BEATS & PIECES
As I hope you realised, last week’s column was printed before tragic events overtook its lead story … Steve Walsh’s untimely death has had one beneficial side effect, in that it appears to have given some of our fatter DJs a keen sense of their own mortality, and encouraged them to diet in earnest … Steve was chairman of the Dance Aid Trust, which has selected as one of three nominated charities for support this year the Christian Lewis Neuroblastoma Trust Fund. which become a registered charity on June 6 — young Christian’s own tumour is still undergoing chemo- and radio-therapy but has not shrunk (he’s the son of Swansea DJ James Lewis, who has written with local musician Maldwyn Pope a song called ‘Christian’, described as “not a bass bomber but a catchy pop dance number’, for which they seek a deal on 0792-896928) … S-Express have indeed changed their name’s spelling to S’Xpress, to make it more phonetic and prevent people pronouncing it as “S”- “Express” — incidentally, it really is very misleading sometimes having to review 12 inch versions of such as their new ‘Superfly Guy’, which turns out to be a much catchier song in its edited seven inch/video form … Gwen McCrae’s review last week was premature as her single isn’t now out until July 25, when the brand new jittery Jocelyn Brown-ish ‘Eighties Lady (Seventies Trammp Mix)‘ will be the A-side, merely flipped by the track previously promoed and reviewed … Groove’s ‘Hijack The Beat’ seems likely to be remixed extensively before it’s out commercially … Martyn Young of M|A|R|R|S created the Afro-Acid Remix of Mory Kante’s ‘Yé Ké Yé Ké’, and has another Mory’s House Remix ready to follow it, too … ffrr are previewing their ‘The House Sound Of London Vol IV — The Jackin’ Zone‘ album with a pair of 12 inch promos containing the frantic samba flavoured 125½-0bpm The House Addicts ‘Come Together‘ flipped by the Dancin’ Danny D-created “acieed”-chanting burbling 124¼-0bpm D. Mob ‘We Call It Acieed‘, and the Jazzy M talked and Julian Jonah moaned, Bam Bam co-produced, Fingers Inc backed jittery smooth (0-)122bpm The J&M Connection ‘Living In A World Of Fantasy‘, plus its more melodic 122¼bpm One For The Ladies Mix semi-instrumental, flipped by the synth washed and piano nagged slippery throbbing 0-120⅓bpm Richie Rich ‘Salsa House‘ … Inner-City ‘Big Fun’ is the next (and only logical) single to be pulled from 10 Records’ tedious ‘Techno!’ double album … Acid Fingers couldn’t possibly be Simon Harris’s new “house” alter ego? … Virgin have promoed on totally blank white label the particularly strong, jaunty girl rapped scratching and jiggling 108⅓bpm Syn-Dee ‘It’s Best To Be A Girl‘ … Jellybean’s new instrumental ‘Coming Back For More’ will in fact be followed by a vocal version featuring Richard Darbyshire from Living In A Box … Eddie Murphy, in his hilarious new film ‘Coming To America’, successfully shatters his old stereotype by playing four totally different characters — including an old white Jew called Saul! — while co-star Arsenio Hall likewise plays four characters, the make-up jobs being fantastic (incidentally, when you see it, which you must, the kid in the barber’s choir is Cuba Gooding Jr, presumably son of the Main Ingredient member) … Leroy Burgess is recording himself again and producing others for Zoo Experience Records in London next month … CityBeat have combined their previous releases by Philadelphia rap acts Cool C and 3-D into a six-track £3.99 mini-LP, ‘CityBeat Hilltop Hustlers‘ (CBLP 2) … Lindsay Wesker (playwright Arnold’s little boy) has co-founded the new Kiss Records label, debuting with — it has to be said — a very intelligent compilation LP of Salsoul oldies, ‘Salsoul 1‘ (LIPS 1), including such as Jimmy Williams ‘All Of My Lovin’’, The Strangers ‘Step Out Of My Dreams’, Surface ‘Falling In Love’ … Urban’s new ‘Urban Classics 2‘ (URBLP 5) includes such eagerly sought rare grooves as the squeaky Jackson 5-style 89⅙-88⅚bpm Foster Sylvers ‘Misdemeanor‘, and New Orleans chanting pattered and wah-wahed 0-111-112-113½-109bpm The Wild Magnolias ‘(Somebody Got) Soul, Soul, Soul‘ … Charly R&B have released a great double LP of Sixties material, classics and rarities, recorded by the likes of Aaron Neville, Ernie K-Doe, Benny Spellman, Eskew Reeder, Irma Thomas, Allen Toussaint and The Showmen (featuring General Johnson) for the late Joe Banashak’s various New Orleans labels, ‘Mr Joe’s Jambalaya‘ (CDX26) … Big Dee Irwin, the singer/songwriter who 30 years ago led the Pastels doo wop group but is better remembered for his hit duet of ‘Swinging On A Star’ with Little Eva 25 years ago, has been signed (under his real surname, Ervin) by 2000 AD Records, the label that veteran record plugger Golly Gallagher is now running here … James Brown’s past cohorts, including Bobby Byrd, Vicki Anderson, Lyn Collins, Marva Whitney, Maceo Parker, the JBs, Fred Wesley and the Horny Horns are all live at London’s Town & Country Club in Kentish Town next Wednesday/Thursday (20/21) … James Brown’s CD is packaged more colourfully than the brand new bag given to his ‘I’m Real’ LP here … Keni Stevens’ old ‘Blue Moods’ album on Jam Today will soon be on CD with extra mixes and unissued songs boosting it to 13 tracks … T-Coy’s latest latin house jangler ‘Night Train‘ (a new tune) is due on promo now … Dave Rogers, a regular shopper along with me at Rayners Lane’s Record Centre, has himself set up a small specialist Soul Shop at 789-791 London Rood in Hounslow, supplying black and dance music plus imports for the locals there … Sarbani, the girl whose ‘(Ish Ka Deh) Marmaleh‘ Bhangra house single turns out to be produced by Andy Cox of Fine Young Cannibals, is the Wolverhampton teenager who won the national Bhangra dance contest on TV’s ‘Network East’ … Culture Shock’s pioneering ‘House Bhangra‘ only ever hit (in a small way) the Indie, rather than dance charts … North West London’s postal disputes held up DJs’ charts (and new UK releases) this week … NANU NANU!
