August 27, 1988: “The frantically empty acid house of the late Eighties is being created specifically to keep ecstasy motivated trendy Londoners dancing on a high”

BEATS & PIECES

Take this how you like, but it’s worth bearing in mind that the frantically empty disco music of the late Seventies was created (not that we in Britain necessarily realised it at the time) specifically to keep drugged gay New Yorkers dancing on a high, and now the frantically empty acid house of the late Eighties is likewise being created specifically to keep ecstasy motivated trendy Londoners dancing on a high (a fast beat and surface excitement being so common to both styles that many acid DJs are now mixing in Seventies disco oldies without anyone noticing the difference!) – my point being that if the music is appreciated primarily by people speeding on drugs, who are in the minority, why isn’t more being done at the moment to cater for the tastes of the majority, who don’t need artificial stimulants to appreciate a good tune? … Gee St Records have picked up the Jungle Brothers here, ‘I’ll House You’ possibly being due a for UK remix but definitely out on 12 inch and added to UK pressings of their album before they visit for gigs here next month … Maze were mooted but now, as well as fireworks, November the 5th at the Prestatyn weekender will see the first ever exclusive UK concert by Keith Sweat instead … Gullivers DJ Graham Gold is the latest jock to become a recording artiste, co-producing himself with Phil Harding and Ian Curnow on ‘Shikisha’, described as “more Yazz than LA Mix with a touch of Todd Terry” … “They really like acid here”, Kevin ‘Reese’ Saunderson remarked drily, in the understatement of the night, when DJing at Nicky Holloway’s most recent “doo at Kew” (actually the venue’s in Brentford, across the river, but that doesn’t sound so good!) … Nicky Holloway, amongst an armoury of slick acidic tracks, plays the start of Tyree ‘Acid Over’ at 33⅓rpm before jacking up to the correct 45rpm precisely as the main impetus kicks in, and also dramatically shifts the vari-speed during different phases of Donna Summer ‘I Feel Love’ (the Eighties remix version), to ecstatic reaction … I haven’t time this week to BPM the slew of strong acid house albums that are out, including two rival double LP sets, ffrr’s ‘The House Sound Of London Vol IV – The Jackin’ Zone’ and Breakout’s ‘House Hallucinates – Pump Up London, Volume One’, plus two hot import compilations, Hot Mix 5 Inc Records’ ‘Acid’ and the Junior Vasquez remixed mainly Arthur Baker productions on Minimal Records’ ‘Rough House Vol 1’ … Westside Records are countering Serious’s 10 album boxed house set with a 14 album, 120 track, limited edition ‘House Of Hits’ box set! … Ace Records have just released a whole slew of old Stax albums in their original late Sixties/early Seventies sleeves, including Isaac Hayes ‘Hot Buttered Soul’ … Westside Records have signed New York’s Bassment Records for the UK … Andrew Beer is building a DJ mailing list at Warrior Records, PO Box 798, London W14 9NT (01-801 0254) … Bill Medley’s new version reminds me, which now exalted national radio executive, when a producer on local radio, asked the record library for copies of “those two old Hollies hits, ‘He Ain’t Heavy’, and ‘He’s My Brother’?! … Island have signed the Leslie Drayton Orchestra … Chrysalis picked up City Heat’s ‘City Heat’, real “yuppy soul” considering the song is set in a city cocktail bar after work … Raheem the rapping vigilante’s ‘Dance Floor’, reviewed as an import last week (when the fact it’s based on Eddie Kendricks ‘Keep On Truckin’’ was left out), is already on 96⅔-0bpm UK 12 inch (Breakout USAT 642) and getting perhaps more pop than hardcore attention … Kool G Rap & DJ Polo ‘Poison’ (US Prism) only ever hit The Club Chart for one week at number 90 at the end of May, but has been selling steadily for the last 14 weeks – and while we’re talking longevity, Shy Rose ‘I Cry For You’ (US JDC) has been bubbling around the Hi-NRG chart since late last October, without ever getting higher than number seven, so will it last for a whole year? … Nicky Holloway and ecstatic Johnny Walker “Balearic” The Devil May Trip this Tuesday (23) at Uxbridge Regals … Sunday (28) sees Jeff Young, Pete Tong, Chris Hill, Chrisse Jackson, Colin Hudd, Eddie Gordon, Danny Smith and more at Great Yarmouth Tiffany’s 6pm “alldayer”, and Stu Allen, Rob Manley and Steve Woolfe at Manchester Legend’s allniter … Bank Holiday Monday (29) has DJs Huge, The Klass, David T and more at No Sell Out 9 in Liverpool’s Mardi Gras, also Steve Allen, Nick Graham and more plus Chapter + The Verse at Peterborough’s Millionaire Club, a noon-midnight alldayer at Putney’s Micawbers with Jazzy M, Jasper, Nigel Wilton, Steve Roberts and more, and Chad Jackson cutting up Preston’s The Place … Neil Fincham, awarded a gold disc on his departure from Styx, has moved across Edinburgh to continue his funk, soul, jazz policy on Thurs/Fri/Saturdays at the new Morrisons in Morrison Street … Bloxwich’s Flix has become the refurbished Starlight Club, with DJs Ray Young Tues/Fri, Shaun Sullivan Thurs, Scott Brazil Sat … Gary Steel souls Chesham Stages every Thursday … Phil Simmons, recently at the Empire in London’s Leicester Square, has now moved actually to Leicester to jock Thur/Fri/Sat at The Studio … East Midlands club jock Glen Ross writes a weekly music column in Leicester’s The Times … Mark Hughes is excited at the prospect of being the club jock involved in a live link up between Worthing’s Sterns Nightclub and Southern Sound radio on Saturday, September 3 … RSW, creators of the already reviewed funkily drummed ‘Biting My Nails’ on Mute, turns out to be Renegade Sound Wave (with a dreadful vocal version as commercial A-side!) … NANU NANU!


