November 5, 1988: New Beat: “The gadfly of dance music fashion has darted on, just as you thought “acieed!” was where it’s at.”

BEATS & PIECES

George Benson has added an extra date this weekend at Wembley, and so won’t be a surprise visitor to North Wales (where I’m sorry to hear that Prestatyn will be a firework free zone) … Supreme Records picked up the Rob Base & DJ E-Z Rock album here, from which ‘Get On The Dance Floor’ will inevitably be their first single but not until January … DJ Bob Masters incidentally has just joined the label as dance music product and club promotion manager … Westside Records now have exclusive UK rights to Chicago’s Trax Records product, the long term deal covering all back catalogue and future releases … Motown, newly reinvigorated following their purchase by MCA Records, have signed the Pointer Sisters and Leon Sylvers, amongst others … Sharon Davis has written a weighty ‘Motown – The History’ (Guinness Books, £14.95) which covers the legendary record company’s entire existence, perhaps a little bit too thoroughly during the most recent era with which she herself has had her closest involvement, Gordon Frewin supplying an exhaustive looking discography which will doubtless prove most useful (and throw up some surprises?) … ‘The Hit Factory Vol 2’ (Fanfare/PWL Records HF4), continuing the compilation of “the best of Stock Aitken Waterman”, already includes their only just US released SOS Band/Princess-style 100bpm ‘Tell Him I Called’ by Miami girl duo Sequal … Bananarama’s ‘Greatest Hits Collection’ album is being promoted by a probably quite useful 0-120½…126bpm ‘Bananarama Megamix’ of their biggest hits on special limited edition “not for resale” promo (ffrr MEGA 5) … Timerider’s typically European (0-)119⅓bpm thudding electro instrumental ‘Cocoon’ (Lisson Records DOLEQ 8) has, as previously warned, been reissued from last year now that it’s used both as the theme tune to TV’s ‘The Hitman And Her’ and in ‘The Fruit Machine’ film (from Germany’s XYZ Records, and apparently 1985, it is not a PWL creation) … Kym Mazelle’s import pressing of ‘Useless’ (US EMI-Syncopate V-15406) contains all the Marshall Jefferson and Clivilles & Cole mixes on one piece of vinyl, making better value than the split UK release … Vesta Williams’ ‘Vesta 4 U’ LP is now out here (Breakout AMA 5223) … Neneh Cherry ‘Buffalo Stance’, reviewed last week off an uninformative promo pressing, turns out to be produced by Tim Simenon … I had forgotten that Rickster ‘Night Moves’ was in fact American, on US Vinyl Pak back around January … Children Of The Night ‘It’s A Trip’ is wrongly labelled, the Killer Instrumental Mix properly being Mike ‘Hitman’ Wilson’s Psychedelic Remix … I can’t say I’m looking forward to BPM-ing Ten City’s upcoming album, which producer Marshall Jefferson confesses uses live drums (by Philly veteran Earl Young) and will “mess up a lot of DJs”! … Stetsasonic’s follow-up, advisedly for the pop market, will be their album’s revival of the Floaters’ ‘Float On’ … Derek B appears to be having trouble coming up with a crucial enough mix of his long delayed next single, ‘Who Dares Wins’ … Roger Tovell is now head of music at Severn Sound, where the new librarian/producer Jerry Hipkiss’s 6-9pm ‘Saturday Soul’ show plays soulful dance music and deep house, refusing to revive the flagging careers of failed pop musicians/computer programmers who’ve jumped on the nearest passing bandwagon (we know just who he means!) … I fear that Capital Radio’s clever rescheduling of their Saturday night black music programmes, with Pete Tong starting his chart rundown at 7.30pm, followed by Tim Westwood at 8pm, must be keeping many people tuned who might otherwise have switched over to Radio 1 for the inestimable Robbie Vincent soul show – Robbie, by the way, had over 5,000 callers to the “information line” he plugged on Radio London prior to moving to LBC! … Greater London Radio, as Radio London has now become, isn’t anything like as good with presenters as it was during its continuously segued test transmissions, which seemed to attract more listeners than ever while they were running! … Stuart Coleman’s excellent Sunday ‘Echoes’ oldies programme sadly has not carried over to GLR (maybe LBC could give him a slot?), one of his last guest interviewees being Record Mirror’s legendary 1960s journalist Norman Jopling – who has recently resurfaced, writing the liner notes for a scrappy Ike & Tina Turner compilation on Start, and promoting the new 12 Inch Grooves