STEVE WALSH died on Sunday, July 3, following an operation on his fractured left leg in Paddington St. Mary’s Hospital. His great bulk of around 26 stone, which gave him such a commanding presence on stage, proved to be his undoing. Apparently people who are very overweight are liable to get calcium deposits around their joints, bits of which can break off during this type of operation and get into the bloodstream, causing a blockage and heart failure. This is what happened when, made fully aware of the risk, Steve agreed that surgeons should put a plate in his leg, as otherwise his fractured femur might not have mended sufficiently to bear his weight and allow him to walk again. This four hour operation was successful, and Steve woke up after it, before his heart stopped twice, the second time there being no reviving him. Four evenings earlier, on Ibiza in the Balearic islands, Steve was being driven in a convoy of cars back from the final sunset shot of the third day’s filming for his new single’s video, when a car shot out of a side road straight into the car he was in, throwing him through the windscreen. In addition to a broken leg he suffered four broken ribs, a black eye and facial lacerations. Put in traction, he was flown home by air ambulance for medical attention close to the Paddington apartment he shared with wife Sue and three young daughters (one only weeks old).
Steve himself was born on September 20, 1958, in Walsall, although into a South London family with colourful connections about which he later loved to boast. Moving north of the river, he ended up at school in Paddington with classmates Paul Hardcastle, Billy Idol, radio DJ Gary Crowley and actor Phil Daniels. I first met him when he was 17, and we spent many hours talking about the art of DJ-ing, as he was even then determined to learn as much as he could in order to get to the top. While still a teenager, he talked his way into running very successful soul sessions on Sundays at the Lyceum, with which he made his early reputation. Soon there was a “Walsh Force” who followed him by the bus load to his out of town gigs. At this stage he was often accused of copying other better DJs’ styles: he was, however, much younger than his size suggested, and still learning by other people’s example. Cutting a Henry The VIIIth like figure with his red hair and massive girth, he commanded instant attention when on stage, not only because of his bulk but also, even more important for a DJ, he was loud and could be heard. Subtlety and Steve Walsh were the opposite ends of the spectrum, yet, against all odds, and showing again his determination to get things right, by painstaking practice he became one of the few disco DJs to make the successful transition from live stage work to radio, modifying his stentorian stage manner into the necessarily more intimate “one to one” style of the radio presenter. At one incredible period he was actually presenting soul shows on Guildford’s County Sound plus both London’s Capital Radio and BBC Radio London, before finally opting for the latter. (Most recently he also introduced the “Boogie Box” show on the Music Box cable TV channel.)
At Radio London his Sunday and Monday night soul programmes, in which he introduced far more new music than when on stage, were overshadowed perhaps by his partnering Tony Blackburn in the wildly successful Radio London Soul Night Out live broadcasts, these latter being really what established his reputation as London’s number one disco name. Everyone loves a fat man, and he only had to walk on stage with his arms spread wide and a smile on his face for the crowd to erupt. Indeed his actual disc-jockeying at such gigs was reduced to the predictable rotation of a few well proven favourites, one of which, Fatback’s ‘I Found Lovin’’, he eventually recorded himself and took into the top 10 last autumn. His simplistic “you wot, you wot?” catchphrase chant thus caught on nationally, and perhaps summed up his unpretentious live appeal. It certainly helped him at last to become the nation’s embodiment of a “disco DJ”. Prior to this, back in the early Eighties, for three years his face had appeared in advertisements on the front page of London’s Evening Standard newspaper, endorsing Svenson’s hair-weaving process, making him even then the first “mere” disco DJ ever to be given such prominence in an advertising campaign totally unconnected with the disco business.
Through all this, he surprisingly never let his ambition, and enjoyment of such fleshly pleasures as his Rolls Royce, weaken his commitment to the black music that some might have considered could hold back an entertainer in his position. Although the records he played at gigs may have been predictable, they were far from obvious to a pop crowd (he had long been an early champion of Aswad, for instance), as he always played primarily for the black market. It is a mark of the gap his untimely death now leaves that the organisers of a special tribute night, being planned for Hammersmith’s Le Palais to benefit his wife and daughters, cannot think of any other current figurehead from the disco world who could handle such an event as Steve would have done himself. He will indeed be missed.
(The single for which he was making the ill fated video, his “you wot”-studded rendition of McFadden & Whitehead’s ‘Ain’t No Stoppin’ Us Now’ will ironically still be issued by A1 Records on August 18, while his manager, Martyn Levett, has set up the Steve Walsh Family Trust, c/o Barclays Bank, Crouch End Branch, 46 The Broadway, London N8, account number [redacted], sort code [redacted], all to benefit his widow and children, as Steve seems to have spent his earnings as he made them.) Perhaps it is fitting that he should share with you the secret of his stage success, “Always look at the audience, look into their eyes as you are talking.” He learnt this, and passed it on.