HOT VINYL

BOOGIE DOWN PRODUCTIONS ‘Stop The Violence (Extended Mix)’ (US Jive 1121-1-JD)
Brand new tougher (0-)91⅙bpm “hard” remix of KRS-One’s reggae-ish bass thrummed sombre anti-drugs and violence message rap (only ever out here in its LP version), with some plinky plunky African kalimba, and a dubwise style false finish (instrumental/edit too), flipped by the amusing 0-102bpm ‘Jimmy’, a thinly disguised warning to wear a condom! Meanwhile, KRS-One’s new UK release is the bass jolted wordy unremixed 91bpm ‘I’m Still No. 1’ (Jive JIVE T 179), also flipped by the here 0-101⅔bpm ‘Jimmy’ plus the previously oddly disjointed 76½bpm ‘Essays On BDP-ism’ with Scott La Rock.

M.C. SYN-DEE ‘Best 2 B A Girl’ (Virgin VST 1111)
Promoed for ages to great acclaim and finally out properly (still at 33⅓rpm despite the label saying 45), this is the correct nomenclature for the now subtly remixed and more smoothly rounded jiggly bass throbbed go-go-ish 108⅓bpm infectious female rap, sure to be big (scratching 108⅔bpm Instrumental and funky JB drummer sampled 100bpm ‘Low Down Bonus Beats’ flip).

STETSASONIC ‘Talkin’ All That Jazz’ (Breakout USAT 640)
Due fully on September 5, their excellent unhurriedly talking justification for sampling James Brown and others’ oldies is burbled by Lonnie Liston Smith’s ‘Expansions’ bassline in the 0-107⅚bpm main A-side mix and its 0-107½bpm Instrumental and by Donald Byrd’s ‘Dominoes’ bassline in the flip’s 107⅚bpm Dominoes Mix and its 107⅔bpm Instrumental. Already big on LP, it’s a hot one!

KID ‘N’ PLAY ‘Gittin’ Funky (UK Remix)’ (Cooltempo COOLX 168)
Excitingly jumpy 106¼-106-105⅔bpm angry rap (not that there is much actual rap) woven from a brassy MFSB ‘TSOP’ break beat, funky drummering, and “rock steady” clucking girls, flipped by its less fierce 104¼-104bpm US Mix (inst-acappella too), a massive seller on pre-release ahead of September 5.

GEORGE BENSON ‘Twice The Love’ (Warner Brothers WX 160)
You know by now he’ll pick some rippling guitar, scat and croon, all of which he does on a typically classy if slightly mushy album, the attractive gently jogging 0-104⅚bpm ‘Tender Love’, guitar plucked jiggly doodling instrumental 96½bpm ‘You’re Still My Baby’ and bass pattered swaying 111¾bpm title track (plus the 83bpm ‘Let’s Do It Again’ single) striking me as being more solid than the otherwise perfectly listenable lightly weaving 0-112½bpm ‘Good Habit’, joltingly jogging 101⅔bpm ‘Everybody Does It’, pleasantly swaying 0-69⅓bpm ‘Living On Borrowed Love’, slushy 35/70bpm ‘Stephanie’, 0-36/72-0bpm ‘Until You Believe’ and 34½/69bpm ‘Starting All Over’.

JENNY B ‘Sexy Eyes’ (Power Pack Production PP1, via Jet Star)
Very attractive lightly bubbled 109⅓bpm gentle swayer with one of those sweetly plaintive probably lovers rock originated “sweet soul” girls seductively multi-tracked through jiggly beats and mellow stabbing sax, with a fellah rapping into the climax (inst/edit flip), on white label apparently from the Midlands.

CHUBB ROCK ‘Caught Up (Remix)’ (Champion CHAMP 12-88)
Rapid UK release next week for the excitingly different urgent 108-108⅓-108⅙bpm rap based in spasmodic spurts on James Brown’s ‘I Got Ants In My Pants’ beat, with “man-woman-earth-infinity” pauses and rhythm shifts making it so unusual (109-109⅓-109⅙bpm instrumental, 108⅓bpm Bonus rapid re-edit and 95bpm Original, the latter quite different and funny in dirtily sexist style).

ADRENALIN M.O.D. ‘Ecstasy (Wherever You May Be)’ (MCA Records RAGAT 2)
Simple slippery 122-0bpm synth twitterer repeatedly muttering “can you fantasise?” and namechecking the main acid house venues, on four-track 12 inch due commercially September 5, along with the frantically wriggling 0-125¼-0bpm ‘O-O-O’ (rearranging the Serious Intention/LA Mix “oh oh oh oh” chant as its only vocal), thuddingly jumping 127⅓bpm ‘Track This’ with stuttery title line and Arabic calls to prayer, and fiercely flurrying 126¾bpm ‘Come On Let’s Jam’. Oh yes, they’re all acieed!

JOHN WHITEHEAD ‘Body Move’ (US Mercury 870 444-1)
Gene McFadden-produced jerkily rolling 109¾bpm soul, quite good but out a while and largely ignored until some DJs discovered the flip’s far chunkier striding Move Your Body Mix, the one to try.