series of “collectable club favourites” that Old Gold Records have just started, the first CBS originated batch including back-to-back Marlena Shaw ‘Yuma/Go Away Little Boy’/Starship Orchestra ‘New York, New York’, Ned Doheny ‘To Prove My Love’/Hawk & Co ‘Nite-Life’, Eddie Murphy ‘Boogie In Your Butt’/’Party All The Time’ and others by Melba Moore, Bobby Glover, Jimmy Messina, Kenny Loggins, The Futures, Dee Dee Sharpe Gamble … Stylus Records seem likely to get a puzzled reaction to their TV advertised ‘The Rare Groove Mix’ album, a follow-up to their successful ‘60s Mix’ series, which for some misguided reason they didn’t think would sound so commercial if titles ‘70s Mix’ – far from “rare groove”, the totally pop contents contain such real rarities as Dawn ‘Knock Three Times’, Mud ‘Tiger Feet’, and Derek & The Dominos ‘Layla’! … Finesse Conditioner’s telly commercial use of Irma Thomas’s ‘Time Is On My Side’ reminds me that at the same time in 1964 that I sent Bessie Banks’ ‘Go Now’ over from New York as material for the Moody Blues, I also sent Irma’s record, which London based Denny Cordell then passed on to the Rolling Stones, whose cover version became their very first US hit! … I can recommend for any hungry Prestatyn visitors this weekend to try at lunchtime the eat as much as you like for around £6, help yourself starters, main courses and puds at the Dinorben Arms in Bodfari, a picturesquely sited hilltop village about 10 miles due south of Prestatyn down the western slopes of the Clwydian Range – leave the camp as if for London, first right (after the railway bridge and sharp bend) on the A547 towards Rhuddlan, once you’ve got into the countryside turn left in a dip (soon after passing the dramatically big hill) to go through Dyserth, and then head straight (with just one right hand fork as you leave the houses) along a country road through Rhualtt and Tremeirchion to Bodfari, where the pub is impossible to miss as it dominates the village (the food may be more “gourmand” than “gourmet”, but I promise you won’t regret the outing) … I myself, if you’re all there, will be further down the Vale Of Clwyd at the even better Cerrigllwydion Arms in Llanynys, my “local” when in North Wales – and if you feel bold enough to find that, you’ll have to buy a map! … Gilles Peterson and Rob Galliano join Hugh Bryder to “acid jazz” Liverpool’s Mardi Gras Club on Thursday (3) … Saturday (5) finds Kid ‘N’ Play, Salt-n-Pepa, MC Duke and the Fly Girls at the Brixton Academy, while Ray Keith, Guy Palmer, Dave Malone and Turbo bring acid, deep house and def beats to Colchester’s The Venue … Jeff Thomas is joined at Swansea Martha’s Vineyard by Royal House on Monday (7), and James ‘D Train’ Williams the following week … Nigel Hill, after five years mobile, is now resident six night a week at Weston-Super-Mare’s Mr B’s, where he starts an acid house night next Wednesday (9) with guests the Moody Boys and This Ain’t Chicago, plus Baby Ford the following week … Dave Evans has also jumped on the bandwagon, with acid Mondays at Stockport Hamiltons … Norman Cook sends greetings from Brighton to point out that it was of course he who created the “illegal mix” of the Osmonds’ ‘One Bad Apple’ (something not made apparent by its plain white label), and that he’s now jocking at Downbeat with Streets Ahead on Wednesdays and Jacky on Saturdays … Barry Island’s veteran (though not that old) jock, Steve Wiggins would welcome a change of South Wales scenery if anyone in clubland is interested (on 0446-733196, office hours) – he offers upfront soul, reggae, pop, golden oldies, party sets, even fruit from his shop! … Dee Dee Wilde supports Will Downing on his UK visit later this month, at Manchester’s Apollo (19) and London’s Hammersmith Odeon (20/21) … Castle Beat ‘I Shot The Sheriff/Deputy Of Love (Medley)’ finally appeared in someone’s chart, at number one for Danny Rampling of London’s legendary Shoom, no less … DJ Trix has at number one in his Birkenhead Bassment chart, “DJ Trix Live On Stage’ – like it! … Glyn Prince at Swindon’s Brunel Rooms Ampitheatre combines The Mafia ‘ABC’ and Osmonds ‘One Bad Apple (Illegal Mix)’ in a megamix … Mark Devlin (Witney) tips that the original mix of Bam Bam ‘Give It To Me’ synchs perfectly with the Patrick Cowley remix of Donna Summer ‘I Feel Love’ (which was due to be reissued but now appears to have been put on hold) … Mike Shawe (2 Marlwood Drive, Brentry, Bristol BS10 6SJ) offers any price for a copy of Blare ‘Nightlife’ … NANU NANU!


