMPTATION (DANCE VERSION) Mica Paris, Fourth & Broadway 12in
11 14 (LET’S ALL GO BACK) DISCO NIGHTS Jazz & The Brothers Grimm, Ensign 12in
12 07 FAIRPLAY/(RADIO MIX) Soul II Soul featuring Rose Windross, 10 Records 12in
13 18 IN MY DREAMS (CLUB REMIX) Will Downing, Fourth & Broadway
14 20 TURN IT UP Richie Rich, GEE St Records/Club 12in white label
15 17 I’M REAL James Brown, US Scotti Bros 12in
16 26 FOLLOW THE LEADER Eric B & Rakim, MCA Records 12in
17 15 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
18 19 MR BACHELOR (EXTENDED REMIX VERSION) Loose Ends, Virgin 12in
19 13 JOY (EXTENDED REMIX) Teddy Pendergrass, Elektra 12in
20 11 BANGO (TO THE BATMOBILE) The Todd Terry Project, Sleeping Bag Records 12in
21 16 LOVE IS CONTAGIOUS (BEN LIEBRAND REMIX)/WOULDN’T YOU LOVE TO LOVE ME? (JELLYBEAN REMIX) Taja Sevelle, Paisley Park Records 12in
22 23 STATIC (PART 1 & 2)/TIME TO GET BUSY/CAN’T GIT ENUF/SHE LOOKS ALL TYPES A’ GOOD/KEEP KEEPIN’/GODFATHER RUNNIN’ THE JOINT James Brown, Scotti Bros LP
23 21 ACID OVER (TYREE/HEAVENLY/SPECTRUM/PIANO ‘MATEY’ MIXES) Tyree, ffrr 12in
24 27 MUSICAL FREEDOM/DUB/JAM UP DE MUSIC Paul Simpson, Cooltempo 12in
25 22 THEME FROM S-EXPRESS S-Express, Rhythm King 12in
26 35 SET IT OFF/ON THE BUGGED TIP/MR CEE’S MASTER PLAN/RAW (REMIX) Big Daddy Kane, Cold Chillin’ LP
27 33 GOOD LOVE (EXTENDED VERSION) Meli’sa Morgan, Capitol 12in
28 43 LOOSEY’S RAP (RIX MIX/LOOSEY’S HOUSE OF TRIX MIX/MARLEY MARL MIX/RAW RAP VERSION) Rick James featuring Roxanne Shanté, Warner Bros 12in
29 24 SOMETHING JUST AIN’T RIGHT (EXTENDED VERSION) Keith Sweat, Vintertainment 12in
30 41 DON’T BELIEVE THE HYPE Public Enemy, Def Jam 12in
31 25 WAP-BAM-BOOGIE Matt Bianco, WEA 12in
32 47 GO ON GIRL (STREETS AHEAD’S ROCKIN’ THE PARK MIX) Roxanne Shanté, Breakout 12in
33 57 GIVE A LITTLE MORE BODY ACTION/GET ACIDIC M-D-Emm, Republic Records 12in
34 52 DON’T COVER UP YOUR FEELINGS (EXTENDED REMIX) Broomfield, CBS 12in
35 84 WHAT YOU SEE IS WHAT YOU GET Glen Goldsmith, RCA 12in
36 — I’LL WAIT FOR YOU (TAKE YOUR TIME) (DANCE MIX) Burrell, 10 Records 12in pre-release
37 70 HITTRAX II (COOL J TRAX/WORK MY BODY REMIX) House Gang, Kool Kat 12in
38 38 PUMP UP LONDON/PUMP UP CHICAGO/(ACID MIX) Mr Lee, US Trax Records 12in
39 29 YOU ARE THE ONE (THE REMIX) Taurus Boyz, Cooltempo 12in
40 30 DA’BUTT (RADIO MIX/EXTENDED SOUNDTRACK VERSION) E.U., Manhattan 12in
41 94 OFF ON YOUR OWN (GIRL) (STREET MIX) Al B. Sure!, US Warner Bros/Uptown 12in
42 37 A DAY IN THE LIFE/WARLOCK Black Riot, Champion 12in
43 92 EVERLASTING (12” MIX)/THIS WILL BE Natalie Cole, Manhattan 12in promo
44 36 SLAM!/WE ARE PHUTURE/SPANK-SPANK Phuture, US Trax Records 12in
45 40 GROOVE ME (EXTENDED VERSION) Guy, US Uptown Records 12in
46 50 DON’T BE CRUEL (EXTENDED VERSION) Bobby Brown, US MCA Records 12in
47 56 THE LOVERS (EXTENDED VERSION) Alexander O’Neal, Tabu 12in
48 93 RISING TO THE TOP/MAKES YOU WANNA/WE BELONG TO EACH OTHER Pieces Of A Dream, US EMI-Manhattan LP
49 90 GALAXY (STAR PATROL SAYS “MIX IT DOWN”)/COME ON DOWN TO LOVE STREET (ON A ROCKET MIX)  Love Street, Parlophone 12in promo
50 31 KEEP KEEPIN’/I’M REAL (F.F. HYPED UP MIX) James Brown, Scotti Bros 12in
51 48 GET BUSY (IT’S PARTYTIME!) (BODY ACTION/CLUB/BUSY HOUSE MIXES) M-D-Emm, Republic Records 12in
52 49 I SURRENDER TO YOUR LOVE/WE’RE INTO THIS GROOVE/SLOW JAM (CAN I HAVE THIS DANCE WITH YOU) By All Means, Fourth & Broadway 12in
53 58 LOVE WILL SAVE THE DAY (EXTENDED REMIX) Whitney Houston, Arista 12in
54 39 MERCEDES BOY (EXTENDED VERSION) Pebbles, MCA Records 12in
55 61 HARD TO THE CORE London Rhyme Syndicate, Rhyme ‘N’ Reason 12in