LEIGH GUEST is the sole remaining original member of the Double Trouble remixing team but still uses its plural monicker for his work (joined though as he often is these days by the separately credited Simon Goffe, fuzzily glimpsed lurking behind him here), Leigh alone creating special mixes now for Chris Forbes’ Capital Radio soul show every Saturday night. Come to think of it, in this photo, Simon Goffe is (very appropriately!) the face behind the face behind the name on the label!
MANTRONIX ‘Join Me Please … (Home Boys — Make Some Noise) (Noise It Up Mix)’ (US Capitol V-15386)
Although this (0-)95-0bpm remix of their disappointing album’s wordy jitterer (with home boys making background noise) is the plug side, together with its LP version and dub, plus the dull booming 0-87bpm ‘Get Stupid (Part III)‘, it’s the flip’s brand new break beat-cutting 0-108-104-105⅓-103¾-97⅓-98⅓-0bpm ‘King Of The Beats’ instrumental scratch mix that’s selling it.
PUBLIC ENEMY ‘It Takes A Nation Of Millions To Hold Us Back’ (US Def Jam BFW 44303)
Interspersed with brief snips of live crowd reaction from their London concert (which is flattering to us considering that it’s the US pressing), this tracks crammed typically angry rap set to the b boys’ heroes exploded immediately for the “bass” repeating (0-)105½-0-105½-0bpm ‘Night Of The Living Baseheads’ but also has the (0-)107⅔bpm ‘Cold Lampin With Flavor‘, (0-)101bpm ‘Terminator X To The Edge Of Panic‘, (0-)117bpm ‘Caught, Can We Get A Witness?‘, (0-)96½-0bpm ‘She Watch Channel Zero?!‘, 0-108⅔bpm ‘Party For Your Right To Fight‘, (0-)99⅓bpm ‘Louder Than A Bomb‘, (0-)91 bpm ‘Black Steel In The Hour Of Chaos‘, already issued 0-99⅚bpm ‘Rebel Without A Pause’, (0-)110⅕bpm ‘Bring The Noise’, 98½bpm ‘Don’t Believe The Hype’, 0-100⅓-0bpm ‘Prophets Of Rage’, and short 100½bpm ‘Mind Terrorist’, 0-107⅚bpm ‘Show Em Whatcha Got’, instrumental 97⅔bpm ‘Security Of The First World’. It’s a bit militant!
STETSASONIC ‘In Full Gear’ (Breakout AMA 9001)
Another tracks crammed though less angry rap set, with the excellent ‘Expansions’ basslined 0-108-0bpm ‘Talkin’ All That Jazz’ (which makes the point: “tell the truth, James Brown was old, ’till Eric and Rak came out with ‘I Got Soul’ — rap brings back old R&B, and if we would not, people could have forgot”), Force MD’s featuring dreamy (0-)40½-81pm revival of the Floaters’ ‘Float On‘, Mohawks ‘The Champ’-cutting wordy 104-108⅔-0bpm ‘Miami Bass‘, 98⅔bpm title track, 95bpm ‘Stet Troop ’88!‘, (0-)91⅓bpm ‘This Is It, Y’All (Go Stetsa II)‘, 97⅓bpm ‘It’s In My Song‘, 112bpm ‘Pen And Paper‘, reggae 88bpm ‘The Odad’, already issued 103bpm ‘DBC Let The Music Play’, 0- 101bpm ‘Sally’, and short 0-101bpm ‘Rollin’ Wit Rush’, bongo pattered 95-0bpm ‘Freedom Or Death’, organ instrumental 0-100⅔-0bpm ‘Music For The Stetfully Insane’.
MICA PARIS ‘Like Dreamers Do (The Freeway Mix)’ (Fourth & Broadway 12BRW 108)
Huskily and quite jazzily sung tumbling and tapping 119⅔bpm breezy swinger featuring Courtney Pine’s squealing sax and some gospel-ish insistently repetitive title line chorus support, apparently inspired by Aretha Franklin’s treatment of the Doobie Brothers’ ‘What A Fool Believes’ (less well rounded B-side mix, and confusingly jumbled 0-123bpm ‘Wicked‘ too), on “Pre FAB Issue” advance promo — FAB being Fourth And Broadway, if you didn’t get the pun!
VERTICAL HOLD ‘Summertime (12” Vocal Mix)’ (US Criminal Records CR12028)
Breathy somewhat Cameo-ish go-go hip hop-type jerkily jolting (104/52-0)103⅔-0bpm seasonal wriggler — nothing to do with Gershwin! —breaking through jangly piano to some rap by distaff member Angie B (in five mixes), one of the hotter current imports.
KATHY MATHIS ‘Men Have To Be Taught’ (US Tabu 4Z9 07854)
Violently lurching juddery 108bpm smacking modern funk jitterer (in four mixes), full of exciting rare groove-ish samples and scratches especially in the episodically chugging long semi-instrumental 108⅙bpm Mega Mix, worth checking.
GREGORY HINES ‘GH’ (US Epic OE 40671)
Luther Vandross has created this album in exactly his own style, with instead his actor/dancer friend singing the 12 inch-issued ‘I Gave It Up When I Fell In Love’-like 120bpm ‘That Girl Wants To Dance With Me’, naggingly jogging 98bpm ‘You Need Somebody‘, jittery 114bpm ‘I’m Gonna Get To You‘, lushly soaring infectiously jiggly 92bpm ‘Gloria My Love‘, tranquil 68bpm ‘So Much Better Now’, ticking tender 49/98bpm ‘Love Don’t Love You Anymore’, slightly wobbly 62/31bpm ‘This Is What I Believe’ and Luther-duetted currently issued 34⅜-68¾bpm ‘There’s Nothing Better Than Love’. Vandrossettes will love it!