‘NEW BEAT’

The gadfly of dance music fashion has darted on, just as you thought “acieed!” was where it’s at. Those same pace-setting London jocks who launched the still locally limited “Balearic beat” trend, but who ironically ended up better publicised for the “acieed!” orientation of their gigs, have dropped acid like a hot brick now that it has crossed over commercially (naturally, they cite a variety of other justifications!) and instead are latching on to the Balearic related Belgian variant of electro Europop known as “new beat” (about which I mentioned several weeks ago, although it became garbled in the printing, that the previously reviewed Amnesia ‘Ibiza‘ is a prime example). Already, dedicated fashion victims are following their lead and snapping up copies of a domestically distributed Belgian compilation album, A.B.-SOUNDS ‘New Beat — Take 1‘ (Subway Records SUB 034, via Rough Trade), even though it merely sounds like the experimental electro tinkerings of Blancmange, Yazoo and other similar British “new romantics” of the early Eighties, but without such strong songs. Its biggest tracks, which are indeed OK, include the tinkling, twittering and muttering densely chugging 0-112bpm A SPLIT SECOND ‘Flesh‘, “taste of sugar” and “do you wanna suck my (bleep)?” punctuated James Brown-cutting 0-114bpm TASTE OF SUGAR ‘Hmm, Hmm‘, and to an extent the imperatively muttered and girls entreated martial chugging 108⅔-00bpm EROTIC DISSIDENTS ‘Move Your Ass‘, the rest being the dialogue overlaid nervily jittering deceptively slower sounding 0-120bpm S.M. ‘S.M.‘, “hey Mister Dee Jay” chanted jauntily synthed rolling 112bpm ELECTRIC SHOCK ‘Don’t Talk About Sex‘, Oriental flavoured ploddingly attractive jogging 98½bpm JADE 4 U ‘Rainbows (Instrumental)‘, “Chinese” girls chatted trotting 112bpm SECRETS OF CHINA ‘Chinese Ways‘, Tibetan flavoured jiggling 108bpm SHAKTI ‘The Awakening‘, gruff “dance” prodded drily electronic lurching 108⅙bpm BEAT BEAT BEAT ‘Beat In The Street‘, droningly undertowed simplistic Euro-rapped 0-110⅓bpm DIRTY HARRY ‘D’Bop‘, sometimes old “electro”-style instrumental 0-113-0bpm IN-D ‘Virgins In-D Sky’s‘ and monotonous depressing dense 110⅓-0bpm SNOWY RED ‘Euroshima-Wardance‘. I can’t say they do anything for me, much. From the some Belgian Antler Records source and selling on 12 inch for several weeks now, MAJOR PROBLEM ‘Acid Queen (Dirty Version)‘ (KAOS dance records KAOS 003) is a kinky “show me your pussy”/”get down on your hands and knees” muttering and groaning purposefully lurching 113bpm twittery heavy thudder (fully instrumental flip), while getting “new beat” attention also has been LAIBACH ‘Sympathy For The Devil’ (Neue Slowenische Kunst/Mute 1MUTE80T), the Rolling Stones tune being most recognisable in the AA-side’s frequency fluttering juddery (0-)117⅔-0bpm electro treatment with sampled stuttery Jagger chatter, the A-side being a resonant throbbing and chugging 123bpm instrumental that doesn’t seem particularly related (it’s hard to know from blank white labels, there also being a more recent and properly printed but confusingly labelled remix three-tracker).

The above are only a few examples, there being a lot of good material according to Nicky Holloway, just back from trawling through record shops in Belgium, who incidentally points out that nobody actually sat on the floor at Rockley Sands as only about half a dozen acid trax were played there over the entire weekend, the Balearic groove having already moved on to new beat (in combination with other stuff) by then! Nicky is in fact returning to London’s Astoria this Saturday (November the Fifth), leaving Prestatyn early, to start a weekly Made On Earth night in the new non-acidic style (absolutely NO Smiley T-shirts admitted), with guest jocks Mark Moore and Trevor Fung this first night after which Pete Tong will be his regular partner. Meanwhile, Paul Oakenfold’s Monday night at Heaven has already changed its name to Spectrum Presents Fantasia, with a similar acid-free policy of new beat, garage and deep house. Could it be that “Belgique, Belgique!” (as in, “Bel-jeek, Bel-jeek!”) will become the new “acieed!” chant? Inevitably, Pete Tong is ensuring that London/ffrr are in on the new trend at the beginning, the series-continuing ‘Balearic Beats Vol 2 — New Beat’ album already being in the pipeline, as basically the above reviewed Belgian compilation with its more duff tracks substituted by better. I can already anticipate the first Hercule Poirot Remix…


HOT VINYL

THE PARTY BOY ‘The Twilight Zone (Remix)’ (Urban Acid URBX 27)
Chris ‘Bam Bam’ Westbrook recorded here for the ‘Urban Acid’ album (its best track) and subsequently remixed this mystically muttered, child giggled, synth bubbled and twittered 123bpm sparse simple acid treatment of the TV theme, a real mood piece for trance dancing (alternative 123bpm B-side mix more like — but not — the album version).

