September 3, 1988: Michael Jackson, Tony Terry, The Pasadenas, Sweet Obsession, Biz Markie


ANDY PEEBLES, now he’s toned down his stentorian Radio 1 vocal modulation, has been doing a good job as Tony Blackburn’s weekday 9am-noon replacement on BBC Radio London, the show being markedly more “soul”-ful than before — however, there’s bad news for all soul fans, as from mid-October the station is adopting an AoR format, leaving soul to the pirates (although ‘Black Londoners’ will be broadcast every evening, 7-10pm, combining black affairs and music), possible new presenters including the likes of Johnnie Walker, Greg Edwards, Tommy Vance and even Jonathan King, while Robbie Vincent is leaving of the end of the week to move his ‘phone-in show to LBC, as of September 26 replacing Mike Allen (who in turn moves to weekends) in the top rated Monday-Thursday 10pm-1am slot on London’s “talk” station … Pres Jam 4 at Prestatyn is likely to feature Salt-n-Pepa, Steven Danté and more, in addition to Keith Sweat’s debut UK concert appearance, the November 4-6 weekender this time attracting the broadest spread of people yet from all over the country (£45 Access/Visa bookings and details on 01-364 1212) — Martin Collins has returned to the LiveWire DJ fold, Tim Westwood will host an extended (and exclusive) rap session, while acid, rap, jazz and doubtless a bit of funk and soul are being offered in three clearly defined “dance zones” … Upnorth Promotions hold their third soul-funk-jazz weekender, the second Blackpool one, on October 7-9 at Fleetwood’s Cala Gran Holiday Park, presenting Jean Carne in concert plus such DJs as Richard Searling, Colin Curtis, Martin Collins, Jonathan, Bob Jones, Hutchy, Norman Jay, Bob Jefferies, Billy Davison, Simon Dunmore, Ian Clark and more (£45 ticket info on 091-389 0317) … Steve Walsh’s family benefiting fund appears to have raised £30,000 from the star-studded special (and final) Radio London Soul Night Out … ‘DiscEyes’ is the best conceived video programme for disco use that I’ve seen, a great deal of clever thought having gone into the musical and visual links between each track of the non-stop segued two hour stereo hi-fi tapes, available on subscription for professional disco use only — details from Diamond Time Ltd on 01-586 7056, ask for Graham Gold (who does the sequencing with Steve Kemsley, video jock at Video Cafés around the world) … Swan Lake’s ‘In The Name Of Love’ shares a title (and to these ears, not much else) with a Thompson Twins oldie, which is now getting London pirate radio play in its new Shep Pettibone created ‘In The Name Of Love ’88 (Railroad Mix)‘ (US Arista ADI-9731), a pulsing bass driven funkily lurching 116⅓-0bpm remix, not at the moment due out here until an album of Twins remixes is released in November … Rick Astley’s upcoming (and long awaited) ‘She Wants To Dance With Me‘ single is self-penned and co-produced by Rick with Phil Harding and Ian Curnow, deliberately to show that he can cut it without any direct Stock Aitken Waterman involvement … ‘Night Of The Living Baseheads‘ is inevitably the next Public Enemy single … Bassment Records’ first UK single through Westside Records will be the Diaz Brothers ‘Here We Go Again‘ … T.I.C. is pronounced as separate initials, their ‘Popcorn ’88 Remix’ indeed being due from Arista this week, flipped by the original Woodstock Mix … Les Adams has created an “industrial” flavoured juddering re-production (rather than remix) of Inner City ‘Big Fun’, specifically for Disco Mix Club subscription service release although a commercial version may be due too … Chris ‘Bam Bam’ Westbrook has also remixed Brass Construction ‘Ha Cha Cha’ … Kool Kat are currently promoing ahead of 10 Records release their Liaz ‘House Sensation (Master Reese Mix)‘, a Kevin Sanderson remixed bustling (0-)126bpm frantic formless rambler with vacuous cooing girls, the epitome of late Eighties disco dross aimed at people too drugged to care about music, while likewise WEA have promoed indie band Beloved’s ‘Acid Love’ in two Mike ‘Hitman’ Wilson mixed trite “it feels like ecstasy” muttered and synth twittered 118bpm versions, flipped by cymbal shushed busier 119⅓bpm Love & Ecstacy and 121¼bpm Original Mixes, two of which will eventually be chosen as a commercial B-side to something else … Jay Strongman’s currently promoed ‘East West‘ (Rhythm King) is, I fear, easy to dismiss now as yet another bass bombing sampler, chugging along at a possibly too monotonous (0-)109bpm jitter despite being built from interesting old funk grooves, the Red Army Choir, disembodied voices, and just a bit of song featuring Maureen … Yazz And The Plastic Population’s horny horn blast is sampled from Sharon Redd’s ‘Beat The Street’ … Gordon Mac’s newly renamed Graphic Records label has released a compilation of ‘Boogie Tunes‘ (LIPS 2) with no discernible common link other than they’re all old, from 1975’s Milton Wright ‘Keep It Up‘ to the relatively recent John Wayne-impersonating Rappin’ Duke’ ‘Rappin’ Duke‘, other cuts being by Derrick, Michele, Taana Gardner, Black Ivory and Melba Moore … Double Trouble guest at London Charing Cross Road Busby’s new Wednesday The Exchange night this week (August 31), while Leroy Burgess and Tyrone Williams, performing as El Bee & Tee, are next door at the Astoria the following night (September 1) with Chris Forbes, Simon Goffe, Madhatter Trevor, Paul Anderson Bobby & Steve of The Zoo … Steve Roberts and Keith Diamond revive “good old soul” (rather than “rare groove”!) on Thursdays at Kingston-upon-Thames Hoofers now that the adversely publicised link between acid house and ecstasy has put paid to the proposed night with Jasper and Jazzy M … Russ Dewsbury and Baz Fe Jazz recently started the Saturday Night Fish Fry for classic jazz and Latin dance in Nash’s Basement on Marine Parade, and now on Fridays also run The All New Jazz Room upstairs at Downbeat in Dyke Road, both in Brighton — where Balearic beats and acid are to be found on Thursdays at Slam in the Savannah, Old Steine, with Paul Clark and Warwick, next week (September 8) seeing a Shoom special starring Danny Rampling and a PA by Baby Ford … Queensgate Leisure open the flashy Discotheque P’Zaz this weekend in Grays, Essex (on Orsett Road in the Queensgate Centre) … Camden Lock’s Dingwalls having stopped live music on Saturdays, that night is now the solidly funky Second Base, with Paul Anderson and a rota of regulars including Gordon Mac, Madhatter Trevor, DJ Tee, Norman Jay, Colin Dale, Steve Jackson, Bobby & Steve of The Zoo, Jazzy B, Jay Strongman, Jules from Family Funktion (dress to sweat, but no trainers) …  John Douglas, Ray Keith, Dave Malone, Guy Palmer & Turbo take turns to tear the root off this Sunday (4) at Castle Hedingham’s Memories in Essex … Charles Dickson of Northern Ireland Dance Factory and DCR 100.2fm is organising a Sudan flood victims benefiting ‘DJs Change The World’ day for next Saturday afternoon (September 10, noon-5pm) in Ballymoney Town Centre, County Antrim, with loadsa DJs working hard to raise loadsa (bally?) money for the cause … Teesvalley Roadshow requires a part-time DJ able to work weekends and travel the country — contact Graham Murray on 0642-226270 … I recently mentioned my still functioning 20 years old disco equipment, the very first purpose built mobile disco unit ever, the prototype of a production run marketed by pioneering sound installer Pepe Rush — who, amongst other international projects, is currently building a new mixing desk for London’s Tramp nightclub (if you too want something designed to last, call him on 01-889 2200!) … Gary and Martin Kemp might like to note that the club where I began my DJing career in 1963, The Barn in Knightsbridge, was owned by Ronnie and Reggie Kray, should they want any further first hand insights for their movie! … ssshh — “static house” … NANU NANU!