JOI BANGLA SOUND ‘Taj Ma House (KMD On The Turntable)’ (B.P.M. BP 12002)
Bass throbbed 124bpm acid house with muttering and scratching in the chattery rhythm, some Eastern chanting and ‘Hare Krishna’ not being enough to make it true “Bhangra house” although they try (more acidic Temple Mix and dub too).
“TALL DARK AND HANDSOME” ‘Call It What You Wanna’ (US B Boy Records BB 5-88)
Arthur Stevens, Duane Bowser and Eric R Hoskins, presumably in that order to coincide with their group name, then go and identify themselves verbally as Mr Delirious KD, Chill And Cool Money Ray The DJ on an infectious little 100bpm wordy jiggler (more drily jittery 92-0bpm ‘My Love Tune‘ flip).
SWAY ‘Hands Up (Give Me Your Heart)’ (German Virgin 609 810), Canadian chart-topping straightforward 121¾bpm girls sung remake of Ottowan’s 1981 Eurobeat smash (in two mixes);
SILK & STEELE ‘Doctor’s Orders’ (Strike Records 12 STRK 4, via EMI), Sunny’s “hi honey” hit from 1974 in a similarly facile and tuneful slightly updated wriggly cantering 127⅔bpm Hi-NRG remake by Billy Ocean’s backing girls, on a revived Sixties label (and promo only, so far);
JOLLY ROGER ‘Acid Man (Original Mix)’ (10 Records TENX 236), Eddie Richards-created dated “acid” synth twittered wriggly monotonous 126¼-126⅔-126¼-0bpm Balearic bounder, with a more “washing machine”-type 126⅓-0bpm Happy Mix flip, only on promo so far;
THE HUDSON GIANTS ‘Tell Me Why’ (Regal Zonophone 12Z 42, via EMI), Hamilton Bohannon’s ‘Let’s Start The Dance’ crops up yet again currently, all through the backing of this forghorn voiced girl’s rumbling jiggly galloper, in both Graham Gold’s re-edited 122¾-122⅔-123-122⅔bpm A-side and Pascal Gabriel’s more brightly remixed 125-125½-126⅓-126-125½-126⅓bpm flip;
DOROTHY ‘I’m Still Waiting’ (Blue Guitar AZURD 8, via Chrysalis), very different distinctively gurgled, whispered, wailed and multi-tracked 87⅓bpm reggae treatment of Diana Ross’s old UK chart-topper, quite haunting;
PRINCE ‘Glam Slam (Remix)’ (Paisley Park Records W7806T), Shep Pettibone remixed ponderous bashing 119⅔bpm lurcher with jolting and phasing staccato beats before reaching a more fluidly cantering instrumental last half, and a “grand slam” quoting better muttering and chugging sassy 0-120-0bpm ‘Escape (Free yo mind from this rat race)‘ flip, both at 33⅓rpm for some reason;
WOMACK & WOMACK ‘Teardrops (Extended Remix)’ Fourth & Broadway 12BRW 101), backbeat bashing 133bpm bounder aimed at their ‘Love Wars’ pop audience, not that it isn’t soulful, and flipped (Radio Remix too) by the gently pulsing 125bpm ‘Conscious Of My Conscience‘ — which all in all seems a pity;
PETE GAMMONS ‘On The Beach’ (Nite Out Records 120TB 1, via Priority), apparently Cliff and the Shads have agreed to appear in the video of this frantic 0-141bpm Hi-NRG remake of their 1964 oldie (the very end speeds up to infinity — beware!);
“WEIRD AL” YANKOVIC ‘Fat’ (Scotti Bros PZ 6), quite amusingly re-worded 117¼bpm send-up of Michael Jackson’s ‘Bad’, funniest though when seen in video form;
GIDEA PARK featuring Adrian Baker ‘Lai-Lo-Lah-Limbo!’ (Tiger Records TGR 1, via Creole), laboured and very dated Boney M-type (0-)101½bpm seaside special.
DEREK B ‘We’ve Got The Juice (Cut Thru’ Steel Mix)’ (Tuff Audio DRKBX 212), subdued behind a sparse dry new 110⅚-0bpm shuffling and chinking percussion emphasis;
HAZELL DEAN ‘Maybe (We Should Call It A Day) (Extra Beat Boys Remix)‘ (EMI 12EMX 62), wrigglier more shrill 119¾bpm Kylie-esque treatment.