PERRI ‘The Flight’ (US Zebra Records ZEB-42017)
Anita Baker boosts these sometime gospel singing sisters on the sleeve of this strong soul set, perhaps more for listening than floor-filling, with the good wailing wriggly jogging 99bpm ‘I’m The One’, conversation introed lazily swaying 0-101⅔bpm ‘Upside Down’, attractively cooing 97⅔-102bpm title track, sweetly drifting (0-)96⅙bpm ‘No Place To Go’, semi-inspirational 0-61½/30¾-62-0bpm ‘Travels Too’, wailingly harmonised 81-82bpm ‘The Caves Of Altamira’, snappily lurching 106⅙-107½bpm ‘I Don’t Wanna Lose Your Love’, churning 105bpm ‘Secret Weapon’, unison sung double-beating 82½bpm ‘Eternal Life’, disjointedly swinging 139¾-0bpm ‘Fall In Love’.

O.N.I.T. (Oh No, It’s Them) ‘We’re Out Of Control’ (US Fourth Floor Records FF 1092)
Frankie ‘Bones’ Mitchell and Tommy Musto-created rambling 121-121¼-0bpm percussive jitterer, a repetitively intoned “out of control” its most constant factor as it veers between ‘Buffalo Gal’ scratches, brass, dodgily muttering girls and other episodic ingredients in its two N.Y. Freestyle/Bongo mixes, flipped by two much more loosely bounding bass and keyboards driven US Acid House mixes.

FAST EDDIE ‘Acid Thunder’ (US DJ International Records DJ 961)
Bassily bounding 122½bpm acid house with various degrees of acidically sizzling synth behind some anxious vocals in the four different mixes.

SCOTT WHITE ‘Success . . . Never Ends’ (US RCA 8419-1-R)
Gospel grounded lightly husky swooping and whining Scott is the latest soul singer under Hush Productions management, a native of Pennsylvania whose family sang together as the White Family Evangelistic Crusade, debuting on a Rhani Harris-produced album with the superb timelessly gospel-ish intelligently worded 0-50¼bpm ‘Success’, soul drenched 0-35⅔bpm ‘Time Has A Hold On Love’, bouncily jittering Stevie Wonder-ish 102½bpm ‘Friends’, bumpily chugging 110⅔bpm ‘Hypnotized’, jiggly swaying 0-95bpm ‘Never Ends’, tuggingly rolling 83bpm ‘Let Me Be’, juddery rolling 92½bpm ‘Love Emergency’, and jerkily wriggling 0-119½bpm ‘I Don’t Understand It’, all full of vocal gymnastics and fresh real feeling.

GEORGE BENSON ‘Let’s Do It Again (LP Version)’ (Warner Bros W7780T)
Still styled much like the Staple Singers’ 1975 original, this gospel girls backed slinkily jogging 83½bpm groin grinder with typical Benson scat and guitar was written by Curtis Mayfield as the Staples-sung theme song for the Bill Cosby/Sidney Poitier movie of the same name, which by coincidence was on TV only a fortnight ago (edit, and chunkily swaying guitar picked instrumental 93½bpm ‘Let Go’ flip, not from his separately reviewed new album).

DOCTOR K Introducing CHEEKIE BEE ‘Summer Madness’ (I-M-W IMW-D-1205)
Extremely limited edition fierce dense wriggly throbbing 103⅚bpm scratcher, with Cheekie Bee rapping through the samples, to help creatively market an upcoming album – however, it’ll doubtless be turning up in some chart returns for a week or two as Simon Goffe has serviced it.

CYNTHIA MT ‘I Can’t Stop’ (US Dance Mania Records DM104)
Bam Bam-created painfully squeakily sung 120¼-120bpm shuffling “drums” thrashed and synth squiggled acid house lurcher, best in the instrumental of its four mixes.

JAMIE PRINCIPLE ‘Rebels (Get Righteous)’ (ffrr FFRX 10)
Disappointing thudding (0-)119¾-120bpm dull house strider in four mixes, preaching the cause of militancy to cure the world of evil in all the mixes apart from most of the acidically instrumental House Of Trix – surely dancers only want to jack mindlessly to ecstacy, instead of hearing some polemic?

NEW EDITION ‘If It Isn’t Love’ (MCA Records MCAT 1269)
Disappointingly rather ponderous jittery juddering (0-)98⅙-0bpm jogger given the go go hip hop touch by producers/writers Jimmy Jam & Terry Lewis, plaintively harmonised and worried by the young group (in three mixes).


POP DANCE

NITZER EBB ‘Let Your Body Learn’ (Mute 12MUTE58), also selling belatedly to Balearic jocks is this Phil-Harding-produced raucously shouting synth pumped frantically chugging 0-129¾bpm racer from even earlier last year than ‘Join The Chant’;

LEVEL 42 ‘Heaven In My Hands (Extended Version)’ (Polydor PZ14), braying trumpets started densely jittering and jangling 0-130bpm noisy thumper with typically choppy vocals, almost heavy metal;

DIANA ROSS ‘Mr Lee (Swing Mix)’ (EMI 12EM 73), Harding & Curnow-remixed (and much improved) frantically happy 0-104½/209bpm remake of the Bobettes’ 1957 early Atlantic classic, a repetitively counting and chanting nursery rhyme-like simple ditty, too frantic really for anything but jiving (and what is wrong with that?);

BILL MEDLEY ‘He Ain’t Heavy, He’s My Brother’ (Scotti Bros PZ 10), the gruff Righteous Brother’s powerfully growling and roaring 78/39bpm revival of the Hollies’ 1969 classic is from ‘Rambo III’;

COMMODORES ‘Easy’ (Motown ZT 41794), pleasant if hackneyed lazily undulating 34-66¼-66⅔bpm slowie from 1977, now heard in Halifax Cardcash commercials;

