September 17, 1988: “My stand against the totally unnecessary but fashionable and commercially exploited connection between the drug called ecstasy and the music called acid house”

ACID

I hope that by pointing out a few things I may persuade any doubters that perhaps I do know what I’m talking about in my stand against the totally unnecessary but fashionable and commercially exploited connection between the drug called ecstasy and the music called acid house. In common with so many who grew up during the Sixties, I have had first hand experience of what you might call the ‘fun’ drug scene for 25 years, both socially and professionally, which includes jocking every weekend at Soho’s legendary mod club The Scene at the height of the purple heart craze (the floor underfoot would suddenly get crunchy whenever there was a police raid!), and running a psychedelic disco in an air tent at, amongst other major hippy gatherings, the massive 1970 Isle Of Wight festival (where I spent 12 days — it only lasted five! — and, incidentally, grew the very same beard that I still wear). Nearly all of the people of my generation who I used to know, but who are now dead, and I only recently realised with horror that it is quite a number, died from drugs related causes. They too began by thinking some harmless seeming substance was trendy. Obviously, not everyone who pops a pill, smokes a joint, snorts some coke or drops a tab is going to progress to the hard stuff. Most people set out to be careful, and have relatively harmless fun . . . if they’re lucky. It is the insidious way in which drugs are promoted to the impressionable and vulnerable young as a fashion accessory that is most dangerous. This process is now being used, often I am sure unintentionally, to link ecstasy with acid house — which began innocently enough as a musical form, the title of Phuture’s ‘Acid Trax’ supplying an appropriate term to help describe the strain of synth sizzled house that was then emerging. OK, maybe some dancers in Chicago always were high on more than just the music, but this was largely unknown here and had no bearing in Britain on the usage of the purely music categorising name, ‘acid house’ — until it all got confused by the cross pollination of such different trendy London nightclub fashions as Balearic beat and born again hippy, so that the word ‘acid’ was taken at face value as meaning LSD, or its more accessible relative, ecstasy, and waving your arms about self consciously in front of your face in a trance dance and chanting ‘acieed!’ suddenly took on a sinister overtone. Doing this is of course big fun, and acid house nights are full of exciting energy. Most of the music, as you must be aware, I have reviewed or at the very least monitored in a positive way with varying degrees of enthusiasm. In the current polarisation of musical styles, my own black rooted taste may be more towards rap, which I have no difficulty in seeing as the logical modern continuation of age old black music traditions, but many (especially the more soulfully grounded) US house productions I like a lot — and, as regards the ease of reviewing it, I’m all for the simplicity of acid house! What I do dislike, and what my stand is against, is the cynical marketing in this country of uninspired material by giving it a questionable commerciality through spurious association with the drug meaning of the words acid and ecstasy, and the like. Agreed, this may lead to a subjective judgement on my part, but then I am meant to be a critic, and, as the preceding sentence should show, it is in any case more a matter of the packaging rather than the actual music to which I may be objecting. (However, as has been pointed out a few times before, I do equate much of the more mindless acid house material with the disco dross of the late Seventies — which doesn’t necessarily stop you loving it, as it’s all down to personal taste!) It is in the interest of drug pushers to increase their market by encouraging the use of soft drugs, in the hope that they can then hook people into a harder habit from which the profits are even higher. The tabloid press’s spectre of the pusher lurking outside schoolyard gates comes more realistically alive when one considers the dreadfully misguided way in which Bros have tagged their new single’s different versions as The ‘Turn On’ Mix and The Acidic Mix. There’s nothing cute and cuddly about those terms, not that one really expects even their most impressionable fans to go rushing out in a quest for practical knowledge as a result! Even so, from innocent experimentation unbreakable habits can be formed, and you can be sure that, if the kid who supplies you at an acid gig isn’t himself rich, someone in the chain who supplied him is laughing all the way to the bank and rubbing their hands with glee at the prospect of all the new suckers that slavish devotion to the acid ethic has brought into the market. Make sure the dope that’s being taken isn’t you, for a ride. Don’t don’t do it. Let’s just enjoy the music on its own.