56 — ABC The Mafia, BBH Records 12in white label
57 — FAIRPLAY (FREESTYLE HORNS) Soul II Soul featuring Rose Windross, 10 Records 12in
58 51 FREDERIC LIES STILL Galliano, US Acid Jazz 7in
59 76 STOP THE VIOLENCE Boogie Down Productions, Jive 12in
60 62 CHECK THIS OUT (THE SALT LAKE CITY MIX/HAMMAPELLA) LA Mix, Breakout 12in
61 78 LET’S GET STARTED NOW/SOMEBODY SAVE ME/YOU DECIDED TO GO/I SURRENDER TO YOUR LOVE/I’M THE ONE WHO LOVES YOU By All Means, US Island LP
62 — TEDDY’S JAM/DON’T CLAP…JUST DANCE/’ROUND AND ‘ROUND (MERRY GO ‘ROUND OF LOVE)/PIECE OF MY LOVE Guy, US Uptown/MCA Records LP
63 — BACK BY POPULAR DEMAND (12” VERSION) Kurtis Blow, US Mercury 12in
64 65 LET THE FUNK FLOW/STRICTLY BUSINESS /I’M HOUSIN’ EPMD, US Fresh Records LP
65 91 MARY, MARY Run-DMC, London LP
66 34 RUN’S HOUSE/BEATS TO THE RHYME Run-DMC, London 12in
67 72 GO (KEVIN ‘MASTER REESE’ SAUNDERSON DETROIT REMIX) Blow, 10 Records 12in
68 74 DO YOU WANNA DANCE?/DELTA HOUSE/I HAVE A DREAM Terry Baldwin (Housemaster) featuring Bud Latour, US Future Sound Records 12in
69 54 GOT TO GIVE/(ORIGINAL JAM) Brand New Heavies, Cooltempo 12in
70 63 HOLD ON TO WHAT YOU’VE GOT Evelyn ‘Champagne’ King, Manhattan LP
71 66 INTERVENTION (EXTENDED MIX) Lavine Hudson, Virgin 12in
72 99= WE’VE GOT THE JUICE (FRESH SQUEEZED MIX) Derek B, Tuff Audio 12in promo
73 79 T.D.A. (HOW MANY SUGARS) (DOUBLE TROUBLE REMIX) Dr K, I-M-W 12in mailing list promo
74 42 AND THE BREAK GOES ON The Break Boys, Hardcore 12in
75 89 CAN’T WIN FOR LOSIN’ (KEVIN HEDGE MIX) Blaze, US Quark 12in
76 99= GET PEPPED Skinny Boys, US Jive 12in/UK promo
77 59 DBC LET THE MUSIC PLAY Stetsasonic, US Tommy Boy 12in
78 97 WHAT BECOMES OF A BROKEN HEART/OFF THE HOOK (WITH YOUR LOVE)/I’LL ALWAYS LOVE YOU R.J.’s Latest Arrival, US EMI-Manhattan LP
79 — RIOT IN THE HOUSE Attitude, Jiant 12in mailing list promo
80 68 JUST GOT PAID Johnny Kemp, CBS 12in
81 — I’M TOO SCARED (R&B MIX) Steven Danté, Cooltempo 12in white label
82 73 IF YOU REALLY LOVE HIM/(HE’S GOT) THE LOOK/DREAMIN’/THE RIGHT STUFF Vanessa Williams, US Wing Records LP
83 95 WORKING MY WAY BACK TO YOU (CHRIS PAUL REMIX) Detroit Spinners, Atlantic 12in
84 53 JOY/2 A.M./LOVE IS THE POWER/GOOD TO YOU Teddy Pendergrass, Elektra LP
85 — THOUGHT I COULD HANDLE IT Anthony & The Camp, Warner Bros LP
86 69 DO THAT RIGHT/THERE IT IS! Disco Twins & Starchild, US Twins Records 12in
87 77 MY PART OF TOWN Tuff Crew, US Soo Deff Records 12in
88 67 TRIBUTE (RIGHT ON) (THE SCREAMING CAT MIX) The Pasadenas, CBS 12in
89 — BIG FUN Inner City/SPARK Mia Hesterley/TIME TO EXPRESS Eddie ‘Flashin’’ Fowkes (‘Techno! The New Dance Sound Of Detroit’), 10 Records LP
90 98 MR BACHELOR (VEX MIX) Loose Ends, Virgin 12in
91 80 FACE THE NATION/PERSONAL PROBLEM/SET ME FREE MD III, US Underground 12in
92 81 MOVIN’ 1988 (LES ADAMS’ THE BRASS CONSTRUCTION RECONSTRUCTION MEDLEY)/MOVIN’ (ORIGINAL VERSION) Brass Construction, Syncopate 12in
93 — DINOSAUR L BANGS AGAIN Dinosaur L, CityBeat 12in
94 — WATCHING YOU (12” VOCAL VERSION) Loose Ends, US MCA Records 12in
95 — GOTTA KEEP DANCIN’ (POP WILL EAT THIS HOUSE MIX) The North South Connection featuring Legacy, GRC 12in mailing list promo
96 — THE BEST OF MY LOVE (FULL DANCE MIX) Dee Lewis, Mercury 12in
97 re SLAUGHTERHOUSE (PSYCHIATRIC MIX/EMERGENCY MIX) The Funky Ginger, US Easy Street 12in
98 — STRAIGHT OUT THE JUNGLE/WHAT’S GOING ON Jungle Brothers, US Warlock LP
99 83 MY ONE TEMPTATION (JOLLEY HARRIS JOLLEY REPRODUCTION REMIX) Mica Paris, Fourth & Broadway 12in
100 60 SAMBA SANDINISTA/VICTORY MIX Split Cane, Big Life 12in