ERIC B & RAKIM ‘Microphone Fiend (Remix)’ (MCA Records MCAT 1300)
Also separately promoed with its own instrumental and seven inch version as flip but commercially available like this, the US choice of follow-up is this DJ Mark-The 45 King (rather than Red Alert) remixed wordy slow rumbling 93½bpm murkily churning jogger with bursts of jingle bells and a fiercely scratched finish, AA-sided by the more UK compatible fast talking jittery ‘Put Your Hands Together’ in the already separately promed (0-)111-0bpm Fon Force Mix, overlaid by resonant synth tones, and (the decisive winner on promo in The Club Chart) Graeme Park’s (0-)112bpm Parkside Mix, with Humphrey Bogart “play it!” intro and overlaid “acieed” sirens nagging away.

S.L.F. (STREET LEVEL FUNK) ‘Show Me What You Got’ (Warriors Dance WAAF 005T, via Spartan)
North West London’s Keith Franklin, Keith Sealy, Eddie Andrew and Birmingham’s vocalist E Major create an impressive “acid soul” fusion on the vigorous old fashioned soulfully harmonised but acidically backed frantically flying and sadly short 124¼bpm Vocal Mix, well worth hearing, the piano plonked and synth twittered clonking instrumental 125bpm Acid Mix Part 1 and 124½-0bpm Acid Mix Part 2 being fierce though nowhere near so distinctive or interesting.

CORPORATION OF ONE ‘The Real Life’ (US Smokin’ TAI 126609)
Freddy Bastone-created fast bass bumped (0-)120-0bpm jittery old fashioned Man Parrish-type electro instrumental scratching in its “is this the real life” line from Queen’s ‘Bohemian Rhapsody’, which should attract some attention, along with other samples (nervily jumping 124¼bpm ‘The Prayer‘ flip).

ELLIS D ‘Took My Love Away’ (US Minimal Records 5)
Ellis has her wailing basic title line, along with other male muttering, freakily scratched and repetitively stuttered through all four 0-118½-0bpm mixes of this disjointedly rambling thudder, created and remixed by Junior Vasquez but very Todd Terry-like — mainly because it extensively samples his Black Riot ‘A Day In The Life’! There’s no song as such, yet despite being so scrappily structured it should prove exciting for floors.

HOLLY JUMP ‘You Can’t Hide’ (US DJ International Records DJ-953)
Multi-tracked gruff Derrick Carter moaned slithery slick lurching quite “deep” house with some acidic twittering halfway in the 0-121bpm Club Mix, with wriggly 121¼bpm Radio Mix, stuttery 121-0bpm Alternate Club Mix, predictable 121-0bpm Acid Mix and percappella 121¼-0bpm Beats too, a hot seller in London.

SALT-n-PEPA ‘Get Up Everybody (Long Version)’ (ffrr FFRX 16)
Mournful flute introed atmospheric tugging 0-102bpm rap with bursts of catchy walking bass and a more go-go-ish Club House Version (Instrumental/Acappella too), but I’m afraid it’ll be the flip’s brighter Fat Boys-type 144½bpm ‘Twist And Shout‘ revival that the pop market wall prefer here (also Instrumental/Acappella too).

MC RELL & THE HOUSE ROCKERS ‘Into The Future’ (Criminal Records BUST 15, via Rough Trade)
Chuck Chill Out mixed and Cut Master DC scratched good strong fast talking 119¾-0bpm swirling ‘Follow The Leader’-style new wave rap (Instrumental and 119¾bpm Remix too), coupled with the more lazily chatting 106bpm ‘My Vision’.

JULIAN ‘JUMPIN’ PEREZ Featuring VALENTINO ‘Stand By Me’ (US DJ International Records DJ-963)
Nothing to do with Ben E King, this Peter Black piano jangled truly jumpy leaper is in frantically thrashing and stuttering 125-125¼bpm Jumpin Dub, nervily backed vocal 125⅓bpm Razz-Matazz Beats, somewhat flatly groaned and then extensively stuttered (0-)125⅓bpm Jumpin Club, and stuttery started then much more brightly wailed bashing and bounding 125¼bpm House Mix versions, Valentino quite possibly being the ‘I Was Born This Way’ guy I suppose.