BEATS & PIECES

Postal strike disruptions have caused headaches for everyone, and unless they end soon seem likely to make rm’s dance charts turn into sales charts (now that would reveal a thing or two!); however, if DJs have access to a FAX machine we would really appreciate it if they could FAX us their weekly chart returns by no later than Wednesday afternoon on (01-)388 9576, marked “RM Disco Chart – attention Alan Jones” (this is not a regular telephone number, it will give you a pain in the ear if you try to talk to it!) – we do not unfortunately have time to take down individual charts in the normal way over the phone … Red Star rail freight is being used by several record companies to get promos to central distribution points around the country, from which DJs can collect them, the main specialist stores in major towns being used like this by such as MCA Records while Rush Release are building a network of their centrally located mailing list DJs to act as local agents – we could see the American record pool method of promo distribution catch on here finally as a result, while another might be that some DJs will suddenly rediscover the advantages of being able to pick and choose, and actually buy just the material that they really need! … ‘Sure Beats 1’, the seven inch 33⅓rpm vinyl EP that is given away free with rm next week (issue w/e September 24), contains the Wee Papa Girl Rappers’ funky break beat cutting brightly lurching 98⅓bpm ‘You Got The Beat’ from their forthcoming LP, DJ Jazzy Jeff & The Fresh Prince’s excellent jazzily undulating 102⅙bpm ‘Here We Go Again’ (instead of the track mentioned last week) from their current LP, Bomb The Bass featuring Merlin’s unavailable original 0-111½bpm rap version of ‘Megablast’, and a tempoless “conceptual” deep breathing exercise by S’Xpress called ‘Coma’ – place your order now, and remember ‘Sure Beats 2’ is free the following week too … Richie Rich has re-recorded in London with the Jungle Brothers a brand new version of ‘I’ll House You’ which will be on Gee St Records for officially sanctioned UK release in four weeks – Richie’s own solo recordings will also again be on that label rather than on Club, while a Gee Zone house label will be launched next month … Alexander O’Neal ‘What Can I Say To Make You Love Me’, inevitably now that it’s already been out here as a single, has just been remixed in the US! … MC La Kim ‘The Posse Is Large’ is produced by DJ Mark: The 45 King – last week’s copy confused his name by omitting some crucial capital letters … Ecstasy’s anti-drugs ‘Ecstasy (Don’t Do It)’ appears to be on Syncopate … Les Adams’ remix of Inner City will indeed be out commercially, although altered from the Disco Mix Club version … LA Mix have recruited Newport Pagnell multi-instrumentalist Mike Stevens as a collaborator on future recordings, separate from his own solo career – he was, for instance, support act to Freddie Jackson in London this last weekend … Jeff Young loses an hour from his Friday night dance music show in Radio 1’s upcoming reshuffle … Greg Edwards would appear to be confirmed for a weekend soul show on GLR (Greater London Radio), as BBC Radio London will be called after its relaunch next month – a lot of people are being surprisingly naïve if they seriously think that the sad disappearance of Radio London’s daytime soul shows should be compensated for by new ones on Capital Radio, as both stations obviously know how to target the audiences that they now respectively want (if pirate radio can pull up its socks and present itself more listenably, it is that which ought to fill the gap) … ‘The Hit Man And Her’ made its chaotic debut on ITV at 4am on Sunday morning two weekends ago, live from Mr Smiths in Warrington, with Pete Waterman shouting at the turntables and TV-am’s ‘Wacaday’ girl Michaela Strachan screaming “woooo!” through everything – everything in fact consisting of all Pete’s own current product shamelessly plugged to the practical exclusion of all else, the whole televised “best disco in town” concept being a total mess without the advantage of properly staged set pieces, as a crowded disco environment does not come across as good TV (unfortunately) … Zoe Glitherow leaves WEA at the end of this month after nine and a half years of helping Fred Dove promote their disco releases … Terrajacks ‘Houseplan’ for some reason has a strong following in the East Midlands and next to none anywhere else, according to our chart returns, one of the few truly regional breakouts we’ve spotted in ages … George Benson was slow to hit The Club Chart, largely because, prior to DJs’ charts coming in (there’s always an inevitable delay even without strikes, unless of course they FAX ‘em!), our sales survey these days shows that buyers’ tastes are so polarised that if it isn’t either house or rap they aren’t terribly interested (in London, anyway) … Womack & Womack’s follow-up will be a remix of their album’s standout ‘Life Is Just A Ballgame’ … Marshall Jefferson is producing a comeback album by the Trammps … Ichiban Records were obviously too busy to send me records as they’ve been signing the Manhattans and Three Degrees to the previously “southern soul” orientated label … Johnnie Wilder, now no longer singing with Heatwave, has just recorded his own solo LP in the US, of gospel-ish inspirational songs (he’s still wheelchair-bound) … Peter Royer, who did a version of ‘Love Is In Season’ a couple of years back, is Erroll Kennedy’s replacement alongside Leee John and Ashley Ingram in Imagination now … Graeme Park has teamed up with Mike Pickering playing house at Manchester’s Hacienda on Fridays and other selected venues together … Andy Carroll, Mike Knowler and Davy bring Balearic beats and acieed to Liverpool’s The State every Monday now … Tim Westwood joins Disco Gary VanDenBussche rocking the house at Annerly Town Hall’s The Effect next Tuesday (20), for under 18’s … ‘A Groovy Kind Of Love’ first surfaced here, ahead of the Mindbenders’ hit version, by Patti LaBelle & The Blue Belles as the better B-side to their London-released ‘Over The Rainbow’ … Rick Astley’s newie is being compared by some to Jeffrey Osborne … Carrie Grant is the perhaps surprising new name of David’s wife, their wedding at “London’s International Charismatic Church”, Kensington Temple being an interesting ceremony, with a wisecracking Welsh preacher wired for sound via a tieclip radio mic, and some great singing from the London Community Gospel Choir among others, the happy couple’s very swank reception in a marquee on a lawn beside the Thames in Putney being climaxed when, in a surprise for his bride, David whisked her away through the night in a launch on the moonlit millpond smooth river – one of the most romantic scenes imaginable! … Colin Hudd is one DJ who loves house and is high on the music but is dead worried that people now think he’s high on something else … Ian Levine makes the valid point that, even at its most banal, late Seventies disco dross was at least tuneful, which is more than can be said for most of acid house … Radio 1’s Newsbeat programme made the surprising report last week that wholemeal bread and muesli contain traces of LSD, found in the wheatgerm, which opens up all sorts of joke opportunities, like people taking packed sandwiches to acieed gigs (it gives a whole new meaning to “Allinson’s, the bread with nowt taken out!) … “Bet you can’t eat three Weetabix without falling over!” … “Hey man, got any Alpen?” … “No, but I’ve got some red hot Country Store” … NANU NANU!