MICHAEL JACKSON ‘Another Part Of Me (Extended Dance Mix)’ (Epic 652844 6)
While ‘Dirty Diana’ could never be regarded as a genuine club cut, this Bruce Swedien-remixed pent-up nervily urgent (0-)110-0bpm jittery jerky really is full of floor filling rhythm in Jacko’s best classic style (in four mixes).

TONY TERRY ‘Young Love (Acid Remix)’ (US Epic 49 07874)
One of his last album’s hot cuts given an exciting house-style jiggly jumpy driving 117bpm nervy Steve Peck remix that – possibly a first for a major label US release – is actually called an Acid Remix (not that it’s truly “acieed!”), in similar Extended and Radio Versions, a very different Bohannon-ish bassily bubbled bounding 114½bpm 7” Version, jaggedly juddering 115-0bpm DJ Shock-scratched samples studded Charlie Dee’s “Not Just Sex” version, Omar Santana-edited violently jittering 116½bpm Oh Oh Omar Dubb, and Acappella, adding up to lots of beats for your money (over 35 minutes).

THE PASADENAS ‘Riding On A Train (Extended Version)’ (CBS PASA T2)
Another Philly Soul inspired (no, not ‘Love Train’!) lavishly arranged 111⅙-0bpm surging jiggler with an ever shifting full orchestration and much vocal interplay, a good follow-up to ‘Tribute’ although had it been heard in isolation possibly not as punchy (reviewed off promo, release date unknown).

SWEET OBSESSION ‘Gonna Get Over You’ (US Epic 49 07868)
Soulfully plaintive gritty girl wailed juddery remorseless 0-103bpm jogger of a refreshingly dated – circa 1984 – type, modern dramatic staccato chord accents notwithstanding, in four mixes with the Obsessive Mix a real carpet chewing tense nagger in Change ‘Change Of Heart’ style, well worth checking.

BIZ MARKIE ‘This Is Something For The Radio (Rap Remix)’ (US Cold Chillin’ 0-21016)
Rather tongue in cheek, radio-aimed, purposefully pleasant infectious congenially chattered and mutteringly sung slithery scratching Marley Marl-produced 107⅓bpm brassily jolting nagging jerker, remixed from his last album (Dub/Dub-appella too), one of last week’s two big import sellers.

MARLEY MARL featuring CRAIG G. ‘Droppin’ Science’ (US Cold Chillin’ 0-21018)
Quite haunting slithery 96⅔bpm rap ‘n’ scratch, Marley brilliantly mixing up lazily grooving James Brown beats behind Craig Curry’s unhurried chat (with a so called but little different Hip Hop Version and Bonus Beats flip), the other of last week’s big selling imports.

PIERRE’S PFANTASY CLUB ‘Dream Girl’ (Jack Trax JTX 21)
DJ Pierre of Phuture, Pfortune and his own Pfantasy Club follows on from ‘Mystery Girl’ and ‘Fantasy Girl’ with this sweetly duetted 122bpm loper, a gentle song in Mickey Oliver’s mix, with a harder house beat in Mike ‘Hitman’ Wilson’s mix, or fiercely acidic in Ralphi Rosario’s synth twittered instrumental mix (the longest).