TONY STONE ‘For A Lifetime’ (Ensign/Chrysalis CHEN 8)
Excellent blue-eyed soul set from which the already established standout is the mid-Seventies Equals reviving glorious cloppingy swinging 117⅓bpm ‘My Good Friend James’ (unbiased I assure you!), with the urgent attractively cantering (0-)115bpm ‘This Is Serious‘, Jeff Perry reviving datedly soulful 127bpm ‘Love Don’t Come No Stronger (Than Yours And Mine)‘, Marvin Gaye-ish 86⅚-89½bpm ‘Can’t Say ‘Bye‘ and 96½-0bpm ‘Instant Love‘ (the first three being earlier singles), Ned Doheny produced Hall & Oates-ish 115bpm ‘Heartbreak In The Making‘, jauntily lurching bluesy 112½-114½bpm ‘Something About Your Son’, dreamily doodling 29-28½-28¾-28⅔-29½-0bpm ‘Life After Romance’, and bland 119½bpm ‘Perish The Thought’, anguished 0-87⅓bpm ‘Why Does Living (Be-come A Crime)’, gentle 45⅓-0bpm title track.

MIDNIGHT STAR ‘Midnight Star’ (US Solar DI-72564)
Although currently scoring a US black smash with the Ecstacy of Whodini-featuring ultra-jaunty go-go hip hop 96½bpm ‘Don’t Rock The Boat‘, here attention has swung to the lushly swaying tender smoochy 0-77bpm ‘Love Song’ on a quite good set that includes the soulful 96¾bpm ‘I Don’t Wanna Be Lonely‘ (new song), chunky 111½bpm ‘Pamper Me‘, Pink Floyd ‘Money’-influenced 102⅙bpm ‘90 Days (Same As Cash)‘, rolling 72⅓bpm Heartbeat’, snapping (0-)114¾bpm ‘Snake In The Grass’, jerky (0-)110⅚bpm ‘Request Line’.

ULTRAMAGNETIC MC’S ‘Critical Beatdown’ (US Next Plateau Records Inc PL 1013)
Good aggressive rap set containing their also 12 inch issued scratching jiggly 105bpm ‘Ease Back’, with a whistle “noise”, plus the funky 108⅓bpm ‘Watch Me Now‘, 110⅙bpm title track, segued 94½bpm ‘Ego Trippin’ (MC’s Ultra Remix)‘ and 108½bpm ‘Moe Luv’s Theme‘, 119bpm ‘Kool Keith Housing Things‘, 108½bpm ‘Give The Drummer Some‘, 107⅙-0bpm ‘Break North‘, 119-0bpm ‘When I Burn‘, 107⅚bpm ‘Feelin’ It‘, 103⅔bpm ‘One Minute Less‘, 121¼bpm ‘Traveling At The Speed Of Thought (Remix)‘, 0-109⅔bpm ‘Funky (Remix)‘, 97½/48¾bpm ‘Ced-Gee (Delta Force One)‘, 130¼bpm ‘Ain’t It Good To You‘.

THE FUNKY WORM ‘The Spell! (Get Down With The Genie)’ (FON Records FON16T)
Not maybe another ‘Hustle!’, this kid and genie introed brassy (indeed at times quite Brass Construction-ish) brisk dated bubbly and squiggly but untidily rambling 122¼bpm leaper is coupled with the more tightly thudding and vocal jittery 120⅓bpm ‘The Spell!’, sparse percussive 120¾-0bpm (instru-)’Mental Spell!’, all however overshadowed by the jazzily jiggling scatted and stuttered 119¾bpm ‘Spell On Me‘ rhythm workout, far from a throwaway although the last track on side two.

ORIGINAL CONCEPT ‘Straight From The Basement Of Kooley High!’ (US Def Jam FC 44470)
A long overdue and somewhat disappointing album from the seminal hip hoppers, in the main their already established material being the best, with the now psychedelic guitar introed 0-105⅓-0bpm Mohawks/James Brown/Jacksons-sampling classic influential ‘Can U Feel lt? 88!’, much copied scratching jerky 0-104-0bpm ‘Pump That Bass/Live’, Bar-Kays ‘Soul Finger’ sampling ultra jittery (0-)111bpm ‘Runnin Yo’ Mouth’, jauntily fast talked (and kazooed!) 105-0bpm ‘Get Stupid…Again’, radio interview introed wordy lurching (0-)93bpm ‘Legend‘, chugging 0-106⅓bbm ‘Charlie Sez‘, plodding rock guitar droned (0-)88bpm ‘Jonnie Wuz Gangsta’, raucous scrubbing 0-103bpm ‘Here Come The 5-Oh!’, ‘We Will Rock You’-type 0-87bpm ‘(Cause) We’re Original’, amusing jittery (0-)110¼-0bpm ‘Fatlady‘, juddery “live” 0-100-0bpm ‘To The Beat Y’All’, chattering 0-93½-0bpm ‘She’s Gotta Moustache‘, datedly shouting 0-84-0bpm ‘Total Confusion’, wordy message (0-)89bpm ‘Prejudice‘.