PAULA ABDUL ‘Knocked Out’ (Siren SRNT 92), Janet Jackson’s video choreographer is doubtless a better dancer than singer as she’s squeakily multi-tracked (thus disguising vocal shortcomings) through a Pebbles-type jittery rolling 116bpm lurcher — but I bet the video is good;

DENISE LOPEZ ‘Sayin’ Sorry (Don’t Make It Right)’ (Breakout USAT 645), piercing pop pitched girl squawked 116⅓bpm Latin hip hop thudder produced by Morales & Munzibai (a team from the past) but in two Forest & Heller mixes, plus a gentler 114¾bpm M&M Hot Mix, none really right for here;

SANDY ‘J’ai Faim De Toi (Remix)’ (Carrere CART 430), Scottish girl singing in French the sax rasped and guitar yowled meandering slow 88-0bpm recent French chart-topper that began as the theme from that country’s Chambourcy TV commercials (presumably her accent there is considered as sexy as Mam’zelle’s is here?), one that’ll work best with returned holidaymakers who already know it;

BILLY OCEAN ‘The Colour Of Love’ (Jive BOST3), another totally predictable US-aimed 83/41½bpm big ballad;

SLIPPERMAN ‘Dance Your Body Down (Until It Hurts)’ (Rio Digital 12RDS2), ponderously chugging 105⅙bpm Falco-ish plodder with murky deep bass muttering and Euro girls.


HI-NRG

TIC ‘Popcorn’ (TC Records TICK 1), apparently now signed by Arista and no doubt inspired by the M&H Band’s long lasting Hi-NRG success on import, this rival new 125½bpm Scottish revival of Hot Butter’s pioneering 1972 electro oldie jitters and jumps through splurging rock guitar quotations and “far out”-type hippy comments from Woodstock (the flower power festival, not Snoopy’s little friend!), a likely pop smash when out fully;

HAZELL DEAN ‘Turn It Into Love (Extended Version)’ (EMI 12EM 71), this Stock Aitken Waterman created attractively trotting (0-)115¾-115⅔-115¾bpm plaintive light swinger is not surprisingly very Kylie Minogue-like (though better sung!), being one of the best songs from her LP – a generous move giving it to Hazell as such an obviously hit-bound single;

QUARTZLOCK ‘Love Eviction’ (Retro Records RET 121, via PRT), a sassy diva harangued and wailed forcefully driving 117½bpm canterer with chanting girls and a maddeningly familiar seeming bright clever backing, rather good though hidden as flip to a trotting lacklustre 109bpm revival of ‘Looking For Someone To Love Tonight’;

CAROL JIANI ‘Hit ‘N’ Run Lover’ (Passion PASH 12 85, via PRT), UK produced brand new quite vigorous 119½-0bpm remake of the diva’s own Hi-NRG classic, with snickety “pshta pshta” hi-hats, jazzily demented piano, modern stuttery edits and rototom percussion;

BANANARAMA ‘Love, Truth And Honesty’ (London NANX 17), surprisingly dull and uninspired Stock Aitken Waterman produced blandly lolloping 116⅓bpm canterer with the girls’ usual unison vocal patterns and typically nagging hook;

SPARKS ‘So Important (Extremely Important Mix)’ (Carrere CART 427), monotonously whined and muttered jittery 115bpm grunting tribal-type throbber, with a possibly less oppressive B-side Incredibly Important Mix, getting US club play.


REMIXES

BRASS CONSTRUCTION ‘Ha Cha Cha (New York Mix)’ (Syncopate 12SY 15), always a stormer but never as much as this, their 1977 oldie has been given a frantically dominating 125½-0bpm fierce beat by remixers Clivilles & Cole that if anything it’s now Balearic (with a good driving B-side dub);

YELLO ‘The Race (The Pits Mix)’ (Mercury Y 3), Derrick May rightly realises that the percussion is the big attraction for Balearic jocks and brings it to the front of this 121⅓bpm remix, all the racing car, commentary effects and muttered chanting being crammed into Greg Wilson’s shorter 0-121¾bpm The Sporting Mix, coupled now by the stereo cars introed old frantically rattling 132½bpm ‘Oh Yeah (Dance Mix)’, while the separately available original version of ‘The Race’ (Mercury Y 2) is now flipped by the also percussive but far less incisive, atmospherically meandering 115⅔-0bpm ‘La Habanera’;

HOUSE MASTER BALDWIN featuring PARIS GREY ‘Don’t Lead Me (Remix)’ (US Future Sound Records FSR 1002), Terry Baldwin, Mike Wilson & DJ Pierre co-produced recent girl moaned house import reissued with three acidic remixes, the vocally nagged synth twittered 125⅓bpm Don’t Acid Me, spikily pounding 125¼bpm Mike’s Remix, and chuggingly throbbing 124bpm Medusa House Mix;

CHRIS PAUL ‘Turn The Music Up (Acieed! Dance Mix)’ (Syncopate 12SYX 13), Marshall Jefferson’s two remixes get even further from the Players Association, the (0-)121½bpm Acieed! Mix is all twittering synth, with giggles and “ladies and gentlemen/let’s go” samples studding both;

SHOOTING PARTY ‘Safe In The Arms Of Love (Extra Beat Boys Remix)’ (Lisson Records DOLER 9, via PRT), synth washed and stabbed jittery 119⅓bpm Mel & Kim-ish remix of the Harding & Curnow-produced Pet Shop Boys-type canterer that’s hung on for ages in our Hi-NRG chart (and is now a Spanish hit) without crossing over here, flipped by Phil Harding’s alternative new whistling introed beefily bounding 0-119-0bpm Hot Power Mix.