POP DANCE

01 04 VOYAGE VOYAGE (BRITMIX) Desireless, CBS 12in
02 11 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
03 13 I OWE YOU NOTHING Bros, CBS 12in
04 01 GOT TO BE CERTAIN Kylie Minogue, PWL 12in
05 02 CHECK THIS OUT LA Mix, Breakout 12in
06 05 WITH A LITTLE HELP FROM MY FRIENDS Wet Wet Wet, Childline 7in
07 10 IS IT LOVE YOU’RE AFTER/CAR WASH Rose Royce, MCA 12in
08 03 MY ONE TEMPTATION Mica Paris, Fourth & Broadway 12in
09 18 DOCTORIN’ THE TARDIS Timelords, KLF 12in
10 — TRIBUTE (RIGHT ON) Pasadenas, CBS 12in
11 06 LOVE WILL SAVE THE DAY Whitney Houston, Arista 12in
12 — THE TWIST (YO, TWIST) Fat Boys & Chubby Checker, Urban 12in
13 07 THEME FROM S-EXPRESS S-Express, Rhythm King 12in
14 08 DIVINE EMOTIONS (REMIX) Narada, Reprise 12in
15 15 SOMEWHERE IN MY HEART Aztec Camera, WEA 12in
16 16 PINK CADILLAC Natalie Cole, Manhattan 12in
17 09 SOMETHING JUST AIN’T RIGHT Keith Sweat, Vintertainment 12in
18 — CHAINS OF LOVE Erasure, Mute 12in
19 — IN THE AIR TONIGHT (BEN LIEBRAND REMIX) Phil Collins, Virgin 12in
20 14 GO ON GIRL Roxanne Shanté, Breakout 12in