THE MINUTEMEN ‘Bingo Bongo’ (Champion CHAMP 12-89)
Created by Todd Terry’s engineer, Norberto ‘Norty’ Cotto, this silly title line repeating 121½bpm hustler obviously sounds similar, the House Mixes being better than the more jittery Club Versions (five here in all), Bango (In The Name Of Love)?

REESE & SANTONIO ‘Structure’ (ffrr/Kool Kat FFRX 15)
Frantically percussive UK recorded 124¾-0bpm monotonous acid groove, coupled by the Martin Luther King overdubbed similar though perhaps slightly deeper 124⅔bpm ‘Truth Of Self Evidence‘, and really fiercely sizzling and shouting 129⅚bpm ‘Grab The Beat‘.

APRIL DAWN ‘Love Crime’ (US Easy Street EZS-7541)
Quite catchy girl cooed sinuously loping dated disco flavoured 119½bpm canterer with nice fluidly spurting bass and nagging keyboards (in three mixes), likely to be a “grower” worth checking.


REMIXES

YAZZ AND THE PLASTIC POPULATION ‘The Only Way Is Up (Acid Dub)‘ (US Elektra 0-66732), on US pressings the 0-124⅔-0bpm UK Extended Club Mix and Bam Bam’s acidic 0-124bpm The Up Up Up Mix are flipped by Justin Strauss & Murray Elias’s brand new 124¾bpm much leaner bass bounding sparse striding garage style remix, worth checking even at this late stage;

BRANDON COOKE FEATURING ROXANNE SHANTÉ ‘Sharp As A Knife (The Horny Ride)‘ (Club JABXR 73), another Jon Williams remix of the now sparsely acidic 123bpm Shanté rap, with added muted trumpet by Blow’s Gordon Matthewman, and an appropriately titled striding (0-)122¾bpm The Big Blow instrumental flip;

HIT AND RUN ‘How Long (Is A Piece Of String Mix)’ (Rapsonic DOPE TR2), much more reasonably tempoed although still fast 126¼bpm bounding and smacking twittery acid treatment of the girl duo’s now neither ‘Push It’-type nor so frantic rap (which indeed has become only spasmodically vocal, with a fully instrumental flip);

NITZER EBB ‘Control I’m Here (Command Control Confront Mix)‘ (Mute 12MUTE71), infectious if monotonous drivingly wriggly chugging 124½bpm Yello-ish remix.