THE CLUB CHART – August 27, 1988

01 01 HUSTLE (TO THE MUSIC…) (PREDORA/FREE-STYLE SAX MIXES) The Funky Worm, FON 12in
02 10 BIG FUN/(JUAN’S MAGIC REMIX) Inner-City featuring Kevin Saunderson, 10 Records 12in
03 08 IN THE NAME OF LOVE (CLUB MIX)/THE DREAM (1018 MIX/54 DUB MIX) Swan Lake, US Bad Boy Records 12in/Champion promo
04 03 PUMP UP LONDON (CLUB MIX)/PUMP UP CHICAGO (ACID MIX) Mr Lee, Breakout 12in
05 05 SHAKE YOUR THANG/SPINDERELLA’S NOT A FELLA (BUT A GIRL DJ) Salt-n-Pepa, ffrr 12in
06 02 JIBARO (ENGLISH/SPANISH VERSIONS) Electra, ffrr 12in
07 06 DON’T BE CRUEL (EXTENDED VERSION) Bobby Brown, MCA Records 12in
08 09 STATIC (F.F. REMIX/ALBUM VERSION) James Brown, Scotti Bros 12in
09 17 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
10 04 ROSES ARE RED Mac Band featuring The McCampbell Brothers, MCA Records 12in
11 25 IT BEGAN IN AFRICA The Urban All Stars, Urban 12in
12 07 SUPERFLY GUY S’Express, Rhythm King 12in
13 42 GITTIN’ FUNKY (UK REMIX) Kid ‘N’ Play, Cooltempo 12in promo
14 11 RIGHT BACK TO YOU (EXTENDED MIX)/ONE KISS WILL MAKE IT BETTER (HOUSE MIX) Ten City, Atlantic 12in
15 24 (I’VE GOT A) FEELING/MY MAMA AND PAPA ALWAYS TOLD ME (CLUB REMIX)  Deluxe, The Dance Yard Recording Corporation 12in
16 13 NIGHT OF THE LIVING BASEHEADS/COLD LAMPIN WITH FLAVOR/CAUGHT, CAN WE GET A WITNESS?/TERMINATOR X TO THE EDGE OF PANIC/PARTY FOR YOUR RIGHT TO FIGHT Public Enemy, Def Jam LP
17 40 STALEMATE Mac Band featuring the McCampbell Brothers, MCA 12in promo
18 15 DO THAT AGAIN (CLUB VERSION) Blue Moderne, US Atlantic 12in
19 — TALKIN’ ALL THAT JAZZ (EXPANSIONS/DOMINOES MIXES) Stetsasonic, Breakout 12in promo
20 82 STRICTLY BUSINESS (12” VOCAL) EPMD, Cooltempo/Ensign 12in promo
21 16 I’LL HOUSE YOU Jungle Brothers, US Idlers 12in
22 39 THE RIGHT STUFF (EXTENDED VERSION) Vanessa Williams, Wing Records 12in
23 29 EIGHTIES LADY/GENERATE LOVE (WISE MOVE MIX) Gwen McCrae, The Dance Yard Recording Corporation 12in
24 65 MEGABLAST (HIP HOP ON PRECINCT 13) Bomb The Bass featuring Merlin & Antonia, Rhythm King 12in
25 — NO STATIC (THE 8 MINUTE FULL FORCE DEF MIX) James Brown, Scotti Bros 12in
26 18 WE CALL IT ACIEED D Mob, ffrr 12in promo
27 22 HOLD ON TO WHAT YOU’VE GOT Evelyn ‘Champagne’ King, EMI-Manhattan 12in
28 58 LOVE/GET BUSY Rick Clarke, WA Records 12in
29 36 THE ONLY WAY IS UP/(SPENG) Yazz and the Plastic Population, Big Life 12in
30 12 TURN IT UP Richie Rich, Club 12in
31 28 WHY (YOU COULD HAVE HAD IT ALL) Tongue ‘N’ Cheek, Criminal Records 12in
32 14 TRIBUTE RIGHT ON (THE Q STREET MIX) The Pasadenas, CBS 12in
33 34 IT’S BEST TO BE A GIRL Syn-Dee, Virgin 12in mailing list promo
34 33 PUSH IT/TRAMP Salt-n-Pepa, Champion 12in
35 37 HEAT IT UP (KEVIN SAUNDERSON REMIX) Wee Papa Girl Rappers, Jive 12in
36 20 OFF ON YOUR OWN (GIRL) (STREET MIX/REMIX) Al B. Sure!, US Warner Bros/Uptown 12in
37 38 EVERYBODY (GET LOOSE) Phoenix, Urban 12in
38 54 SHARE MY JOY Jo Ann Jones, Champion 12in
39 30 GET OUT OF MY HOUSE! (SPECTRUM EDIT/MUTANT VERSION) Sound Assassins, Cooltempo 12in
40 — DON’T BE CRUEL (THE RAPACIOUS MIX) Bobby Brown, MCA Records 12in
41 — STOP THIS CRAZY THING Coldcut featuring Junior Reid, Ahead Of Our Time 12in mailing list promo
42 57 REACHIN’ (BROTHERHOOD MIX) Phase II, US Movin’ Records 12in
43 32 SUPERFLY GUY (FLUFFY BAGEL MIX) S’Express, Rhythm King 12in
44 43 (WHAT CAN I SAY) TO MAKE YOU LOVE ME Alexander O’Neal, Tabu 12in
45 51 I NEED YOU (EXTENDED VOCAL VERSION) B.V.S.M.P., Debut 12in
46 19 LIKE DREAMERS DO (THE FREEWAY MIX) Mica Paris, Fourth & Broadway 12in
47 46 DIN DAA DAA (TROMMELTANZ) George Kranz, Fourth & Broadway 12in
48 — HYPNOTIZED/FRIENDS/LOVE EMERGENCY/I DON’T UNDERSTAND IT Scott White, US RCA LP
49 49 KING OF THE BEATS Mantronix, US Capitol 12in
50 47 SUMMERTIME Vertical Hold, Fourth & Broadway 12in
51 — DROPPIN’ SCIENCE Marley Marl featuring Craig G, US Cold Chillin’ 12in
52 62 TURN THE MUSIC UP/HOUSE ON THE MOVE Chris Paul, Syncopate 12in
53 — PARENTS (JUST DON’T UNDERSTAND) (DANNY D REMIX) DJ Jazzy Jeff & The Fresh Prince, Jive 12in
54 — WATCHING YOU (TIMMY REGISFORD US 12” REMIX)/(KEVIN SAUNDERSON REMIX) Loose Ends, Virgin 12in mailing list promo
55 23 TALKIN’ ALL THAT JAZZ/MIAMI BASS/DBC LET THE MUSIC PLAY Stetsasonic, Breakout LP