DEEJAYS CHART

01 STAY AWAY Hotline, Rhythm King 12in
02 GO ON GIRL Roxanne Shanté, Breakout 12in
03 CAR WASH Rose Royce, MCA 12in
04 RIGHT BACK TO YOU Ten City, Atlantic 12in
05 SLAM Phuture, Trax 12in
06 CAN YOU PARTY Royal House, Champion 12in
07 INTRODUCTION Goldtop, Gee St 12in
08 ALPHABET STREET Prince, Paisley Park 12in
09 HITTRAX II (COOL J TRAX) House Gang, Kool Kat 12in
10 IN MY DREAMS (REMIX) Will Downing, Fourth & Broadway 12in

This week’s chart is from R Moorcroft, Trog And Dump It, Coventry


HI-NRG

01 05 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
02 07 SAFE IN THE ARMS OF LOVE Shooting Party, Lisson 12in
03 02 PINK CADILLAC (CLUB VOCAL) Natalie Cole, Manhattan 12in
04 08 VOYAGE VOYAGE (BRITMIX) (PETE HAMMOND & PETE WATERMAN REMIX) Desireless, CBS 12in
05 01 POPCORN M&H Band, French Family 12in
06 04 WHO’S LEAVING WHO (THE BOYS ARE BACK IN TOWN MIX) Hazell Dean, EMI 12in
07 20 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
08 18 BOYS (SUMMERTIME LOVE) (PETE HAMMOND REMIX) Sabrina, Ibiza 12in
09 25 THE LOVE I LOST Seventh Avenue, Nightmare 12in
10 26 ELECTRICA SALSA (BABA BABA) (PWL MIX) Off, Ton Son Ton 12in
11 03 GOT TO BE CERTAIN Kylie Minogue, PWL 12in
12 13 OVER AND OVER AND OVER Michelle Goulet, US Island 12in
13 15 WHEN PUSH COMES TO SHOVE Gloria Brooke, Blue Moon 12in
14 06 NAUGHTY BOY Macho Gang, Nine O Nine 12in
15 19 BOYS AND GIRLS Mandy, PWL Records 12in
16 09 FOR YOU Sisley Ferre, Dutch Hotsound 12in
17 14 I WANT YOU BACK Bananarama, London 12in
18 10 THEME FROM S-EXPRESS S-Express, Rhythm King 12in
19 50 GOT TO BE CERTAIN (EXTRA BEAT BOYS REMIX) Kylie Minogue, PWL Records 12in
20 42 YOU’RE THE ONE Tapps, Canadian Boulevard 12in
21 — LOVE IS THE GUN (STREET LATIN WOLFF 3) Blue Mercedes, MCA 12in
22 21 TAKE AWAY THE RAIN Sidewalk, Reflection 12in
23 23 HOT FOR YOU Lorraine Scott, US Slak 12in
24 29 OVER YOU (DJ MIX) Wendy, Chartflow-UK 12in
25 12 NO REGRETS Quartzlock, Reflection 12in
26 27 YOU’RE A TIME WASTER Croisette, Nightmare 12in
27 11 I CRY FOR YOU Shy Rose, US JDC 12in
28 — I NEED MORE XS-5, VCN 12in
29 17 MIND OVER MATTER (REMIX)/LOVE IN THE SHADOWS (JELLYBEAN REMIX) E.G.Daily, A&M 12in
30 35 SIGNED IN YOUR BOOK OF LOVE Company B, US Atlantic 12in
31 41 A LITTLE LOVE (WHAT’S GOING ON) Ceejay, US Next Plateau 12in
32 24 WATCHING ME Bianca, Spanish Konga Music 12in
33 30 LOVE WILL SAVE THE DAY (REMIX) Whitney Houston, Arista 12in
34 47 GIVE ME A LITTLE INSPIRATION Brenda Holloway, Nightmare 12in
35 — EVERLASTING LOVE (PETE HAMMOND REMIX) Sandra, Siren 12in
36 — DO YOU WANNA FUNK (HOUSEY HOUSEY MIX) Sylvester with Patrick Cowley, Domino 12in
37 31 AWESOME Sharon Dee Clarke, Nightmare 12in
38 39 HONEY BEE Charlotte McKinnon, US Funhouse 12in
39 34 (I DON’T KNOW IF YOU’RE) DEAD OR ALIVE Claudja Barry, Blue Moon 12in
40 28 COMING FOR YOUR LOVE Mitch & Melanie, US Oak Lawn 12in