GROOVE ‘Hijack The Beat’ (Submission SUB X 05)
Dexter Wansel’s ‘Life On Mars’ and Herbie Mann’s ‘Hijack’ are just a couple of the things sampled in this now completely remixed and commercially released bubbling and leaping 123⅓bpm happy house groove from Nottingham’s Graeme Park and his merry men, already more acidic in this Disco Style but also given sulphuric synth sizzled 123¼-0bpm Acid Style and machine washed techno-type 123⅓bpm Other Style mixes, plus a ‘Car Wash’-spiked acidically bounding 127⅓bpm new remix of ‘Submit (To The Beat)’.

ALASKA ‘Bailando (Balearic Matey Mix)’ (Syncopate 12SY 17)
Spanish house hit opportunistically remixed here by the Democratic 3, with typically twittering acid synth and samples of ‘Din Daa Daa’ amongst others as it progresses, to make an instrumental 0-124¾bpm Balearic Matey Mix (this being the A-side, the previously reviewed promo pressing was wrongly labelled) while the 125¼bpm Acido Espanol Mix retains its original jolly Spanish chanting amidst the twitters. Why the Democratic 3 didn’t just release their own acid track, if acid is what they think we need, I do not know!

VARIOUS ‘House Hallucinates – Pump Up London, Volume One’ (Breakout HSEA 9002)
Slightly ahead of its ffrr rival on points in the Club Chart last week, this double LP compilation of acid house old and new has the 125-125½bpm MAURICE ‘This Is Acid’, 125bpm LIDDELL TOWNSELL ‘As Acid Turns’ and his 124-0bpm ‘The Groove’, 119½bpm WILLIAM S ‘I’ll Never Let You Go (Instrumental)’, 122¾-123¼bpm JACK FROST ‘Clap Me’, 117¼-116½-115½-115¼bpm JUNGLE WONZ ‘Time Marches On’, 120⅓bpm PHUTURE ‘Acid Tracks’ and 125¾bpm ‘Phuture Will Survive’, 0-120⅓-120¾-120¼-0bpm SLEEZY D ‘I’ve Lost Control (Space Mix)’, 125-124¾bpm FARLEY ‘JACKMASTER’ FUNK ‘Jack The Bass’, and 126bpm MR LEE ‘Pump Up London (Dub Mix)’. Whaddaya mean, you want descriptions of each track too? The sort of people who will think that this is essential will think it’s essential regardless, and everyone else can live happily without it.

VARIOUS ‘The House Sound Of London, Vol. IV – The Jackin’ Zone’ (ffrr FFRDP 4)
The same applies as above for this double LP, combining both US and UK created acid house – plus, interestingly, Scandinavia’s 130¾bpm HARRY THUMANN ‘Underwater’ from 1979 – the anthemic 124⅓-0bpm D. MOB ‘We Call It Acieed’ standing head and shoulders above the 0-119⅓bpm ACID FINGERS ‘Mix It Up’ (Simon Harris’s new alter ego), 0-120⅔bpm RICHIE RICH ‘Salsa House’, (0-)119-0bpm D.S. BUILDING CONTRACTORS ‘One For The Burglar’ and their 120⅕-0bpm ‘Depth Charge’, 122½-123¼bpm REESE & SANTONIO ‘Back To The Beat’ and their 0-122⅓bpm ‘Rock To The Beat’, 119⅓bpm ROBOT DJ’s ‘Remote Control’, 121¼bpm BANG THE PARTY ‘Going Home To See My Baby’, 118¼bpm THE SPEECH ‘I Have A Dream’, (0-)121¾-0bpm SILICON CHIP ‘FM (ffrr Remix)’, 125⅔-0bpm HOUSE ADDICTS ‘Come Together’, 125½bpm TYREE ‘Acid Over’, 0-122¼bpm THE J&M CONNECTION ‘Living In A World Of Fantasy’, and in this form somehow rather better 119¾bpm JAMIE PRINCIPLE ‘Rebels’. Acid lemmings, line up here!

NARADA ‘Can’t Get You Outta My Head (Extended Remix)’ (Reprise Records W7767T)
Enthusiastically driving exciting bright pop orientated vigorously pumping and thumping 126bpm frantic bounder, full of crisp production tricks and dramatic edits (although, at this tempo, possibly a prime candidate for an acid remix to make it more compatible with the current club climate?).

LOOSE ENDS ‘Watching You (US 12” Mix) (Virgin VST 1101)
Nick Martinelli-produced bouncily go-go-ish lurching (0-)99⅓bpm chunky wriggler more in their old style (flipped by the snappily frantic 128¾-0bpm ‘Life (The Complete Rebirth)’, with Temptations vocal touches), the A-side’s Timmy Regisford mix being the first to come out here commercially although a much faster snickety rhythm augmented 109⅓bpm Kevin Saunderson remix has also been circulated on promo.

MASSIVE ATTACK featuring DADDY GEE and CARLTON ‘Any Love’ (Massive Attack Records MASS 001, via Revolver/The Cartel)
One half of Bristol’s Wild Bunch produced by Smith & Mighty with Carlton McCarthy sweetly wailing in falsetto Oran ‘Juice’ Jones style over sparse bouncily jittering 105⅓bpm beats, scratches and niggling synth, more a soul song than a rap although its background is hip hop (in four mixes).

MATT BIANCO ‘Good Times (New Long Version)’ (WEA YZ302T)
Organ doodled, piano pattered, flute tootled, sax squawked, and trumpet brayed percussive leaping 113¾bpm samba lurcher with Brazilian flavoured sophisticated husky chanting between the many instrumental breaks, flipped by an alternative beefier instrumental 0-113¾bpm ‘Tumbao’ treatment of the same rhythm track.