56 80 CALLING/GONNA MAKE YOU DANCE/DOMINATE ME Burrell, Virgin LP
57 35 YÉ KÉ YÉ KÉ (THE AFRO ACID REMIX) Mory Kante, London 12in
58 — THIS IS SOMETHING FOR THE RADIO Biz Markie, US Cold Chillin’ 12in
59 69 SLAM!/WE ARE PHUTURE/SPANK-SPANK Phuture, US Trax Records 12in
60 85 ACID MAN (ORIGINAL/HAPPY MIXES) Jolly Roger, 10 Records 12in
61 56 DELTA HOUSE/DO YOU WANNA DANCE?/I HAVE A DREAM Housemaster Baldwin, Kool Kat 12in
62 75 THE ART OF ACID Victor Romeo and The Move featuring Reggie Hall, US Dance Mania Records 12in
63 81 THE R/PUT YOUR HANDS TOGETHER/MICROPHONE FIEND Eric B & Rakim, MCA Records LP
64 — BURN IT UP/ACID BURN Beatmasters, Rhythm King 12in mailing list promo
65 52 JUST GOT PAID (THE COUNTERFEIT MIX) Johnny Kemp, CBS 12in
66 re HOUSEPLAN Terrajacks, WEA 12in
67 — DANCE FLOOR Raheem, Breakout 12in
68 — REBELS (GET RIGHTEOUS) Jamie Principle, ffrr 12in
69 72 TO THE LETTER Millie Scott, Fourth & Broadway 12in
70 27 SURE BEATS WORKIN’ (IT’S A TRIP MIX) Beats Workin’, ffrr 12in
71 78 NIGHT TRAIN/KEEP ON DRIVIN’ T-Coy, deConstruction Records 12in
72 63 RELEASE YOUR BODY (MAYDAY MIX/RELEASE THE ACID MIX) Bang The Party, Warriors Dance 12in
73 86 TO THE RHYTHM Longsy D. + Cut Master MC, Big One 12in
74 60 ARE YOU LOOKIN’ FOR SOMEBODY NU (ACID SHOOZ MIX) Nu Shooz, US Atlantic 12in
75 — ANY LOVE Massive Attack featuring Daddy Gee & Carlton, Massive Attack Records 12in mailing list promo
76 48 LET THE MUSIC (USE YOU) (CLUB MIX) The Night Writers, Jack Trax 12in
77 99 THE ONLY WAY IS UP (THE BAM BAM REMIX/THE UP UP UP MIX) Yazz And The Plastic Population, Big Life 12in
78 — THIS IS ACID Maurice/AS ACID TURNS/THE GROOVE Liddell Townsell/I’LL NEVER LET YOU GO (INSTRUMENTAL) William S/CLAP ME Jack Frost/TIME MARCHES ON Jungle Wonz/ACID TRACKS/PHUTURE WILL SURVIVE Phuture/I’VE LOST CONTROL (SPACE MIX) Sleezy D/JACK THE BASS Farley Jackmaster Funk/PUMP UP LONDON (DUB MIX) Mr Lee (‘House Hallucinates’), Breakout LP
79 — LOVE FOLLOWS/IMAGINATION/READY TO LOVE/TAKING LOVE TO THE LIMIT/FIND OUT/IT’S ONLY LOVE/CANDY/GHOSTS/I’M TOO SCARED/THE REAL THING Steven Danté, Cooltempo LP
80 89 COME ON LET’S JAM/ECSTASY (WHEREVER YOU MAY BE)/O-O-O/TRACK THIS Adrenalin M.O.D., MCA Records 12in promo
81 — HUSTLE! (TO THE MUSIC…) (POSTDORA MIX) The Funky Worm, FON 12in
82 — WE CALL IT ACIEED D.Mob/MIX IT UP Acid Fingers/SALSA HOUSE Richie Rich/UNDERWATER Harry Thumann/ONE FOR THE BURGLAR/DEPTH CHARGE D.S. Building Contractors/BACK TO THE BEAT/ROCK TO THE BEAT Reese & Santonio/REMOTE CONTROL Robot DJ’s/GOING HOME TO SEE MY BABY Bang The Party!/I HAVE A DREAM The Speech/FM (FFRR REMIX) Silicon Chip/COME TOGETHER House Addicts/ACID OVER Tyree/REBELS Jamie Principle/LIVING IN A WORLD OF FANTASY The J&M Connection (‘The House Sound Of London’), ffrr LP
83 44 TEARDROPS (EXTENDED REMIX) Womack & Womack, Fourth & Broadway 12in
84 84 SET IT OFF/ON THE BUGGED TIP/LONG LIVE THE KANE Big Daddy Kane, Cold Chillin’ LP
85 93 INTERFERENCE Model 500, US MetrOplex 12in
86 74 I WILL ALWAYS LOVE YOU Eddie Stockley, Mango Street 12IN
87 — SLEEPLESS WEEKEND (REMIX) Howard Huntsberry, US MCA Records 12in
88 83 YOU TAKE MY BREATH AWAY (12” VERSION) David Cole, US Epic 12in
89 98 TO BE OR NOT TO BE? (BAD BOY BILL MIX)/THE GATHERING (CLUB MIX) Neal Howard, US Future Sound Records 12in
90 — NEVER/NATURALLY Top Billin’, Rapsonic 12in
91 96 HERE WE GO AGAIN (DIAZ MIX) Diaz Brothers, US Bassment Records 12in
92 — HIJACK THE BEAT (DISCO STYLE/OTHER STYLE/ACID STYLE)/SUBMIT (TO THE BEAT) (NEW REMIX) Groove, Submission 12in
93 97 THE PARTY (CLUB MIX) Kraze, US Big Beat 12in
94 — I’M THE ONE/I DON’T WANNA LOSE YOUR LOVE Perri, US Zebra Records LP
95 re AMNESIA (UP ALL NIGHT MIX)/DANCE WITH THE DEVIL (BALEARIC MIX) The Project Club, Supreme Records 12in
96 — GOODBYE TO LOVE AGAIN (LONG VERSION) Maxi Priest, 10 Records 12in
97 re MY PART OF TOWN (RUTGER ‘RUTTI’ KROESE REMIX) Tuff Crew, Dutch Rhythm Records 12in
98 re SOMEBODY SAVE ME/I BELIEVE IN YOU/LET’S GET STARTED NOW By All Means, US Island LP
99 50 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
100= — DREAM GIRL Pierre’s Pfantasy Club, Jack Trax 12in
100= — LOVE SO FINE (88 REMIX)/(ORIGINAL CLUB REMIX) Sahara, Fast Forward 12in