 

HOT VINYL

BILL WITHERS ‘Lovely Day (Sunshine Mix)’ (CBS 653001 6)
Already a smash before I know it was even out, Ben Liebrand’s latest excellent revamp of an oldie has his usual newly added augmenting 98⅓-0bpm go-go-ish beats and samples, coupled with 1977’s swaying 98bpm original version, 1972’s sombrely soulful 0-36½/73-75¼-73¾-0bpm ‘Lean On Me’ and 1971’s attractively croaking 75¾-79¾-0bpm ‘Ain’t No Sunshine’, essential classics all.

ROYAL HOUSE ‘Can You Party?’ (US Idlers WAR-2706)
Already white labelled for eventual release here by Champion (CHAMP 1017), this often terrific though patchy album of totally lunatic over the top house and hip hop created by cult New York producer Todd Terry has the crazed samples crammed jerkily 123¼-122¾-123½-0bpm ‘Yeah Buddy’, ‘Stone Fox Chase’-based jerky 0-106⅔-0bpm ‘The Chase’, ‘Funky Drummer’-cutting rambling hip hop instrumental 100⅚-100⅔-101-0bpm ‘The Journey’ (yes, it’s “into sound”!), exciting acid house anthem 123-0bpm title track, its drily percussive jittery dubwise 0-122¾bpm ‘Dirty Beats’ and stuttery bounding (0-)123-0bpm ‘Party People’ original version, a short edit of the earlier tumbling 123bpm ‘Key The Pulse’, husky Ian Star nagged disjointedly lurching 120-0bpm ‘A Better Way’, grunting and scratching 101-0bpm ‘This Is Royal House’, and rather flat oddly haunting plaintive girl moaned and wailed 0-92⅚-0bpm ‘No Way No Way’.

KRAZE ‘The Party’ (MCA Records MCAT 1288)
Promoed ahead of commercial release nearer the end of the month, when presumably this 33⅓rpm five track duplication of the US 12 inch will have to lose some versions to fit the UK’s chart laws, this is the very simple raucously shouted exciting here 120½bpm piano nagged house leaper about which I appear to have been the first to rave, long before it managed at last to hit The Club Chart following the concerted efforts of such jocks as Paul Oakenfold, Jeff Young and Pete Tong (all of whom were on it from the off). It ain’t subtle, but it’s heavy!

THE MINUTEMEN ‘Bingo Bongo’ (US Smokin’ TAI 126608)
New York now has a Todd Terry copyist, Norberto ‘Norty’ Cotto creating seven different versions of this silly title line repeating simple effective 121½bpm hustler, the flip’s three House Mixes being better than the A-side’s more jittery Club Versions. Bango (In The Name Of Love)?

ICE-T ‘I’m Your Pusher (LP Version)’ (US Sire 0-21026)
Curtis Mayfield based fascinating sinister sounding 0-108⅙bpm slinky rap, the dope being pushed however, in a clever twist, not being the hard stuff but the “dope beats” of rap music itself, and of Ice-T in particular, flipped by the starkly jittering nasal 95⅚-0bpm ‘Girls L.G.B.N.A.F.’ – which, parental guidance recommended, stands for “Let’s Get Buck Naked And F***” (there are instrumental and acappella versions of both, too).

BACK TO BASICS ‘Back To Basics’ (US New York Underground Records NU002)
A confusingly labelled New York “deep house”-cum-“garage” five-track EP, either the act or the set being titled Back To Basics as the different tunes are also individually credited, the Cassio Ware muttered sneakily amusing loping 119½-0bpm ‘Crazy (It Is)’ to RuffNeck, its (0-)120bpm ‘The Definition Of A Track’ instrumental adaptation to The Backroom, the nervily started Kenya Travitt worried surging “pshta pshta” hustled 120½-0bpm ‘Come Into My Heart‘ (and its bonus bits) to First Station, the sweetly wailed bounding 121½bpm ‘Make My Body Rock (Feel It)‘ to Cheri Williams, and the plaintively jittering (0-)119½bpm ‘Is It Me (That You Want)‘ to Renee Washington.

“E” ‘Bat-Trax’ (Circle City Records CCY T7)
Quite useful percussively pattering then boundingly building 120½-0bpm treatment of the ‘Batman’ theme with effects and bursts of dialogue plus silly bits, Sean French reputedly supplying some of the vocals, flipped by a samples studded 0-123¾-0bpm electro-acid thudder called ‘E’ which overlays amongst other things a documentary soundtrack “into the world of the LSD user”, plus the usual chants of “acieed!” (which is really only the modern equivalent of “whoa-oh, whoa-oh!”).