THE CLUB CHART – November 5, 1988

01 01 WE CALL IT ACIEED (THE MATEY MIX) d. mob (featuring Gary Haisman), ffrr 12in
02 02 WEEKEND/JUST WANNA DANCE The Todd Terry Project, US Fresh Records 12in
03 03 THE PARTY (CLUB MIX) Kraze, MCA Records 12in
04 12 PUT YOUR HANDS TOGETHER (PARKSIDE/FON FORCE MIXES)/MICROPHONE FIEND (DJ MARK – THE 45 KING REMIX) Eric B & Rakim, MCA Records 12in
05 11 RESPECT/HER BAD SELF (THE POSSE/HITMAN MIXES) The Real Roxanne, Cooltempo 12in
06 04 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
07 08 REACHIN’ (BROTHERHOOD MIX) Phase II, RePublic Records 12in
08 05 BIG FUN/(JUAN’S MAGIC REMIX) Inner City featuring Kevin Saunderson, 10 Records 12in
09 19 USELESS (I DON’T NEED YOU NOW) (MARSHALL JEFFERSON WINDY CITY MIXES) Kym Mazelle, Syncopate 12in
10 15 KNOW HOW/(INSTRUMENTAL) Young MC, Fourth & Broadway 12in
11 07 GET ON THE DANCE FLOOR/CHECK THIS OUT Rob Base & DJ E-Z Rock, US Profile LP
12 49 LIFE’S JUST A BALL GAME (BALLROOM REMIX) Womack & Womack, Fourth & Broadway 12in
13 25 O-O-O (EXTENDED PARKSIDE REMIX) Adrenalin M.O.D., MCA Records 12in
14 06 SO MANY WAYS (DO IT PROPERLY PART II) (WORLDWIDE DJ ANTHEM) The Brat Pack, Breakout 12in
15 14 DON’T SCANDALIZE MINE Sugar Bear, US Coslit Records 12in
16 21 OPEN OUR EYES (MIXES) Marshall Jefferson presents Truth, US Big Beat 12in
17 24 I’LL HOUSE YOU (RICHIE RICH RECONSTRUCTION) Jungle Brothers, Gee St 12in
18 31 COME BACK/ANY LOVE/I WONDER/LOVE WON’T LET ME WAIT Luther Vandross, Epic LP
19 13 GET REAL (HAPPY HOUSE MIX) Paul Rutherford, Fourth & Broadway 12in
20 10 SHARP AS A KNIFE (ACID ATTACK) Brandon Cooke featuring Roxanne Shanté, Club 12in
21 23 DON’T GET ME STARTED Big Lady K, B/Ware! Records 12in
22 37 MY LOVE IS MAGIC (CLUB MIX) Bäs Noir, US nugroove 12in
23 61 GIVING YOU THE BEST THAT I GOT/PRICELESS/GOOD ENOUGH Anita Baker, Elektra LP
24 33 CHARLIE SEZ/RUNNIN YO’ MOUTH/GOTTANOTHA FUNKY BREAK 4-U -> HIT IT! Original Concept, Def Jam 12in
25 26 CAN’T WIN FOR LOSIN’ (OVERSEAS MIX/KEVIN HEDGE MIX) Blaze, RePublic Records 12in
26 30 THE WAY YOU LOVE ME (REMIXES) Karyn White, US Warner Bros 12in promo
27 20 SET IT OFF (EXTENDED MARLEY MARL MIX) Big Daddy Kane, Cold Chillin’ 12in
28 17 ACID MAN (ORIGINAL/HAPPY MIXES) Jolly Roger, 10 Records 12in
29 22 RIDING ON A TRAIN (EXTENDED VERSION) The Pasadenas, CBS 12in
30 16 I’LL HOUSE YOU Jungle Brothers, US Idlers 12in
31 — YOU’RE GONNA MISS ME Turntable Orch, US Music Village Records 12in
32 27 JENIFA (TAUGHT ME)/POTHOLES IN MY LAWN De La Soul, US Tommy Boy 12in
33 40 THE NIGHTMARE (IT’S OVER FOR YOU) Lake Eerie, US nugroove 12in
34 34 THEME FROM P.O.P. (CLUB REMIX) Perfectly Ordinary People, Urban Acid 12in
35 28 NIGHT OF THE LIVING BASEHEADS (ANTI-HIGH BLOOD PRESSURE ENCOUNTER MIX)/TERMINATOR X TO THE EDGE OF PANIC Public Enemy, Def Jam 12in
36 32 IN THE NAME OF LOVE ’88 (RAILROAD MIX/DUB) Thompson Twins, Arista 12in
37 18 TALKIN’ ALL THAT JAZZ (EXPANSIONS/DOMINOES MIXES) Stetsasonic, Breakout 12in
38 09 IN THE NAME OF LOVE (CLUB MIX) Swan Lake, Champion 12in
39 74 BURN IT UP/ACID BURN Beatmasters, Rhythm King 12in
40 — WHO’S GONNA EASE THE PRESSURE (BIG MAC MIX)/IT’S A CRUEL WORLD (CLUB HOUSE MIX) Mac Thornhill, 10 Records 12in
41 38 CRAZY (FOR ME) (THE DONE PROPERLY MIX) Freddie Jackson, Capitol 12in
42 54 REACHIN’ (LATIN WORKOUT MIX) Phase II, Republic Records 12in
43 35 A BETTER WAY/YEAH BUDDY/DIRTY BEATS Royal House, Champion LP
44 55 SOMEBODY SAVE ME (MIXES) By All Means, Fourth & Broadway 12in
45 43 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
46 50 STAND UP FOR YOUR LOVE RIGHTS/(Y’AZZID MIX) Yazz, Big Life 12in
47 51 THE TWILIGHT ZONE (REMIXES) The Party Boy, Urban Acid 12in white label
48 29 WHERE’S YOUR CHILD? Bam Bam, Desire 12in