STEVEN DANTÉ ‘Find Out’ (Cooltempo CTLP 6)
Much care and talent has been lavished on this extremely polished and mature debut set, on which the standout is the Monte Moir produced ridiculously Alexander O’Neal-like 110⅕bpm ‘Love Follows’, Monte’s lushly swaying 95⅙bpm ‘It’s Only Love‘ being Alex-ish too but his short jerky 0-111½bpm title track seems rather a throwaway, Gardner Cole producing the pent-up jiggly 0-104⅓bpm ‘Taking Love To The Limit‘, soulfully skipping 112⅔bpm ‘Ready To Love‘ and ‘Set It Off’-ish jittery leaping 113⅓-0bpm ‘Imagination‘ (the next single), Steve Harvey producing the breathily tender weaving 37⅓-0bpm ‘Candy’ as well as helping on other tracks (as do the likes of Danny D and Clivilles & Cole), the oddball of the set being a meandering moody 0- 67½/33¾bpm revival of Japan’s ‘Ghosts‘, while the current 116¼bpm ‘I’m Too Scared’ and Jellybean-accompanied 114⅓-114¾-0bpm ‘The Real Thing’ are naturally included as well.

Not due commercially until September 12, this bass bubbled 0-9⅚-0bpm jaunty sweet chanter is overlaid by apparently Aswad created insane reggae dub plate effects, making it madly catchy — and so much more pop than hardcore in effect that one wonders if the Wee Papas are being moulded into the new Amazulu?

DAVID RUDDER and Charlies Roots featuring Tambu ‘This Party Is It’ (London LONX 189)
Timed to coincide with the Notting Hill Carnival, although the music is fun at any time, this typically happy soca leaper is a ‘Hot Hot Hot’-like brassy 119¾bpm calypso sung by Tambu with useful “play, play, Mister DJ” lyrics and bags of bounce.

SIMON HARRIS ‘Here Comes That Sound’ (ffrr FFRX 12)
Perhaps too late in the day to be fully appreciated (and the drum track has been criticised by some as being “weedy”), this air raid siren started 0-117⅓-0bpm volume pumping jitterer brilliantly combines samples from such as Love Deluxe ‘Here Comes That Sound Again’, James Brown ‘Get Up Offa That Thing’/’Please Please Please’, Public Enemy ‘Bring The Noise’, Soul Sonic Force ‘Looking For The Perfect Beat’, Whispers ‘It’s A Love Thing’, Donna Summer ‘I Feel Love’/’Bad Girls’, Todd Terry Project ‘Bango’, KRS-One ‘My Philosophy’, Whistle ‘Just Buggin’’, Matt Bianco ‘Wap Bam Boogie’, Tony Rallo ‘Holdin’ On’, Boris Karloff dialogue and much, much more in not only this Perfect Beat Mix but also 117⅓bpm Electro Breakdown, Perfect Bonus Beats, Acid Fingers Breakdown and Acappella versions – meanwhile, on the 121¼bpm ‘Only A Demo’ flip which is initially creating even more interest, the Acid Fingers Rap Session combines KRS-One’s rap of ‘Stop The Violence’ over a brand new synth twittered acid track, with an Acid Fingers Instrumental too (how many of these are on the commercial pressing I’m not sure).

THIS AIN’T CHICAGO ‘Ride The Rhythm’ (Club JABX 72)
Still the volume pumpers come, this jumpily jittering 119½-0bpm house flier being studded with clipped “there it is” comments, dialogue samples, plaintive female vocal snippets and familiar plinky plunky piano, Jon Williams & Dizzy Dee having remixed a synth twittered self-descriptive Acid Not Placid flip.

PENTHOUSE 4 ‘Slave (To The House Of Love)’ (Dyna Track DYNAT 102, via EMI)
Basic bashing 120bpm UK house jitterer, starting trickily on the “on” beat, with clichéd “say kids, what time is it?” opening questions before tuneful moaning male vocals join in the rather rawly mixed though bubbly beat to make it end with more style than it began (inst too).

CHRISTINA VIERRA ‘You Can Float In My Boat (Extended Remix)’ (Warner Bros W7879T)
Smacking simple Emotions/Jones Girls-ish squeakily lisped and wailed soulful if lightweight little 113-112⅔bpm trotting jittery swayer in refreshingly dated early Eighties style, without any trace of prevailing current production trends.

WELL RED ‘Hard’ (Virgin VST 1112)
“W.E.F.U.N.K. – we funk” introed George Clinton-produced jiggly 0-109⅚bpm P’funk with Prince style vocals, plus scratches and samples from Whistle, Bobby Byrd, James Brown and more, and funky it is although it doesn’t add up to much.

THE SISTERS LOVE ‘Give Me Your Love’ (Motown ZT 41946)
Curtis Mayfield-penned Staple Singers-like sinuously wailing 0-92-91⅙bpm languid slinky jogger from 1973, when it was originally on MoWest in the US, produced by Gloria Jones and Paul Riser.

REALLY FOR REAL ‘Shine On’ (ShockWaves 12GEL 1, via PRT)
Pleasant soulfully duetted 81⅔-81¾-81½-81⅔-82bpm slow rolling swayer in the old Earth Wind & Fire sort of style, by a Wella ShockWaves-sponsored talent contest winning trio – a lot better than that might lead one to suppose! – the production sound being perhaps a bit “brighter” and more open than we’re used to now, but that aids the authentically dated feel (obviously real drums).

SUGAR BEAR ‘Don’t Scandalize Mine’ (US Coslit Records CR1004)
Quite blatantly and usefully Talking Heads ‘Once In A Lifetime’-backed jittery 0-116bpm shouting rap – credited to the rap’s writers rather than to the Heads – flipped by the more mixed up samples backed lurchingly rolling 98bpm ‘Ready To Penetrate’ (dubs too).