THE CLUB CHART – July 16, 1988
01 01 ROSES ARE RED Mac Band featuring The McCampbell Brothers, MCA Records 12in
02 03 RIGHT BACK TO YOU (EXTENDED MIX)/ONE KISS WILL MAKE IT BETTER (HOUSE MIX) Ten City, Atlantic 12in
03 02 TRIBUTE RIGHT ON (THE Q STREET MIX) The Pasadenas, CBS 12in
04 04 CAR WASH/IS IT LOVE YOU’RE AFTER Rose Royce, MCA Records 12in
05 05 FOLLOW THE LEADER Eric B & Rakim, MCA Records 12in
06 11 HUSTLE (TO THE MUSIC) (PREDORA MIX/FREE-STYLE SAX MIX) The Funky Worm, FON 12in
07 08 (LET’S ALL GO BACK) DISCO NIGHTS Jazz & The Brothers Grimm, Ensign 12in
08 06 GO ON GIRL Roxanne Shanté, Breakout 12in
09 07 TURN IT UP Richie Rich, Club 12in
10 09 IN MY DREAMS (CLUB REMIX) Will Downing, Fourth & Broadway
11 10 DON’T BELIEVE THE HYPE/PROPHETS OF RAGE Public Enemy, Def Jam 12in
12 13 NIGHT OF THE LIVING BASEHEADS/COLD LAMPIN WITH FLAVOR/TERMINATOR X TO THE EDGE OF PANIC/CAUGHT, CAN WE GET A WITNESS? Public Enemy, US Def Jam LP
13 14 WAP-BAM-BOOGIE Matt Bianco, WEA 12in
14 12 CHECK THIS OUT (FIERCE VOCAL/SWEATY CUBAN MIX) LA Mix, Breakout 12in
15 16 FAIRPLAY Soul II Soul featuring Rose Windross, 10 Records 12in
16 20 ACID OVER (TYREE/HEAVENLY/PIANO ‘MATEY’ MIXES) Tyree, ffrr 12in
17 18 JOY (EXTENDED REMIX) Teddy Pendergrass, Elektra 12in
18 19 WE’VE GOT THE JUICE (FRESH SQUEEZED MIX) Derek B, Tuff Audio 12in
19 30 DON’T BE CRUEL (EXTENDED VERSION) Bobby Brown, US MCA Records 12in
20 25 PUMP UP LONDON/PUMP UP CHICAGO Mr Lee, Breakout 12in
21 17 BACK TO THE BEAT (WITH ‘THE SOUND’) Reese & Santonio, ffrr 12in
22 15 I’M TOO SCARED (R&B MIX) Steven Danté, Cooltempo 12in
23 21 LOVE IS CONTAGIOUS (BEN LIEBRAND REMIX) Taja Sevelle, Paisley Park Records 12in
24 23 STATIC (PART 1 & 2)/TIME TO GET BUSY/CAN’T GIT ENUF/SHE LOOKS ALL TYPES A’ GOOD James Brown, Scotti Bros LP
25 22 GOOD LOVE (EXTENDED VERSION) Meli’sa Morgan, Capitol 12in
26 — JIBARO (ENGLISH/SPANISH VERSION) Electra, ffrr 12in pre-release
27 41 TALKIN’ ALL THAT JAZZ/FLOAT ON/MIAMI BASS/STET TROOP ’88!/IN FULL GEAR/PEN AND PAPER Stetsasonic, Breakout LP
28 28 DIVINE EMOTIONS (REMIX/DUB MIX) Narada, Reprise Records 12in
29 52 SUPERFLY GUY S’Xpress, Rhythm King 12in
30 27 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
31 33 HITTRAX II (COOL J TRAX/WORK MY BODY REMIX) House Gang, Kool Kat 12in
32 34 I’M REAL James Brown, US Scotti Bros 12in
33 40 I’LL WAIT FOR YOU (TAKE YOUR TIME) (DANCE MIX) Burrell, 10 Records 12in
34 55 HARD TO THE CORE London Rhyme Syndicate, Rhyme ‘N’ Reason 12in
35 31 OFF ON YOUR OWN (GIRL) (STREET MIX) Al B. Sure!, US Warner Bros/Uptown 12in
36 37 DBC LET THE MUSIC PLAY/SALLY Stetsasonic, Breakout 12in
37 57 PUSH IT Salt-n-Pepa, Champion 12in
38 29 SURE BEATS WORKIN’ (IT’S A TRIP MIX) Beats Workin’, ffrr 12in
39 36 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
40 32 ABC The Mafia, BBH Records 12in white label
41 35 MUSICAL FREEDOM (FREE AT LAST) (DANCIN’ DANNY & PABLOVIA RABAN REMIX) Paul Simpson, Cooltempo 12in
42 42 SLAM!/WE ARE PHUTURE/SPANK-SPANK Phuture, US Trax Records 12in
43 39 MR BACHELOR (EXTENDED REMIX VERSION) Loose Ends, Virgin 12in
44 98 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
45 26 MY ONE TEMPTATION (DANCE VERSION) Mica Paris, Fourth & Broadway 12in
46 24 MOVIN’ 1988 (PHIL HARDING EXTENDED MIX/THE LET’S ALL CHANT MIX) Brass Construction, Syncopate 12in
47 68 GIRL YOU KNOW IT’S TRUE Milli Vanilli, Cooltempo 12in
48 45 GALAXY (STAR PATROL SAYS “MIX IT DOWN”)/COME ON DOWN TO LOVE STREET (ON A ROCKET MIX) Love Street, Parlophone 12in
49 47 HEAT IT UP (KEVIN SAUNDERSON REMIX) Wee Papa Girl Rappers, Jive 12in
50 44 JUST GOT PAID Johnny Kemp, CBS 12in
51 38 SHAKE YOUR THANG Salt-n-Pepa featuring E.U., US Next Plateau Records Inc 12in
52 58 EVERLASTING (12” MIX)/THIS WILL BE/WHEN I FALL IN LOVE Natalie Cole, Manhattan 12in promo
53 87 BIG FUN Inner-City (featuring Kevin Saunderson) (‘Techno! The New Dance Sound Of Detroit’), 10 Records LP
54 66 BUMP AND HUSTLE MUSIC (VERY LONG VERSION/LP VERSION) Tommy Stewart, AX 12in white label