SPINMASTERS ‘Bustin’ Loose (LP Version)’ (US Warner Bros 0-21027)
Ice-T and Afrika Islam co-produced “specially priced double artist maxi-single” with this Chuck Brown scratching percussively jiggling 107⅚bpm angry rap on one side and EVERLAST ‘Syndication’ on the other, a James Brown ‘Sex Machine’ break beat based 104⅔bpm sinuous wordy rap (both in LP Version, Instrumental, Dub Version and Bonus Beats) – however, the LP their versions are from is now also out here, a various artists rap set called ‘Rhyme Syndicate Comin’ Through’ (Warner Bros 925 774-1) which I have not had time to review yet. Other UK-issued hot rap LPs include MARLEY MARL ‘In Control Volume 1’ (Cold Chillin’ 925 783-1) featuring guest rappers (like Roxanne Shanté on ‘Wack Itt’, a “diss” of ‘Push It’!) and SUPER LOVER CEE & CASANOVA RUD ‘Girls I Got ‘Em Locked’ (DNA International 860 807-1), while a strong soul album on import is the eagerly awaited KARYN WHITE ‘Karyn White’ (US Warner Bros 1-25637), the solo debut by Jeff Lorber’s ‘The Facts Of Love’ singer, a US 12 inch also being due now of her seven-inched jolting jiggly swaying ‘The Way You Love Me’. Full reviews next week, BPMs in The Club Chart now should these have hit it!

TRUE MATHEMATICS ‘For The Lover In You (Remix)’ (Champion CHAMP 12-83)
The hottest cut on Mr Mathematics’ recent album, this Hank Shocklee co-created break beats constructed pattering and rolling 100bpm intelligently worded anti-materialism rap has been selling on US Select but is out here in a fortnight (instrumental flip, and 101bpm New York Remix of the literally phoned-in ‘For The Money’).

THE GYRLZ ‘If It’s Games You’re Playing (Extended Version)’ (US Uptown/Capitol V-15401)
Kyle West-produced pleasant sweet girls cooed jiggly jogging go-go hip hop-ish 99⅓-0bpm swaying soul roller, bridging through a useful false finish into a good dubwise last half (inst/edit flip), without any Teddy Riley involvement this time.

THE BEAT CLUB ‘Security’ (Bass Records BSS 12-3)
Girls and guys muttered rather stop/start Latin hip hop type 120½bpm electro jitterer based very datedly on Tyrone Brunson’s ‘The Smurf’ rhythm (in five mixes), on US Pizazz import for a while but due out here on September 26.

READY FOR THE WORLD ‘My Girly (Extended Remix)’ (US MCA Records MCA-23865)
Nothing to do with the Temptations’ differently spelt oldie, this disturbingly abrupt very starkly jittering tight tense 105⅙bpm jolter is in the Prince style, with clipped gurgling organ chords adding a squiggly undertow in spurts, some tapping congas joining the syncopation as it builds, to fascinating effect (in five mixes).

WILL DOWNING ‘Free (Manhattan Mix)’ (Fourth & Broadway 12BRW 112)
His first solo US single finally reaches the UK release schedule remixed by Gail ‘Sky’ King, a lushly preambled (0-)93½bpm jerkily logging attractive breathily swooping treatment of Deniece Williams’ classic oldie, pausing at a soaring vocal note two-thirds through before changing into a less chunkily trotting direction (quietly backed Percappella and his album’s more hesitant good 84½bpm ‘Dancin’ In The Moonlight’ too).


POP DANCE

BROS ‘I Quit (The “Turn-on” Mix)’ (CBS ATOM T5), musically twittering and clucking 120-0bpm jerky throbber with typical vocal patterns and a dated stuttery electro beat like COD ‘In The Bottle’, not exactly a masterpiece of a song, also separately available in The Acidic Mix (CBS ATOM QT5), a violently disjointed untidy 124¾bpm attempt to be real ”acieed!”, which it isn’t, although it’s selling like crazy to pop jocks;

DAVID GRANT ‘Intuition 88’ (Fresher Records FRESH 1), David and Carrie Grant had a steel band at their wedding reception, this of course being the steel band tinkled 1981 Linx oldie, now apparently with Sketch back on burbling bass for a rather frenetic gimmicky scratching 118bpm revamp that, much as I’d like it to be in the circumstances, doesn’t strike me as being necessarily either an improvement or a particularly current sounding treatment;

ASWAD ‘The Message’ (Mango 12 IS 383), jerkily staccato jolting 88bpm bubbly backed jiggler more for their roots fans than the mass pop public, which is in some ways a good thing and in others maybe not;

SPANDAU BALLET ‘Raw (Extended Mix)’ (CBS SPANS T3), chicken scratch guitared slightly Level 42-ish jittery (0-)120-0bpm lurching canterer with bursts of rock aimed chanting, nothing like as solid a song as their oldies.


HI-NRG

THE VELVELETTES ‘Running Out Of Luck’ (Nightmare MARE 60), Levine & Trench created maddeningly familiar 127¾bpm pastiche of Jackie Lee’s ‘The Duck’ and other Mirwood released northern soul oldies, the veteran Motown girls sounding fine (but the photographer could have used a kinder lens and lighting, surely?);

DESIRELESS ‘John (Extended Remix)’ (CBS DESI T3), Les Adams rebuilt gently burbling 119¾bpm trotter, French sung again and apparently about John The Baptist in a cryptic sort of way, but nowhere near as catchy as her also included ‘Voyage Voyage’ hit;

MARV JOHNSON ‘By Hook Or By Crook’ (Nightmare MARE 51), Berry Gordy Jr’s first original, pre-Motown, solo star sounds vocally unsure on this Levine & Trench created speedily galloping 130¾-0bpm facile flier;

TAYLOR DAYNE ‘Don’t Rush Me (Extended Version)’ (Arista 611 687), subduedly sung and not particularly notable 129½bpm bashing canterer that takes a long time getting to the few hooks it has;

LILY SAVAGE ‘Tough At The Top’ (Nightmare MARE 64), incredibly derivative 124½-0bpm Lan Levine & Steven Wagner created canterer by a drag queen who can’t sing, dire!