STEADY B ‘Let The Hustlers Play (Extended Remix)’ (US Jive 1133-1-JD)
Thunderously rumbling and spurting 104⅓bpm ominous wordy rap jiggler with dropped in samples – including inevitably ‘The Hustlers’ Convention’ – and scratchy sax riffs (inst/edit too, plus the angrily shouted jittery 99⅚bpm ‘On The Real Tip’).

ELITE FORCE ‘Crack Cutie’ (Music Of Life NOTE 18)
Slick chicks fast talking, chatting and chanting about a flashy female friend to brassy JB samples and juddery 100bpm beats (in five mixes) – why am I reminded of Little Richard’s ‘The Girl Can’t Help It’?

TRIBAL HOUSE ‘Dim Daé’ (US Pow Wow Records PW 433)
Winston Jones created but, I would imagine, Mory Kante inspired smoothly pulsing 121¾bpm house jitterer with groaning wordless chants and a ‘Yé Ké Yé Ké’-like jiggly rhythm undertow (in three mixes).

REBEL M.C. ‘Cockney Rhythm’ (B/Ware! Records UM 004, via Rough Trade/The Cartel)
Double Trouble produced very Smiley Culture-like jittery 91⅔bpm reggae rap with a Public Enemy inspired “yes, the rhythm” refrain, nothing fresh.

THE BEAT LADS ‘It’s You’ (Fourth & Broadway 12BRW 111)
Extremely Keith Sweat-like jittery 98¾bpm jolter (in four mixes), well enough done but nothing new.

SADE ‘Nothing Can Come Between Us’ (Epic SADE T3)
Soporific gently pulsing and jiggling 103½bpm breathy swayer, pleasant without being exactly grabbing as a single, flipped by a lushly burbling (0-)100-0bpm ‘Make Some Room’ instrumental which was separately promoed as a mystery white label (not that it generated much interest!).

JERMAINE STEWART ‘Don’t Talk Dirty To Me (Extended Remix)’ (Siren SRNT 86)
Phil Harding & Ian Curnow remixed stuttery bright but ultimately empty 117bpm jittery basher (in three mixes).


VIOLA WILLS ‘These Things Happen (Beatmasters Remix)’ (Rhythm King LEFT 23T)
Beatmasters remixed rather good sinuously wailed and talked drivingly jittered nagging 119½bpm sparse spurting canterer with grunting guys, dramatic accents and a Yazz-ish feel overall, out commercially on September 12;

JASON DONOVAN ‘Nothing Can Divide Us’ (PWL Records PWLT 17), Stock Aitken Waterman now give the Kylie Minogue treatment to the guy who plays Scott in ‘Neighbours’, except his voice isn’t quite so foghorn-ish as Rick Astley but falls more into that style on this simple 119¾bpm breezy chantalong canterer, sure to get much tabloid press promotion;

SABRINA ‘All Of Me’ (Mega/PWL Records PWLT 19), A. Linn perhaps got stuck in a groove for this also 119¾bpm Stock Aitken Waterman-created friskily rattling spirited simple bounder, chanting “boy oh boy” instead of her last hit’s “boys boys boys”, not due commercially until September 19;

TAFFY ‘If You Feel It’ (The Dance Yard Recording Corporation YARD T2), more in the pop-soul mainstream than Hi-NRG, although another with a Yazz-type jiggle, this plaintively sung bass bubbled 119½-0bpm jittery little trotter could indeed appeal to several camps (“harder” less freely flowing (0-)119¼-0bpm B-side mix too), out like so much else on September 12;

LOCAL HERO ‘Daydream Believer (Extended Mix)’ (Ariola 611 652), The Monkees’ tuneful classic revived in straightforward style as an Edinburgh-recorded smoothly spacious tinkling and pulsating 128bpm canterer, dropping in a brief snip of Davy Jones dialogue halfway, with a more angular bashing 127½bpm Dance Mix flip.


BOMB THE BASS featuring MERLIN ‘Megablast (Rap Remix)’ (Rhythm King DOOD R 122), Merlin now earns his label credit with a reggae-accented furious rap over a seriously scrunching 0-110⅔-0bpm scratch groove that’s far harder and more exciting than the original, all the “tired samples” being left out, while Lorraine takes a back seat on this pressing in a percussively pattering and burbling slightly fragmented 0-118¾bpm instrumental scratch treatment of ‘Don’t Make Me Wait’;

DELUXE ‘(I’ve Got A) Feeling (Current Groove Remix)’ (Unyque Artists/The Dance Yard Recording Corporation UNQ 3TR), in a disjointedly jogging 83¾bpm remix, this classy slinker is now on four-track 12 inch with not only a new 107⅚bpm Radio Remix of ‘My Mama And Papa’ but also a sparsely jiggling 96⅓bpm Remix of the Thomas Esterine duetted ‘Your Loving Drives Me Crazy’ “sleeper” hit, plus the good brand new sultrily swaying 89⅔bpm ‘Tic-Toc’ (the label would do well to remove an ever present unwanted sonic tone from the pressing’s groove);

GWEN McCRAE ‘Eighties Lady (Seventies Trammp Mix)’ (The Dance Yard Recording Corporation YARD TR1), brassily backed with a much improved more smoothly syncopated slightly slower 107-106⅚bpm bounce in its wriggle, coupled now by the previously promoed (and reviewed) 107⅚bpm ‘Generate Love (Club Mix)’;

BAPPI LAHIRI ‘Habiba (The Bomb The Bass Remix)’ (Hi-Hat HYT 3R), the previously rather specialist Indian disco chugger now transformer scratched and juddered by Tim Simenon and Mark Saunders in an alarmingly effective (0-)113-0bpm revamp that makes far better use of the original’s exotic noises;

SYN-DEE ‘Best 2 B A Girl (Remix)’ (Virgin VSTR 1111), subduing the original bounce under lots of extraneous scratching and 108⅙bpm percussion;

BABY FORD ‘Oochy Koochy F.U. Baby Yeah Yeah (Remix)’ (Rhythm King RBFORD 1), thumping frenetic 123bpm remix of a twittery acid track reviewed so long ago that I can neither find nor remember the original for comparison!