POP DANCE

01 01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 04 I NEED YOU B.V.S.M.P., Debut 12in
03 02 THE LOCO-MOTION Kylie Minogue, PWL 12in
04 03 SUPERFLY GUY S’Xpress, Rhythm King 12in
05 05 HUSTLE (TO THE MUSIC) The Funky Worm, FON/WEA 12in
06 11 SHAKE YOUR THANG Salt-n-Pepa, ffrr 12in
07 06 YOU CAME Kim Wilde, MCA 12in
08 07 PUSH IT (REMIX) Salt-n-Pepa, ffrr/Champion 12in
09 09 REACH OUT I’LL BE THERE (’88 REMIX) Four Tops, Motown 12in
10 12 JIBARO Electra, ffrr 12in
11 08 ROSES ARE RED Mac Band featuring the McCampbell Brothers, MCA 12in
12 10 PUMP UP LONDON Mr. Lee, Breakout 12in
13 13 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
14 — THE HARDER I TRY (EXTENDED MIX) Brother Beyond, Parlophone 12in
15 — RUSH HOUR Jane Wiedlin, Manhattan 12in
16 — DON’T BE CRUEL Bobby Brown, MCA 12in
17 15 MONKEY George Michael, Epic 12in
18 — MEGABLAST/DON’T MAKE ME WAIT Bomb The Bass, Rhythm King 12in
19 14 MAYBE (WE CAN CALL IT A DAY) Hazell Dean, EMI 12in
20 — I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in


SCOTTISH DANCE

01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 THE LOCO-MOTION Kylie Minogue, PWL 12in
03 YOU CAME Kim Wilde, MCA 12in
04 I NEED YOU B.V.S.M.P., Debut 12in
05 SUPERFLY GUY S’Express, Rhythm King 12in
06 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
07 CROSS MY HEART Eighth Wonder, CBS 12in
08 BOYS (SUMMERTIME LOVE) Sabrina, Ibiza 12in
09 HUSTLE (TO THE MUSIC) The Funky Worm, FON/WEA 12in
10 THE HARDER I TRY (EXTENDED MIX) Brother Beyond, Parlophone 12in