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

  1. Interestingly, James’s account of the Balearic origin story matches up almost exactly to the version that’s still retold today (although he does lace it with a dash of cynicism). Shoom gets a mention at long last – but it appears to be a posthumous one, even though the club had merely moved to a larger, more central venue (Raw on Tottenham Court Road). Then again, Danny and Jenni Rampling (their surname correctly spelled this time!) were still trying to keep the club hidden from too much public exposure, and so James may well have been going along with a request not to publish details.

    Graeme Park has talked of Kraze’s ‘The Party’ as providing a seminal moment for him, when he first heard it played at The Hacienda, but I never liked it much – especially those grating vocals, which irritated me the more I heard the track.

    M.E.S.H., the “ex-punks and indie rockers with limited musical ability”, actually consisted of Dave Ball (ex-Soft Cell) and Richard Norris, who would continue their partnership as The Grid, with vocals supplied by Alaura O’Dell, who was at the time married to Genesis P-Orridge (Psychic TV/Throbbing Gristle). It’s musical ability, Jim, but not as you know it!

    France Gall’s ‘Ella, elle l’a’ passed me by at the time, but I’m rather taken with it now – it particularly reminds me of Caroline Loeb’s deliciously decadent ‘C’est la ouate’, a sizeable European hit in 1986/87 (I remember it being a big gay anthem in Berlin) which never crossed over here.

    The Afro Acid Remix of Mory Kante’s ‘Ye Ke Ye Ke’ deserves much better than James’s rather sniffy review here – it was a massive track on my dancefloor, and almost as good as the superb kora-driven original recording.

    Inner City’s ‘Big Fun’ also quietly debuts this week – I bought it unheard on white label at the recommendation of my London-based sister, and it went on to replace ‘The Only Way Is Up’ as my biggest floorfiller.

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  2. Very interesting column this week. I love the way JH’s day to day contact with all the DJ’s, the time spent in the coolest London record shops and by the what he saw and heard in the earliest acid clubs which he actually appears to have already visited makes his page ahead of any other column in the country on the subject.
    Even the hipsters writing for The Face seem a month or so behind him.

    However I think some of this week’s interpretion of things was soon proved to be a bit of a red herring. Most of the big tunes that have been passed down as the definition of 1987/88 Balearic were on that famous 1988 compilation – it was a bit like the famous Some Bizarre compilation form 1981 was to the New Romantics and synth pop in how definitive it was looked on for a brief moment in time of a movement .However in that case the acts were generally part of a movement. Alththough ‘Join The Chant’ the Mandy Smith and Blow Monkeys tunes and most famously Chris Rea’s ‘Josephine’ were played in the London clubs very early on I cant think of any of those acts having anything towards the emerging acid house culture once those random tunes had disappeared from the turntables.

    And calling people like Dave Ball and Split Enz (! ) ex punks or indie acts who were jumping on a bandwagon is just ridiculous Dave Ball went from northern soul straight to synth pop and the only ex-punk musicians you ever read about in the dance scene tended to be along with old style-hippies on the traveller and the squat party scene.

    When proper indie dance did emerge a year or 2 later it was nothing like any of the music played back in 1988 which JH is mentioning and misnaming indie here. And indie dance always remained ignored by the by then massive purist dance underground that JH and Jocks/DJ magazine and then Eternity, M8, Muzik and the awful Mixmag were writing for. Indie dance was looked down os music for students and rock fans and not the dance cogniscenti and never appeared in pukka dance charts on the pirates/Kiss or was heard in a ‘proper; dance club. Although paradoxically amongst students and rock writers they thought indie dance was the height of cool.

    Also considering that Manchester later started to claim it was up there with London in the acid house stakes its interesting to note that in the review for a traditional soul tune by Randy Brown JH writes words to the effect that at this time Manchester was probably the only place that was still buying stuff like traditional soul. From what I’ve read on here pre-acid house the East and West Midlands seemed to be the area where house was biggest – not London and the south east or Manchester and the north west.

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