THE CLUB CHART – September 3, 1988

01 02 BIG FUN/(JUAN’S MAGIC REMIX) Inner-City featuring Kevin Saunderson, 10 Records 12in
02 03 IN THE NAME OF LOVE (CLUB MIX)/THE DREAM (1018 MIX/54 DUB MIX) Swan Lake, Champion 12in
04 13 GITTIN’ FUNKY (UK REMIX) Kid ‘N’ Play, Cooltempo 12in
06 04 PUMP UP LONDON (CLUB MIX) Mr Lee, Breakout 12in
07 06 JIBARO (ENGLISH/SPANISH VERSIONS) Electra, ffrr 12in
08 18 DO THAT AGAIN (CLUB VERSION) Blue Moderne, US Atlantic 12in
09 07 DON’T BE CRUEL (EXTENDED VERSION) Bobby Brown, MCA Records 12in
10 11 IT BEGAN IN AFRICA The Urban All Stars, Urban 12in
12 08 STATIC (F.F. REMIX/ALBUM VERSION) James Brown, Scotti Bros 12in
13 26 WE CALL IT ACIEED D Mob, ffrr 12in promo
14 17 STALEMATE Mac Band featuring the McCampbell Brothers, MCA Records 12in
15 20 STRICTLY BUSINESS (12” VOCAL) EPMD, Cooltempo/Ensign 12in
16 21 I’LL HOUSE YOU Jungle Brothers, US Idlers 12in
17 60 ACID MAN (ORIGINAL/HAPPY MIXES) Jolly Roger, 10 Records 12in
18 10 ROSES ARE RED Mac Band featuring The McCampbell Brothers, MCA Records 12in
19 54 WATCHING YOU (TIMMY REGISFORD US 12” REMIX) Loose Ends, Virgin 12in
20 09 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
22 40 DON’T BE CRUEL (THE RAPACIOUS MIX) Bobby Brown, MCA Records 12in
23 28 LOVE/GET BUSY Rick Clarke, WA Records 12in
24 24 MEGABLAST (HIP HOP ON PRECINCT 13) Bomb The Bass featuring Merlin & Antonia, Rhythm King 12in
25 15 (I’VE GOT A) FEELING/MY MAMA AND PAPA ALWAYS TOLD ME (CLUB REMIX)  Deluxe, The Dance Yard Recording Corporation 12in
26 41 STOP THIS CRAZY THING Coldcut featuring Junior Reid & The Ahead Of Our Time Orchestra, Ahead Of Our Time 12in mailing list promo
27 29 THE ONLY WAY IS UP/(SPENG) Yazz and the Plastic Population, Big Life 12in
28 42 REACHIN’ (BROTHERHOOD MIX) Phase II, US Movin’ Records 12in
29 12 SUPERFLY GUY S’Express, Rhythm King 12in
30 83 TEARDROPS (EXTENDED REMIX) Womack & Womack, Fourth & Broadway 12in
32 31 WHY (YOU COULD HAVE HAD IT ALL) Tongue ‘N’ Cheek, Criminal Records 12in
33 87 SLEEPLESS WEEKEND (REMIX) Howard Huntsberry, US MCA Records 12in
35 88 YOU TAKE MY BREATH AWAY (12” VERSION) David Cole, US Epic 12in
36 30 TURN IT UP Richie Rich, Club 12in
37 58 THIS IS SOMETHING FOR THE RADIO (RAP REMIX) Biz Markie, US Cold Chillin’ 12in
38 49 KING OF THE BEATS Mantronix, US Capitol 12in
39 99 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
40 61 DELTA HOUSE/DO YOU WANNA DANCE?/I HAVE A DREAM Housemaster Baldwin, Kool Kat 12in
41 23 EIGHTIES LADY/GENERATE LOVE (WISE MOVE MIX) Gwen McCrae, The Dance Yard Recording Corporation 12in
42 39 GET OUT OF MY HOUSE! (SPECTRUM EDIT/MUTANT VERSION) Sound Assassins, Cooltempo 12in
43 — RIDING ON A TRAIN (EXTENDED VERSION) The Pasadenas, CBS 12in white label
44 — RIDE THE RHYTHM/(ACID NOT PLACID) This Ain’t Chicago, Club 12in black label
45 68 REBELS (GET RIGHTEOUS) Jamie Principle, ffrr 12in
46 32 TRIBUTE RIGHT ON (THE Q STREET MIX) The Pasadenas, CBS 12in
47 27 HOLD ON TO WHAT YOU’VE GOT (CLIVILLES & COLE REMIX) Evelyn ‘Champagne’ King, EMI-Manhattan 12in
48 76 LET THE MUSIC (USE YOU) (CLUB MIX) The Night Writers, Jack Trax 12in
50 57 YÉ KÉ YÉ KÉ (THE AFRO ACID REMIX) Mory Kante, London 12in
51 43 SUPERFLY GUY (FLUFFY BAGEL MIX) S’Express, Rhythm King 12in