REMIXES

ALEXANDER O’NEAL ‘Fake <88> (Housemix)’ (Tabu 652949 6), very different drily subdued pattering new 0-110⅚bpm Keith Cohen & Steve Beltran remix of his earlier hit, misleadingly called a Housemix although it isn’t (which won’t stop it rekindling interest), with a dub and his first album’s 116bpm ‘Innocent’ as flip;

INNER CITY featuring Kevin Saunderson ‘Big Fun (Club Remix)’ (10 Records TENR 240), creatively marketed ahead of Les Adams’ more industrial total revamp, this not much altered (0-)121¼bpm ‘Magic Juan’ Atkins mix is chiefly notable for the flip’s 124¾-0bpm ‘Techno Frisbee Megamix’ of various Detroit techno artists by Nottingham’s Graeme Park;

JOLLY ROGER ‘Acid Man (Techno Mix)’ (10 Records TENR 236), synth twittered stuttery drier 131¼-0bpm remix by the record’s Milton Keynes-based creator, DJ Eddie Richards, flipped by the originally released mixes.


THE CLUB CHART – September 17, 1988

01 01 BIG FUN/(JUAN’S MAGIC REMIX) Inner-City featuring Kevin Saunderson, 10 Records 12in
02 02 IN THE NAME OF LOVE (CLUB MIX)/THE DREAM (1018 MIX/54 DUB MIX) Swan Lake, Champion 12in
03 03 GITTIN’ FUNKY (UK REMIX) Kid ‘N’ Play, Cooltempo 12in
04 10 TALKIN’ ALL THAT JAZZ (EXPANSIONS/DOMINOES MIXES) Stetsasonic, Breakout 12in
05 13 WE CALL IT ACIEED D Mob featuring Gary Haisman, ffrr 12in promo
06 06 IT BEGAN IN AFRICA The Urban All Stars, Urban 12in
07 05 SHAKE YOUR THANG/SPINDERELLA’S NOT A FELLA (BUT A GIRL DJ) Salt-n-Pepa, ffrr 12in
08 07 STOP THIS CRAZY THING Coldcut featuring Junior Reid, Ahead Of Our Time 12in
09 04 HUSTLE (TO THE MUSIC…) (PREDORA/FREE-STYLE SAX MIXES) The Funky Worm, FON 12in
10 09 DON’T BE CRUEL (EXTENDED VERSION) Bobby Brown, MCA Records 12in
11 20 I’LL HOUSE YOU Jungle Brothers, US Idlers 12in
12 19 ACID MAN (ORIGINAL/HAPPY MIXES) Jolly Roger, 10 Records 12in
13 11 PUMP UP LONDON (CLUB MIX) Mr Lee, Breakout 12in
14 08 TEARDROPS (EXTENDED REMIX) Womack & Womack, Fourth & Broadway 12in
15 14 MEGABLAST (HIP HOP ON PRECINCT 13)/DON’T MAKE ME WAIT Bomb The Bass featuring Merlin & Antonia/Lorraine, Rhythm King 12in
16 30 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
17 12 JIBARO (ENGLISH/SPANISH VERSIONS) Electra, ffrr 12in
18 16 STALEMATE Mac Band featuring the McCampbell Brothers, MCA Records 12in
19 27 RIDING ON A TRAIN (EXTENDED VERSION) The Pasadenas, CBS 12in
20 21 STRICTLY BUSINESS (12” VOCAL) EPMD, Cooltempo/Ensign 12in
21 15 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
22 28 REACHIN’ (BROTHERHOOD MIX) Phase II, RePublic Records 12in
23 58 THE PARTY (CLUB MIX) Kraze, US Big Beat 12in
24 18 STATIC (F.F. REMIX/ALBUM VERSION) James Brown, Scotti Bros 12in
25 22 SLEEPLESS WEEKEND (REMIX) Howard Huntsberry, US MCA Records 12in
26 49 FAIRPLAY/FEEL FREE (LIBERATED MIX) Soul II Soul featuring Rose Windross/Do’reen, 10 Records 12in
27 — WE CALL IT ACIEED (THE MATEY MIX) d. mob (featuring Gary Haisman), ffrr 12in promo
28 29 WATCHING YOU (TIMMY REGISFORD US 12” REMIX) Loose Ends, Virgin 12in
29 23 LOVE/GET BUSY Rick Clarke, WA Records 12in
30 25 SUPERFLY GUY S’Express, Rhythm King 12in
31 54 TRACK THIS/O-O-O/COME ON LET’S JAM/ECSTASY (WHEREVER YOU MAY BE) Adrenalin M.O.D., MCA Records 12in