55 46 ANYONE (RAP MIX) Smith & Mighty featuring Krissy Kriss, MC Kelz & DJ Linx, Beatmaster Records 12in
56 51 BANGO (TO THE BATMOBILE)/BACK TO THE BEAT The Todd Terry Project, Sleeping Bag Records 12in
57 60 SOMEBODY SAVE ME By All Means, US Island LP
58 54 RISING TO THE TOP/MAKES YOU WANNA/AIN’T MY LOVE ENOUGH/WE BELONG TO EACH OTHER Pieces Of A Dream, US EMI-Manhattan LP
59 86 WORKING MY WAY BACK TO YOU (CHRIS PAUL REMIX) Detroit Spinners, Atlantic 12in
60 64 FREE NELSON MANDELA (THE WHOLE WORLD IS WATCHING MIX) The Special AKA featuring Ndunda Khuze & Jonas Gwenge, 2-Tone 12in
61 75 ALL IN VAIN (LONDON MIX) JM Silk, Jack Trax 12in
62 49 STRICTLY BUSINESS EPMD, US Fresh Records LP
63 100 DANCE WITH THE DEVIL (BALEARIC MIX/CULT MIX) The Project Club, Supreme 12in
64 67 THIS IS HOUSE MUSIC/HERE WE GO AGAIN Full Effect, Bass Records 12in
65 78 SLAUGHTERHOUSE (STRAITJACKET REMIX/UK PSYCHIATRIC RE-EDIT) The Funky Ginger, B/Ware! Records 12in promo
66 50 SET IT OFF Big Daddy Kane, Cold Chillin’ LP
67 63 DON’T COVER UP YOUR FEELINGS (EXTENDED REMIX) Broomfield, CBS 12in
68 73 CAN’T WIN FOR LOSIN’ (KEVIN HEDGE MIX) Blaze, US Quark 12in
69 85 THAT GIRL WANTS TO DANCE WITH ME/GLORIA MY LOVE/I’M GONNA GET TO YOU/YOU NEED SOMEBODY Gregory Hines, US Epic LP
70 59 K.I.S.S.I.N.G. (THE HEAT OF PASSION MIX) Siedah Garrett, Qwest 12in
71 69 MY PART OF TOWN (RUTGER ‘RUTTI’ KROESE REMIX) Tuff Crew, Dutch Rhythm Records 12in
72 65 BACK BY POPULAR DEMAND (12” VERSION) Kurtis Blow, US Mercury 12in
73 61 GROOVE ME (EXTENDED VERSION) Guy, US Uptown Records 12in
74 62 RELEASE YOUR BODY (MAYDAY MIX/RELEASE THE ACID MIX) Bang The Party, Warriors Dance 12in promo
75 90 HOLD ON TO WHAT YOU’VE GOT (CLIVILLES & COLE REMIX) Evelyn ‘Champagne’ King, Manhattan 12in promo
76 70 TEDDY’S JAM/DON’T CLAP…JUST DANCE/’ROUND AND ‘ROUND (MERRY GO ‘ROUND OF LOVE)/PIECE OF MY LOVE/YOU CAN CALL ME CRAZY Guy, US Uptown/MCA Records LP
77 93 GENERATE LOVE (CLUB MIX) Gwen McCrae, The Dance Yard 12in promo
78 — YÉ KÉ YÉ KÉ (THE AFRO ACID REMIX) Mory Kante, London 12in
79 83 THE ONLY WAY IS UP (SPENG) Yazz and the Plastic Population, Big Life 12in
80 43 WHAT YOU SEE IS WHAT YOU GET Glen Goldsmith, Reproduction 12in
81 — KING OF THE BEATS/JOIN ME PLEASE…(HOME BOYS – MAKE SOME NOISE) (NOISE IT UP MIX) Mantronix, US Capitol 12in
82 71 WHAT GOES AROUND/THE REAL CHUCKEEBOO/WATCHING YOU/(THERE’S NO) GRATITUDE Loose Ends, Virgin LP
83 76 REACH OUT, I’LL BE THERE (PHIL HARDING & IAN CURNOW ’88 MIX) Four Tops, Motown 12in
84 74 THE BEST OF MY LOVE (FULL DANCE MIX) Dee Lewis, Mercury 12in
85 48 GO ON GIRL (STREETS AHEAD’S ROCKIN’ THE PARK MIX) Roxanne Shanté, Breakout 12in
86 56 HEAT IT UP Wee Papa Girl Rappers featuring 2 Men And A Drum Machine, Jive 12in
87 80 OFF THE HOOK (WITH YOUR LOVE)/WHAT BECOMES OF A BROKEN HEART/I’LL ALWAYS LOVE YOU R.J.’s Latest Arrival, US EMI-Manhattan LP
88 72 DINOSAUR L BANGS AGAIN Dinosaur L, CityBeat 12in
89 79 STAY AWAY Hotline, Rhythm King 12in
90 95 PUSH IT (FULL LENGTH REMIX) Salt-n-Pepa, ffrr 12in
91 97 INTRODUCTION Goldtop, GEE st Records 12in
92 77 CHECK THIS OUT (THE SALT LAKE CITY MIX/HAMMAPELLA) LA Mix, Breakout 12in
93 89 I SURRENDER TO YOUR LOVE By All Means, Fourth & Broadway 12in
94 — SHARE MY JOY Jo Ann Jones, Champion 12in mailing list promo
95 re DELTA HOUSE/DO YOU WANNA DANCE? Terry Baldwin (Housemaster) featuring Bud Latour, US Future Sound Records 12in
96 — MEN HAVE TO BE TAUGHT (MEGA MIX) Kathy Mathis, US Tabu 12in
97 — JUST RHYMIN’ MC EZ & Troop, US Fresh Records 12in
98 — CALLING/DOMINATE ME/ONE AND ONLY LADY/NO GREATER LOVE/LET ME LOVE YOU TONIGHT/GONNA MAKE YOU DANCE/I’LL WAIT FOR YOU (TAKE YOUR TIME)/I REALLY LIKE/TRUST IN THE MUSIC Burrell, US Virgin LP
99 — IT’S BEST TO BE A GIRL Syn-Dee, Virgin 12in mailing list promo
100 81 LONDON BEATS 2 London Beats 2, London Beats 2 12in
01 01 I OWE YOU NOTHING Bros, CBS 12in
02 02 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