52 53 PARENTS (JUST DON’T UNDERSTAND) (DANNY D REMIX) DJ Jazzy Jeff & The Fresh Prince, Jive 12in
53 — BAILANDO (BALEARIC MATEY MIX) Alaska, Syncopate 12in
54 75 ANY LOVE Massive Attack featuring Daddy Gee & Carlton, Massive Attack Records 12in mailing list promo
55 95 DANCE WITH THE DEVIL (BALEARIC MIX)/AMNESIA (UP ALL NIGHT MIX) The Project Club, Supreme Records 12in
56 25 NO STATIC (THE 8 MINUTE FULL FORCE DEF MIX) James Brown, Scotti Bros 12in
57 93 THE PARTY (CLUB MIX) Kraze, US Big Beat 12in
58 36 OFF ON YOUR OWN (GIRL) (STREET MIX/REMIX) Al B. Sure!, US Warner Bros/Uptown 12in
60 — WHY SHOULD I LOVE YOU? (DOUBLE TROUBLE REMIX) Jacqui Jones, GTi Records 12in
61 51 DROPPIN’ SCIENCE Marley Marl featuring Craig G, US Cold Chillin’ 12in
63 47 DIN DAA DAA (TROMMELTANZ) George Kranz, Fourth & Broadway 12in
64 22 THE RIGHT STUFF (EXTENDED VERSION) Vanessa Williams, Wing Records 12in
61 71 NIGHT TRAIN/KEEP ON DRIVIN’ T-Coy, deConstruction Records 12in
66 64 BURN IT UP/ACID BURN Beatmasters, Rhythm King 12in mailing list promo
67 33 IT’S BEST TO BE A GIRL Syn-Dee, Virgin 12in mailing list promo
68 72 RELEASE YOUR BODY (MAYDAY MIX/RELEASE THE ACID MIX) Bang The Party, Warriors Dance 12in
70 44 (WHAT CAN I SAY) TO MAKE YOU LOVE ME Alexander O’Neal, Tabu 12in
72 73 TO THE RHYTHM Longsy D. + Cut Master MC, Big One 12in
73 91 HERE WE GO AGAIN (DIAZ MIX) Diaz Brothers, US Bassment Records 12in
74 78 THIS IS ACID Maurice/AS ACID TURNS Liddell Townsell/I’LL NEVER LET YOU GO (INSTRUMENTAL) William $ (‘House Hallucinates’), Breakout LP
75 38 SHARE MY JOY Jo Ann Jones, Champion 12in
76 46 LIKE DREAMERS DO (THE FREEWAY MIX) Mica Paris, Fourth & Broadway 12in
79 — SET IT OFF (MARLEY MARL MIX) Big Daddy Kane, Cold Chillin’ 12in promo
80 81 HUSTLE! (TO THE MUSIC…) (POSTDORAMIX) The Funky Worm, FON 12in
81 77 THE ONLY WAY IS UP (THE BAM BAM REMIX/THE UP UP UP MIX) Yazz And The Plastic Population, Big Life 12in
82 82 WE CALL IT ACIEED D.Mob/MIX IT UP Acid Fingers/SALSA HOUSE Richie Rich/COME TOGETHER House Addicts (‘The House Sound Of London Vol. 4 – The Jackin’ Zone’), ffrr LP
83 — HERE COMES THAT SOUND/ONLY A DEMO Simon Harris, ffrr 12in mailing list promo
85 50 SUMMERTIME Vertical Hold, Fourth & Broadway 12in
86 re JUMP START (DANCE MIX)/I WANNA BE THAT WOMAN Natalie Cole, EMI-Manhattan 12in
88 90 NEVER/NATURALLY Top Billin’, Rapsonic 12in
89 — BEST 2 B A GIRL (REMIX) Syn-Dee, Virgin 12in mailing list promo
90 — TIC-TOC/(I’VE GOT A) FEELING (CURRENT GROOVE REMIX)/YOUR LOVING DRIVES ME CRAZY (REMIX) Deluxe, Unyque Artists/The Dance Yard Recording Corporation 12in
91 100= DREAM GIRL Pierre’s Pfantasy Club, Jack Trax 12in
92 69 TO THE LETTER Millie Scott, Fourth & Broadway 12in
93 97 MY PART OF TOWN (RUTGER ‘RUTTI’ KROESE REMIX) Tuff Crew, Dutch Rhythm Records 12in
95 — ACID THUNDER Fast Eddie, US DJ International Records 12in
97 — GIRL YOU KNOW IT’S TRUE (NYC SUBWAY MIX) Milli Vanilli, Cooltempo 12in promo
98 86 I WILL ALWAYS LOVE YOU Eddie Stockley, Mango Street 12in
99 — I AIN’T GOIN’ OUT LIKE THAT (BUSY MIX)/OVERDOSE Dr Luv & Kev-Ski, US Zakia Records 12in
100 — IN THE NAME OF LOVE ’88 (SHEP PETTIBONE RAILROAD MIX) Thompson Twins, US Arista 12in