32 17 DO THAT AGAIN (CLUB VERSION) Blue Moderne, US Atlantic 12in
33 55 YEAH BUDDY/THE CHASE/THE JOURNEY Royal House, US Idlers LP
34 33 YÉ KÉ YÉ KÉ (THE AFRO ACID REMIX) Mory Kante, London 12in
35 53 WE GOT TO COME TOGETHER/(TRACK ATTACK ROUGH MIX) The Brooklyn Funk Essentials, US Minimal Records 12in
36 — LOVELY DAY (BEN LIEBRAND SUNSHINE MIX) Bill Withers, CBS 12in
37 51 HERE WE GO AGAIN (DIAZ MIX) Diaz Brothers, US Bassment Records 12in
38 45 FRIENDS/HYPNOTIZED/SUCCESS/NEVER ENDS Scott White, RCA LP
39 — TECHNO FRISBEE MEGAMIX Various Artists mixed by Graeme Park/BIG FUN (MAGIC JUAN CLUB REMIX) Inner City featuring Kevin Saunderson, 10 Records 12in
40 63 EVERY SHADE OF LOVE (KEITH COHEN REMIX) Jesse Johnson, Breakout 12in
41 67 NATURALLY/NEVER Top Billin’, Rapsonic 12in
42 46 THIS IS SOMETHING FOR THE RADIO (RAP REMIX) Biz Markie, US Cold Chillin’ 12in
43 34 ANY LOVE Massive Attack featuring Daddy Gee & Carlton, Massive Attack Records 12in
44 71 I’M THE ONE/THE FLIGHT/I DON’T WANNA LOSE YOUR LOVE Perri, US Zebra Records LP
45 26 REBELS (GET RIGHTEOUS) Jamie Principle, ffrr 12in
46 43 BURN IT UP/ACID BURN Beatmasters, Rhythm King 12in mailing list promo
47 24 THE ONLY WAY IS UP/(SPENG) Yazz and the Plastic Population, Big Life 12in
48 64 THE RIGHT STUFF (EXTENDED VERSION) Vanessa Williams, Wing Records 12in
49 39 NIGHT OF THE LIVING BASEHEADS/COLD LAMPIN WITH FLAVOR/TERMINATOR X TO THE EDGE OF PANIC Public Enemy, Def Jam LP
50 50 NO STATIC (THE 8 MINUTE FULL FORCE DEF MIX) James Brown, Scotti Bros 12in
51 35 BAILANDO (BALEARIC MATEY MIX) Alaska, Syncopate 12in
52 70 DANCE WITH THE DEVIL (BALEARIC MIX)/AMNESIA (UP ALL NIGHT MIX) The Project Club, Supreme Records 12in
53 44 KING OF THE BEATS Mantronix, US Capitol 12in
54 41 LET THE MUSIC (USE YOU) (CLUB MIX) The Night Writers, Jack Trax 12in
55 — MEGABLAST (MERLIN RAP REMIX) Bomb The Bass featuring Merlin, Rhythm King 12in
56 — WACK ITT Roxanne Shanté/THE REBEL/LIVE MOTIVATOR Percy/Tragedy/KEEP YOUR EYE ON THE PRIZE/SIMON SAYS Master Ace and Action/FREEDOM MC Shan/DROPPIN’ SCIENCE/DUCK ALERT Craig G./WE WRITE THE SONGS Heavy D and Biz/THE SYMPHONY Master Ace, Craig G, Kool G. Rap and Big Daddy Kane (‘In Control, Vol. 1’) Marley Marl, Cold Chillin’ LP
57 — THE WAY YOU LOVE ME/SECRET RENDEZVOUS/LOVE SAW IT/SLOW DOWN/DON’T MESS WITH ME/FAMILY MAN/TELL ME TOMORROW/ONE WISH/SUPERWOMAN Karyn White, US Warner Bros LP
58 94 ACID THUNDER Fast Eddie, US DJ International Records 12in
59 65 COMING BACK FOR MORE (PART 1) Jellybean featuring Richard Darbyshire, Chrysalis 12in
60 72 SOMEBODY SAVE ME (MARSHALL JEFFERSON GARAGE MIX/EMOTION MIX/ALBUM VERSION/BONUS BEATS) By All Means, Fourth & Broadway 12in
61 48 OOCHY KOOCHY (F.U. BABY YEAH YEAH) (REMIX) Baby Ford, Rhythm King 12in
62 32 DON’T BE CRUEL (THE RAPACIOUS MIX) Bobby Brown, MCA Records 12in
63 68 PARENTS (JUST DON’T UNDERSTAND) (DANNY D REMIX) DJ Jazzy Jeff & The Fresh Prince, Jive 12in
64 60 DIN DAA DAA (TROMMELTANZ) George Kranz, Fourth & Broadway 12in
65 38 HERE COMES THAT SOUND/ONLY A DEMO Simon Harris, ffrr 12in