03 15 PUSH IT (REMIX) Salt-n-Pepa, ffrr/Champion 12in
04 03 IN THE AIR TONIGHT (BEN LIEBRAND REMIX) Phil Collins, Virgin 12in
05 09 ROSES ARE RED Mac Band featuring the McCampbell Brothers, MCA 12in
06 04 THE TWIST (YO, TWIST) Fat Boys & Chubby Checker, Urban 12in
07 08 TRIBUTE (RIGHT ON) Pasadenas, CBS 12in
08 05 VOYAGE VOYAGE (BRITMIX) Desireless, CBS 12in
09 07 GOT TO BE CERTAIN Kylie Minogue, PWL 12in
10 17 MAYBE (WE CAN CALL IT A DAY) Hazell Dean, EMI 12in
11 06 CHAINS OF LOVE Erasure, Mute 12in
12 12 WILD WORLD Maxi Priest, Ten 12in
13 — NOTHING’S GONNA CHANGE MY LOVE FOR YOU Glenn Medeiros, London 12in
14 10 DOCTORIN’ THE TARDIS Timelords, KLF 12in
15 16 WAP BAM BOOGIE Matt Bianco, WEA 12in
16 18 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
17 14 IS IT LOVE YOU’RE AFTER/CAR WASH Rose Royce, MCA 12in
18 20 DIVINE EMOTIONS (REMIX) Narada, Reprise 12in
19 — CROSS MY HEART Eighth Wonder, CBS 12in
20 13 WITH A LITTLE HELP FROM MY FRIENDS Wet Wet Wet, Childline 7in
01 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
02 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
03 GOT TO BE CERTAIN Kylie Minogue, PWL 12in
04 I OWE YOU NOTHING Bros, CBS 12in
05 VOYAGE VOYAGE (BRITMIX) Desireless, CBS 12in
06 TRIBUTE (RIGHT ON) The Pasadenas, CBS 12in
07 PUSH IT Salt-n-Pepa, ffrr/Champion 12in
08 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
09 DOCTORIN’ THE TARDIS Timelords, KLF Communications 12in
10 THE LOVE I LOST Seventh Avenue, Nightmare 12in
01 01 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
02 03 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
03 02 POPCORN M&H Band, French Family 12in
04 04 BOYS (SUMMERTIME LOVE) (PETE HAMMOND REMIX) Sabrina, Ibiza 12in
05 06 THE LOVE I LOST Seventh Avenue, Nightmare 12in
06 07 REACH OUT Romi & Jazz, Arishma 12in
07 10 EVERLASTING LOVE (PETE HAMMOND REMIX) Sandra, Siren 12in
08 08 OVER AND OVER AND OVER Michelle Goulet, US Island 12in
09 09 PINK CADILLAC (CLUB VOCAL) Natalie Cole, Manhattan 12in
10 05 VOYAGE VOYAGE (BRITMIX) (PETE HAMMOND & PETE WATERMAN REMIX) Desireless, CBS 12in
11 11 NO REGRETS Quartzlock, Reflection 12in
12 14 SAFE IN THE ARMS OF LOVE Shooting Party, Lisson 12in
13 15 GOT TO BE CERTAIN (EXTRA BEAT BOYS REMIX) Kylie Minogue, PWL Records 12in
14 12 OVER YOU (DJ MIX) Wendy, Chartflow-UK 12in
15 13 WHO’S LEAVING WHO (THE BOYS ARE BACK IN TOWN MIX) Hazell Dean, EMI 12in
16 16 NAUGHTY BOY Macho Gang, Nine O Nine 12in
17 22 I CRY FOR YOU Shy Rose, US JDC 12in
18 18 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
19 26 THE SUN AIN’T GONNA SHINE ANYMORE Quantize, Passion 12in
20 17 CHAINS OF LOVE (TRULY IN LOVE WITH THE MARX BROS. MIX) Erasure, Mute 12in
21 19 THEME FROM S-EXPRESS S-Express, Rhythm King 12in
22 21 YOU’RE A TIME WASTER Croisette, Nightmare 12in
23 28 HOT STUFF Boys From Brazil, German Ariola 12in
24 24 FOR YOU Sisley Ferre, Dutch Hotsound 12in
25 23 LOVE IS THE GUN (STREET LATIN WOLFF 3) Blue Mercedes, MCA 12in
26 27 WHEN PUSH COMES TO SHOVE Gloria Brooke, Blue Moon 12in
27 38 IT’S NATURE’S WAY (NO PROBLEM) Dollar, London 12in
28 30 (I DON’T KNOW IF YOU’RE) DEAD OR ALIVE Claudja Barry, Blue Moon 12in
29 37 FLAMES OF LOVE Fancy, German Metronome 12in
30 29 MULTIMEGAMIX (BOYS/HOT GIRL/SEXY GIRL/KISS ME) Sabrina, Spanish Blanco Y Negro 12in
31 — CROSS MY HEART Eighth Wonder, CBS 12in
32 33 YOU’RE THE ONE Tapps, Canadian Boulevard 12in
33 32 BOYS AND GIRLS Mandy, PWL Records 12in
34 25 CAR WASH Rose Royce, MCA 12in
35 20 GOT TO BE CERTAIN Kylie Minogue, PWL 12in
36 35 HOT FOR YOU Lorraine Scott, Canadian Slak 12in
37 34 IN THE MIDDLE OF THE NIGHT Jon Otis, Splash 12in
38 — WATCH OUT Jackie Touché, Dutch Made Up 12in
39 — DON’T TALK ABOUT IT Hot & Cold, Italian Lomardoni 12in
40 — WATCHING ME Bianca, Spanish Konga Music 12in
4 thoughts on “July 16, 1988: Steve Walsh obituary, Mantronix, Public Enemy, Stetsasonic, Mica Paris”
This is a particularly interesting week, and I find that I have a lot to say about it!