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


01 01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 02 THE LOCO-MOTION Kylie Minogue, PWL 12in
03 10 THE HARDER I TRY (EXTENDED MIX) Brother Beyond, Parlophone 12in
04 04 I NEED YOU B.V.S.M.P., Debut 12in
05 05 SUPERFLY GUY S’Express, Rhythm King 12in
06 — POPCORN T.I.C., Arista 12in
07 03 YOU CAME Kim Wilde, MCA 12in
08 06 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
09 07 CROSS MY HEART Eighth Wonder, CBS 12in
10 — THE LOVE I LOST Seventh Avenue, Nightmare 12in


01 01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 02 DOCTOR’S ORDERS Lisa Carter, Parlophone 12in
03 04 REACH OUT Romi & Jazz, Arishma 12in
04 03 OVER AND OVER AND OVER Michelle Goulet, US Island 12in
05 08 THE HARDER I TRY (THE HARDEST MIX) Brother Beyond, EMI 12in
06 17 YÉ KÉ YÉ KÉ (AFRO ACID MIX) Mory Kante, ffrr 12in
07 24 THE RACE Yello, Fontana 12in promo
08 07 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
09 06 SUPERFLY GUY S’Express, Rhythm King 12in
10 09 THE LOVE I LOST Seventh Avenue, Nightmare 12in
11 05 THE LOCO-MOTION (THE KOHAKU MIX) Kylie Minogue, PWL 12in
12 10 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
13 11 YOU CAME Kim Wilde, MCA 12in
15 38 I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in
16 15 FLAMES OF LOVE Fancy, German Metronome 12in
17 20 ROCK ME BABY Lysa Lynn, US Emergency 12in
18 18 I NEED YOUR PASSION Sweet Connection, German Blow Up 12in
19 13 REQUIEM London Boys, German Teldec 12in
20 — JACKIE Blue Zone UK, US MCA 12in
21 — YOUR LOVE JUST CAME TOO LATE Eria Fachin, US Critique 12in
22 28 CROSS MY HEART Eighth Wonder, CBS 12in
23 — SAFE IN THE ARMS OF LOVE (EXTRA BEAT BOYS REMIX) Shooting Party, Lisson 12in
25 — WATCH OUT Jackie Touche, Dutch Made Up 12in
26 25 LOVE IS THE GUN (STREET LATIN WOLFF 3) Blue Mercedes, MCA 12in
27 22 POPCORN M&H Band, French Family 12in
28 36 EMOTION Jakie Quartz, Dutch CBS 12in
29 26 I CRY FOR YOU Shy Rose, US JDC 12in
30 21 IT’S NATURE’S WAY (NO PROBLEM) Dollar, London 12in
31 27 ALL OF ME Sabrina, French Carrere 12in
32 — EVERY GIRL & BOY Spagna, CBS 12in
33 32 CHICA CUBANA Tatjana, Dutch High Fashion 12in
34 23 HOT FOR YOU Lorraine Scott, Canadian Slak 12in
36 34 SOUL SURVIVOR (SURVIVOR MIX) C.C. Catch, Hansa/RCA 12in
37 37 BOYS AND GIRLS Mandy, PWL Records 12in
38 — HIT ‘N’ RUN LOVER (REMAKE) Carol Jiani, Passion 12in

3 thoughts on “September 3, 1988: Michael Jackson, Tony Terry, The Pasadenas, Sweet Obsession, Biz Markie”

  1. With a record number of mentions – 44 in all – I’m hereby declaring September 3rd 1988 as the week that acid peaked. Since July 16th, the total has steadily and sharply climbed: 11, 20, 23, 25, 31, 25, 35, 44.

    The Boogie Tunes compilation, and its rapidly issued successor (Boogie Tunes 2), were big hits with the KISS-fm crowd, and it marks the first reference here to the term “boogie”. That said, the range of music on this first compilation spans considerably wider than the style of early Eighties soul-funk that has since come to define the term (although Boogie Tunes 2 does come closer).

    The sleeve notes for Boogie Tunes make interesting reading. Here they are:


    ‘Boogie’ is not a style of music. It does not come from an area of America, it does not come from a record label, it wasn’t all played at one type of club. We call it ‘boogie’ because it’s a good-time and uplifting word that makes us think of great evenings spent dancing to great music. You know you’ve walked into a ‘boogie’ function because everyone is dancing. They’re not looking to pick-up a member of the opposite sex and they’re not looking to see what everyone else is wearing. ‘Boogie’ people love music and love dancing.

    These tracks date from 1975 to 1985, and when we think of the people that played ‘boogie’ or held ‘boogie’ functions, we think of DJ’s such as Greg Edwards, the late Steve Walsh, George Power, Alex Anders, Owen Washington, Trevor Shakes, Paul Anderson, Tim Westwood and Gordon Mac. We think of London clubs such as Crackers, Spats, Electric Ballroom, Kisses, the Maze (Upstairs At Ronnie’s), 100 Club and Billy’s (now Gossips).

    Without wishing to insult anyone, we’re fully aware that many DJ’s all over Britain hove been playing these tracks and tracks like them for years.

    Organise a party for this weekend, get yourself a good sound system, get your dancing shoes out, put this album on and BOOGIE!


  2. I had the two Boogie Tunes albums but had completely forgotten about their existence I think they were they may have been the last old school funk albums I ever bought before I fully disappeared into the acid house whirlpool. And went in my selling of all my vinyl in the mid 90s.

    I remember ‘Boogie Times’ off volume 1 and the Kinsmen Dazz and Starvue tunes off volume 2 were the really big ones at the time of the albums coming out, on the pirates. ‘Boogie Times’ soon lent it’s title to the famous East London record shop of the hardcore era which released the number one Kiss dance chart record in about 1992 ‘Dark stranger ‘ by the Boogie Times Tribe.

    I notice that the Second Base night at Dingwalls includes about 90% of the original legal Kiss FM lineup from legalisation in 1989 – even Judge Jules.!

    The cancellation of the acid house night because of the “ecstasy links” must have been around the time Spectrum became Land of Oz after Heaven owner Richard Branson got scared of being indirectly attached to acid house.


    1. My sister and her KISS-fm buddies were massively into Boogie Tunes 2, the biggest tunes for them being (as you say) Starvue ‘Body Fusion’ and The Dells ‘All About The Papers’. As for Derrick ‘Boogie Times’ from the first compilation, it has to be a strong candidate for giving the boogie genre its name…


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