66 — DON’T STOP, WE’RE SO HOT (BODY SIZZLING MIX)/1666 – OOH BABY I’M SO HOT (PYRO-MANIAC MIX)/BURN IT DOWN (WITH THE PHILLY SOUND) (‘Playin’ With Fire’) M-D-Emm, RePublic Records 12in promo
67 97 SET IT OFF (MARLEY MARL MIX) Big Daddy Kane, Cold Chillin’ 12in promo
68 90 I AIN’T GONNA WAIT/GOOD VIBRATION “J.D.”, US Requestline Records 12in
69 73 I WANNA GET NEXT TO YOU/PUT YOUR MONEY WHERE YOUR MOUTH IS Rose Royce, MCA Records 12in
70 81 RIDE THE RHYTHM/(ACID NOT PLACID) This Ain’t Chicago, Club 12in black label
71 56 ANOTHER PART OF ME (EXTENDED DANCE MIX) Michael Jackson, Epic 12in
72 99= IF IT ISN’T LOVE (CLUB MIX) New Edition, MCA Records 12in
73 47 YOU TAKE MY BREATH AWAY (12” VERSION) David Cole, US Epic 12in
74 re IN THE NAME OF LOVE ’88 (SHEP PETTIBONE RAILROAD MIX) Thompson Twins, US Arista 12in
75 83 THE RACE Yello, Mercury 12in
76 78 THE POSSE IS LARGE MC La Kim, US Tuff City 12in
77 — CHANGE (MAKES YOU WANT TO HUSTLE)/CONTROL YOURSELF/EXTRA ACID BEATS Blow (featuring Belva), 10 Records 12in pre-release
78 — THE WAY YOU LOVE ME (12” HYPE REMIX/12” CLUB MIX/INSTRUMENTAL/LOVE DUB #1/LOVE DUB #2/12” HYPE REMIX EDIT) Karyn White, US Warner Bros 12in promo
79 96 THE R/PUT YOUR HANDS TOGETHER/MUSICAL MASSACRE/MICROPHONE FIEND Eric B & Rakim, MCA Records LP
80 — ANY LOVE Luther Vandross, US Epic 7in
81 91 GIVE ME A CHANCE Chapter 8, US Capitol LP
82 84 LET’S DO IT AGAIN (LP VERSION) George Benson, Warner Bros 12in
83 59 THE RACE (THE PITS MIX) Yello, Mercury 12in
84 79 DON’T SCANDALIZE MINE Sugar Bear, US Coslit Records 12in
85 — FREE (GAIL ‘SKY’ KING REMIX) Will Downing, Fourth & Broadway 12in
86 74 RELEASE YOUR BODY (MAYDAY MIX/RELEASE THE ACID MIX) Bang The Party, Warriors Dance 12in
87 — BUSTIN’ LOOSE SpinMaster/SYNDICATION Everlast/NAME OF THE GAME Donald Dee featuring Bronx Style Bob/WHILE YOU’VE BEEN WAITING Nat The Cat/I NEED A ROLEX Toddy Tee/GHETTOISH Bango with Mixmaster Quick/T.D.F. CONNECTION T.D.F./YOU HAVEN’T HEARD NOTHING Domination/THINK YOU CAN HANG? Low Profile/RHYME SYNDICATE COMIN’ THROUGH Ice-T (‘Rhyme Syndicate Comin’ Through’), Warner Bros LP
88 75 I NEED YOU (EXTENDED VOCAL VERSION) B.V.S.M.P., Debut 12in
89 42 GET OUT OF MY HOUSE! (SPECTRUM EDIT/MUTANT VERSION) Sound Assassins, Cooltempo 12in
90 — I GOTTA GOOD THING/I’M BACK/GIRLS ACT STUPID-ALY/SUPER-CASANOVA/GIRLS I GOT ‘EM LOCKED/DO THE JAMES…/ALL YOU MC’S/GETS NO DEEPER/COME AND GET SOME/PUMP IT BACK Super Lover Cee & Casanova Rud, DNA International LP
91 — ACID LOVE (HITMAN’S CLUB MIX/HITMAN ACID MIX/LOVE & ECSTASY MIX) Beloved, WEA 12in white label
92 — SHARP AS A KNIFE (JON WILLIAMS REMIX 88 UPDATE) Brandon Cooke featuring Roxanne Shanté, Club 12in mailing list promo
93 — THE MESSAGE (FULL LENGTH VERSION) Aswad, Mango 12in
94 66 (JUST MY) IMAGINATION (ACID MIX/DUB) Steven Danté, Cooltempo 12in promo
95 — GET OUT OF MY HOUSE! (REMIX/PSYCHO MIX/SPECTRUM EDIT) Sound Assassins, Cooltempo 12in promo
96 31 WHY (YOU COULD HAVE HAD IT ALL) Tongue ‘N’ Cheek, Criminal Records 12in
97 — I LET ‘EM KNOW/(INSTRUMENTAL) Young MC, US Delicious Vinyl 12in
98 80 I’M YOUR PUSHER (LP VERSION) Ice-T, US Sire 12in
99 61 HOUSEPLAN Terrajacks, WEA 12in
100 62 SUPERFLY GUY (FLUFFY BAGEL MIX) S’Express, Rhythm King 12in