For all of its cheesy daftness (this is most definitely not the Ibiza dance culture that Oakenfold, Rampling and co experienced a year earlier!), there’s something poignant about Steve Walsh’s video (especially its closing scene), once you realise that it was filmed in his final days.
The S-Express name change is a complicated one. They were S’Xpress on promo copies of ‘Superfly Guy’ and S’Express on official copies, then S’Xpress again on their next release (‘Hey Music Lover’) before reverting to S’Express thereafter. I’m calling bullshit on their reasons, not least because they themeselves pronounced their name “S Express” on their previous release, but it was only very recently that I “got” their little in-joke: they’ve dropped an E!
D. Mob’s ‘We Call It Acieed’ would eventually become acid house’s first and biggest pop hit, peaking at #3 in October, but its gormless unfunkiness didn’t impress me much, and I only played it out a couple of times. Meanwhile, it’s curious to see James relegating Eddie Richards/Jolly Roger’s ‘Acid Man’ to the middle of the Pop Dance section, and describing it as “dated”, just as acid house was about to truly explode. It was the first acid release to enter the Top 100, finally reaching the Top 40 just a week after D. Mob, and in the same week as Royal House’s ‘Can You Party’.
My sister took me to see the “James Brown’s Funky People” show at the Town & Country Club, and a very fine gig it was too. It also marked the UK live debut of Vicki Anderson’s daughter (and Bobby Byrd’s stepdaughter), Carleen Anderson, who would later sing with the Young Disciples before going solo. Nine songs from the show were later released on album, but only in Germany.
“House bhangra” (as represented this week by Sarbani, Culture Shock and Joi Bangla Sound) was having a moment this year, and it was quite the flavour of the month in the style mags, but the moment turned out to be a brief one.
The Mantronix ‘King Of The Beats’ B-side would become a durable “sleeper” hit, hanging around The Club Chart for months, but only ever on import, as for some strange reason it never got a UK release.
The hip hop classics just keep on coming. Although I banned Public Enemy from my mixed LGBT dance floor (due to widely reported homophobic comments from Professor Griff), I was still furtively enjoying their music. In its twentieth anniversary year, I would interview Chuck D about the Nation Of Millions album, ahead of reviewing the Nottingham show where they played it in full.
And then there’s Stetsasonic’s ‘Talkin’ All That Jazz’, another enduring lifetime personal favourite. My club nights weren’t exactly celebrity hangouts, to put it mildly, but Graeme Park turned up once in the final hour, and I did get him dancing to this one.
James will correct his error next week, but Dorothy’s ‘Still Waiting’ is a Prince cover, not a Diana Ross cover. The duo consisted of Gina Birch and Vicky Aspinall, former members of The Raincoats, a pioneering and influential post-punk band – but like Scritti Politti before them, they’ve had a hi-gloss makeover…
And finally: the appropriately named Peter Gammons, here seen cavorting on a beach, stood as the UKIP candidate for Mayor of London just last month, finishing in thirteenth place.
Correction! Jolly Roger ‘Acid Man’ wasn’t the first acid house release to hit the UK Top 100. It was beaten to it by Tyree ‘Acid Over’ (June 26th) and Mr Lee ‘Pump Up London’ (July 31st), although you could perhaps make a case for Royal House ‘Can You Party’ (May 29th).
Steve Walsh was larger than life in any way and unlike many of the other big names on the funk going into acid house scene back then he tended to play for to the far more black inner city crowd not the more suburban Funk Mafia crowd or the hipster west end rare groove lot. I remember the first time au saw him (at the Lyceum) when because if his size he literally dwarfed the decks like they were a toy deck on that big Lyceum stage . Humourless pompous types on YouTube etc occasionally ridicule his own singles not realising that ‘i Found Lovin’ were just a bit of light relief he threw into his sets and which his crowd spontaneously used to respond to to the point that a single seemed a good idea. He never thought he was Luther Vandross or Frank Sinatra he was just having a bit of fun. And actually helped the Fatback Band as although I Found Lovin’ had been played so long that it had become a bit of a cliche around London it hadn’t done much in the pop charts until Walsh’s version gave it a boost and helped it Become a bigger pop hit than his own version. What a tragedy I still have visions of him turning up somewhere like White Waltham or Longwick in his yellow Rolls Royce To a heroes acclaim.
I also had a soft spot for ‘We Call It Acid’ because it actually mentioned the club nights we went too when the scene was still vaguely underground but going massive. Surely everyone likes
Hearing their own haunts mentioned on the record being played. And to have a Top 5 national hit that early in a scene and undeniably made by people involved in it was pretty unique..Gary Haisman who not that long ago passed away and who came up with the “acieeeed” chant had a history going right back to the famous Slough Centre funk all dayers back in the 1970s – Slough Centre was one of the few venues that had a big part in the jazz-funk and acid house era with Yikes during acid house and the venue not far from Slough Imports (that’s what we all knew it as anyway) which was always great if you didn’t want to go all the way into central London for your tunes.
I’ve noticed in the last couple of weeks a really changing if the guards with jazz-funky albums by acts like Pieces of Dream and Najee if the type that had been big for the previous ten years at least now barely grazing the dance chart.
Very interesting comments, thanks for that. I’ve been talking to my sister about that JBs gig, and it must have been even better than I remembered, as apparently I turned to her halfway through and said “This is so exciting that I might spontaneously combust!”