HI-NRG

01 01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 03 DOCTOR’S ORDERS Lisa Carter, Parlophone 12in
03 02 OVER AND OVER AND OVER Michelle Goulet, US Island 12in
04 07 REACH OUT Romi & Jazz, Arishma 12in
05 06 THE LOCO-MOTION (THE KOHAKU MIX) Kylie Minogue, PWL 12in
06 05 SUPERFLY GUY S’Express, Rhythm King 12in
07 10 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
08 12 THE HARDER I TRY (THE HARDEST MIX) Brother Beyond, EMI 12in
09 04 THE LOVE I LOST Seventh Avenue, Nightmare 12in
10 09 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
11 24 YOU CAME Kim Wilde, MCA 12in
12 08 EVERLASTING LOVE (PETE HAMMOND REMIX) Sandra, Siren 12in
13 19 REQUIEM London Boys, German Teldec 12in
14 13 SAFE IN THE ARMS OF LOVE Shooting Party, Lisson 12in
15 19 FLAMES OF LOVE Fancy, German Metronome 12in
16 29 HOT STUFF Boys From Brazil, German Ariola 12in
17 37 YÉ KÉ YÉ KÉ (AFRO ACID MIX) Mory Kante, ffrr 12in
18 17 I NEED YOUR PASSION Sweet Connection, German Blow Up 12in
19 25 OVER YOU (DJ MIX) Wendy, Chartflow-UK 12in
20 20 ROCK ME BABY Lysa Lynn, US Emergency 12in
21 11 IT’S NATURE’S WAY (NO PROBLEM) Dollar, London 12in
22 27 POPCORN M&H Band, French Family 12in
23 23 HOT FOR YOU Lorraine Scott, Canadian Slak 12in
24 15 THE RACE Yello, Fontana 12in promo
25 16 LOVE IS THE GUN (STREET LATIN WOLFF 3) Blue Mercedes, MCA 12in
26 22 I CRY FOR YOU Shy Rose, US JDC 12in
27 — ALL OF ME Sabrina, French Carrere 12in
28 21 CROSS MY HEART Eighth Wonder, CBS 12in
29 40 YOU’RE A TIME WASTER Croisette, Nightmare 12in
30 32 WHEN YOU NEED LOVE (LOVE IS NOT AROUND) Without Warning, US Heatwave 12in
31 31 JIVE INTO THE NIGHT Green Olives, Italian X-Energy 12in
32 30 CHICA CUBANA Tatjana, Dutch High Fashion 12in
33 33 OUT OF CONTROL Monica Reed, Nightmare 12in
34 re SOUL SURVIVOR (SURVIVOR MIX) C.C. Catch, Hansa/RCA 12in
35 14 SYMPTOMS OF TRUE LOVE (THE SYMPTOMATIC DANCE MIX) Tracie Spencer, Capitol 12in
36 — EMOTION Jakie Quartz, Dutch CBS 12in
37 34 BOYS AND GIRLS Mandy, PWL Records 12in
38 — I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in
39 39 BOYS (SUMMERTIME LOVE) (PETE HAMMOND REMIX) Sabrina, Ibiza 12in
40 — ONLY MEN Shy Rose, Swiss Fantasy Int 12in

4 thoughts on “August 27, 1988: “The frantically empty acid house of the late Eighties is being created specifically to keep ecstasy motivated trendy Londoners dancing on a high””

  1. In his March 1st 1980 column, James sounded off at length about how “the gay jocks of America have successfully brought about the death of disco as the media know it”, and there are clear echoes of this stance to be found in his growing distaste for the rapid commercialisation of acid house. He will expand on this, at much greater length and with much greater force, in a few weeks’ time.

    The Dominoes mix of Stetsasonic’s ‘Talkin’ All That Jazz’ was timely, as Donald Byrd’s original had become a key track amongst the KISS-fm crowd, who were progressing from rare groove towards a revival of jazz-funk and boogie.

    On the more traditional soul front, I was particularly enjoying Perri, especially ‘Fall In Love’, which was also released as the lead cut on a four-track EP.

    Quartzlock’s ‘Love Eviction’, with vocals by Lonnie Gordon, was reworked in 1995 at the height of the “handbag house” boom, to great success on gay dancefloors – most notably at The Fridge’s Saturday night Love Muscle sessions, whose DJ Marc Andrews had worked on the track.

    It’s a surprise early showing for Massive Attack with “Any Love” – they didn’t release any more music under that name until October 1990.

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  2. I think JH forgets that people just like dancing to exciting exhilarating music.
    And they were only in a minority in spring summer of 1988 in that unlike a few months time less people had been bitten by the ecstasy bug. It should t be firvottteb that in the first few months of acid house taking off in London pills were something like £40 in today’s money and many of your local neighbourhood drug dealers had hardly heard of them yet alone were selling them – even if you went to one of the big nights (or one you thought was going to be a big night) in London it could still be hit and miss if you scored any there. Obviously by 1989 they were everywhere and it was Not the minority he was mentioning here. And anyway considering we were only in August and the first big mass acid night anywhere in the world Paul Oakenfold’s Spectrum hasd only started to get rammed in April this ‘movement’ had got nationally known in an unprecedentedly quick time.
    Me and some (unraving- not ex jazz funk but ex mod/scooter boys) friends had gone on holiday to Corfu and saw some (obviously English) people with smiley face T-shirts on the beach in the middle of August. All my friends knew what they were as did probably most other people under 30 and a lot a lot older. So it wasn’t really just “a few trendies in London”.

    Incidentally and completely unrelatedly But to show what a different country we lived in in this first acid house summer it was in August 1988 that pubs no longer had to close at 2.30 in the afternoon until early evening.

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  3. Interesting (well, for me) to See Yello’s “The Race” get a mention, as it was only yesterday I was listening to Gino Soccio’s “Dancer” and realised Yello had based their track on that. I guess I’m the last person to have realised that.

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  4. Let me just translate that mass of typos masquerading as a first paragraph above on my first post. Blame my fingers being too big for smartphone keys and bloody autocorrect.

    “JH was right in that in the spring and summer of 1988 it was only a minority who had “got on one matey”.

    It shouldn’t be forgotten that in 1988 prices allowing for inflation an ecstasy pill would have been at least £40 in 2021 terms.

    Back then at the beginning your average local drug dealer had hardly heard of ecstasy yet alone was selling it. Even if you found yourself at one of the big early nights (or one you had thought was going to be big) you couldn’t even guarantee scoring a pill when you got there right back in these earliest days.

    Later in 1988 and especially. in 1989 ecstasy was everywhere and so the scene was far from the minority pastime for London trendies that JH describes.”

    Sort of after that what I wrote resolves itself into decipherable English, I hope…

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