POP DANCE

01 01 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 03 THE HARDER I TRY (EXTENDED MIX) Brother Beyond, Parlophone 12in
03 03 HUSTLE (TO THE MUSIC) The Funky Worm, FON/WEA 12in
04 04 THE LOCO-MOTION Kylie Minogue, PWL 12in
05 16 TEARDROPS Womack & Womack, Fourth & Broadway 12in
06 09 THE RACE Yello, Mercury 12in
07 05 MEGABLAST/DON’T MAKE ME WAIT Bomb The Bass, Rhythm King 12in
08 14 BIG FUN Inner-City featuring Kevin Saunderson, 10 Records 12in
09 08 SUPERFLY GUY S’Express, Rhythm King 12in
10 12 YÉ KÉ YÉ KÉ Mory Kante, ffrr 12in
11 07 I NEED YOU B.V.S.M.P., Debut 12in
12 17 JIBARO Electra, ffrr/Champion 12in
13 20 IN THE NAME OF LOVE Swan Lake, Champion 12in
14 — STOP THIS CRAZY THING Coldcut featuring Junior Reid, Ahead Of Our Time 12in
15 — ANOTHER PART OF ME Michael Jackson, Epic 12in
16 11 SHAKE YOUR THANG Salt-n-Pepa, ffrr 12in
17 13 I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in
18 19 PUMP UP LONDON Mr. Lee, Breakout 12in
19 10 YOU CAME Kim Wilde, MCA 12in
20 15 ROSES ARE RED Mac Band featuring the McCampbell Brothers, MCA 12in


HI-NRG

01 02 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
02 01 OVER AND OVER AND OVER Michelle Goulet, US Island 12in
03 03 YÉ KÉ YÉ KÉ (AFRO ACID MIX) Mory Kante, ffrr 12in
04 04 DOCTOR’S ORDERS Lisa Carter, Parlophone 12in
05 05 REACH OUT Romi & Jazz, Arishma 12in
06 06 THE HARDER I TRY (THE HARDEST MIX) Brother Beyond, EMI 12in
07 15 DAYDREAM BELIEVER (EXTENDED REMIX) Local Hero, Ariola 12in
08 08 IF YOU LOVE SOMEBODY (SATURDAY NIGHT REMIX) Barbara Doust, Saturday 12in
09 37 SAFE IN THE ARMS OF LOVE (EXTRA BEAT BOYS REMIX) Shooting Party, Lisson 12in
10 19 JACKIE Blue Zone UK, US MCA 12in
11 13 I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in
12 18 YOU CAME Kim Wilde, MCA 12in
13 10 SUPERFLY GUY S’Express, Rhythm King 12in
14 11 I NEED YOUR PASSION Sweet Connection, German Blow Up 12in
15 14 LOVE EVICTION/LOOKING FOR SOMEONE TO LOVE TONIGHT Quartzlock, Retro 12in
16 09 THE RACE Yello, Fontana 12in promo
17 22 TURN IT ON TO LOVE (EXTENDED VERSION) Hazell Dean, EMI 12in
18 07 THE LOVE I LOST Seventh Avenue, Nightmare 12in
19 16 ROCK ME BABY Lysa Lynn, US Emergency 12in
20 17 YOUR LOVE CAME TOO LATE Eria Fachin, US Critique 12in
21 25 EVERY GIRL & BOY Spagna, CBS 12in
22 35 SOUL SURVIVOR (SURVIVOR MIX) C.C. Catch, Hansa/RCA 12in
23 26 HIT ‘N’ RUN LOVER (REMAKE) Carol Jiani, Passion 12in
24 23 REQUIEM London Boys, German Teldec 12in
25 20 EVERLASTING LOVE (PETE HAMMOND REMIX) Sandra, Siren 12in
26 — I CAN FLY Louise Thomas, Nightmare 12in
27 12 MAYBE (WE SHOULD CALL IT A DAY) Hazell Dean, EMI 12in
28 27 I CRY FOR YOU Shy Rose, US JDC 12in
29 21 THE LOCO-MOTION (THE KOHAKU MIX) Kylie Minogue, PWL 12in
30 28 EMOTION Jakie Quartz, Dutch CBS 12in
31 — FRIENDS Terry Jaye, Canadian Boulevard 12in
32 29 HOT FOR YOU Lorraine Scott, Canadian Slak 12in
33 — LET’S NOT SAY GOODBYE Jigsaw, Nightmare 12in
34 33 JIVE INTO THE NIGHT Green Olives, Italian X-Energy 12in
35 39 LOVE IS THE GUN (STREET LATIN WOLFF 3) Blue Mercedes, MCA 12in
36 24 FLAMES OF LOVE Fancy, German Metronome 12in
37 — LOVE, TRUTH AND HONESTY Bananarama, London 12in
30 33 CHICA CUBANA Tatjana, Dutch High Fashion 12in
32 — OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
40 — JIBARO (ENGLISH VERSION) Electra, ffrr 12in

2 thoughts on “September 17, 1988: “My stand against the totally unnecessary but fashionable and commercially exploited connection between the drug called ecstasy and the music called acid house””

  1. ADMIN: I’m taking a brief holiday break from the blog, which will return in just over a week’s time. And with fortuitous timing, this week’s column feels like a particularly dramatic point to pause and reflect!

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  2. Thanks as usual for keeping this going – the irrefutable history of underground (and overground) dance in Britain.
    It was round about now that the scourge of the 1989 media the big M25 acid house party organisers were getting going. I remember one near Watford in September/October I think it was either Biology or Genesis who put it on. Sunrise were also lurking in the wings I think, 8 or 9 months from what I’ve always looked on as the actual peak of the whole Acid House movement the Midsummer Rave at White Waltham near Maidenhead which started off as for 10,000 party goers but which by the early hours you could basically walk in showing any piece of crap as a ticket. And I only lived a few miles from a lot of these places. But I’m getting a bit ahead of us now so sorry for that.

    .

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