49 87 THIEVES (THE TRUTH, THE WHOLE TRUTH AND NOTHING BUT THE TRUTH VOCAL/JAZZ, THE WHOLE JAZZ AND NOTHING BUT THE JAZZ IN THE HOUSE MIX) Wally Jump Junior & The Criminal Element, Breakout 12in
50 96 EASE BACK/WATCH ME NOW/CRITICAL BEATDOWN Ultramagnetic MC’s, US Next Plateau LP
51 47 I PIONEERED THIS M.C. Shan, US Cold Chillin’ 12in
52 83 I MISSED/WHERE’S THAT GIRL/HOLD ON TO LOVE/CAN WE SPEND SOME TIME/CLOSER THAN FRIENDS/BLACK SHADES Surface, US Columbia LP
53 88 THE FLIGHT/I’M THE ONE/UPSIDE DOWN/I DON’T WANNA LOSE YOUR LOVE Perri, MCA Records LP
54 — EAST WEST Jay Strongman featuring Maureen, Rhythm King 12in
55 39 CHECK THIS OUT (CLUB VERSION) Hardhouse, US Easy Street 12in
56 36 RIDE THE RHYTHM (ACID NOT PLACID) This Ain’t Chicago, Club 12in
57 — CAN U FEEL IT? ‘88/PUMP THAT BASS (LIVE)/GET STUPID…AGAIN/TO THE BEAT Y’ALL Original Concept, Def Jam LP
58 44 CAN U STILL DANCE (MIXES) Fast Eddie, US DJ International Records 12in
59 56 I WANT TO KNOW/LOVE IS IN FLIGHT/WITH YOU/BEFORE YOU KNOW IT Marlena Shaw, US Polydor/Verve LP
60 57 HELLO (featuring Delores ‘Deluxe’ Springer)/DO YOU STILL REALLY LOVE ME? Thomas Esterine, Angel Town 12in
61 52 GIRL YOU KNOW IT’S TRUE (NYC SUBWAY MIX) Milli Vanilli, Cooltempo 12in
62 — SHOW ME WHAT YOU’VE GOT (MIXES) S.L.F. (Street-Level Funk), Warriors Dance 12in
63 — FLESH A Split Second/HMM, HMM Taste Of Sugar/MOVE YOUR ASS Erotic Dissidents (‘New Beat – Take 1’), Belgian Subway Records LP
64 — CITY LIGHTS/(INSTRUMENTAL VERSION) William Pitt, Sierra Records 12in
65 — JOIN IN THE CHANT (BURN!)/CONTROL I’M HERE (STRATEGIC DANCEFLOOR INITIATIVE MIX) Nitzer Ebb, Mute 12in
66 46 ACID RAPPIN’/ACID HEAVEN The Moody Boys featuring Rhyme & Reason, CityBeat 12in
67 68 VOODOO RAY E.P., A Guy Called Gerald, Rham! Records 12in mailing list promo
68 63 BINGO BONGO (HOUSE MIXES/CLUB VERSION) The Minutemen, Champion 12in promo
69 — YOU CAN’T HIDE (MIXES) Holly Jump, US DJ International Records 12in
70 42 BIG FUN (LES ADAMS’ L.A. BIG BIG FUN REMIX) Inner City, 10 Records 12in
71 70 ACID THUNDER (MIXES) Fast Eddie, US DJ International Records 12in/Westside Records promo
72 99 ESCAPE (MIXES) The Mack featuring Tim Bryant, US Quark 12in
73 65 I REALLY MISS YOU/JUSTICE FOR THE WORLD/ENCHANTED LADY/GIVE A LITTLE PEACE/FUNNY FEELING/NEW LOVE The Pasadenas, CBS LP
74 re LAP OF LUXURY Dee Dee Wilde, Fourth & Broadway 12in
75 77 ACID OFF A WAY PT 2/FUNKY MAN >>R+<<, Three Stripe Records 12in
76 — YOUR SWEETNESS/ROCKING CHAIR/CAN I CHANGE MY MIND/SPECIAL LADY/MAKE ME YOURS FOREVER/STONE GOOD LOVER/ONE NIGHT STAND/ROCK AND HOLD YOU BABY Willie Clayton, Timeless Records LP
77 48 JACK TO THE SOUND OF THE UNDERGROUND (PARTY/FAKE MIXES) Hithouse, Supreme 12in
78 — YOU MAKE ME WORK (12” REMIX) Cameo, Club 12in mailing list promo
79 78 INTO THE FUTURE (MIXES) M.C. Rell & The House Rockers, Criminal Records 12in
80 100 TRUTH OF SELF EVIDENCE/STRUCTURE/GRAB THE BEAT Reese & Santonio, ffrr/Kool Kat 12in promo
81 — SYMPATHY FOR THE DEVIL Laibach, Neue Slowenische Kunst/Mute 12in
82 — DOWN THE DRAIN/WORK ME BABY/LL COOL E/MUSIC INSIDE YOUR MIND (CLUB MIX)/(SMOOVE MIX) E-Smoove, US Future Sound/RRR Records 12in
83 73 WIND ME UP (MIXES) M.C. Bam Bam, US Pow Wow Records 12in
84 re FEEL THE LUV (BODY MIX/SEX MIX) Tech Trax Inc, US nugroove 12in
85 41 MIRACLES MC Duke, Music Of Life 12in
86 89 KING OF THE BEATS Mantronix, US Capitol 12in
87 64 SECURITY (MIXES) The Beat Club, Bass Records 12in
88 67 WEE RULE (RAGAMUFFIN MIX)/REBEL RAP Wee Papa Girl Rappers, Jive 12in
89 93 IT’S A TRIP (TUNE IN, TURN ON, DROP OUT) (HACIENDA MIX) Children Of The Night, Kool Kat/Jive 12in mailing list promo
90 — TOOK MY LOVE AWAY (MIXES) Ellis D, US Minimal Records 12in
91 72 DROP THE DEAL Code 61/JESUS ON THE PAYROLL The Thrashing Doves/BLACKOUT Enzo Avitabile/KAW-LIGA (PRAIRIE MIX) The Residents (‘Balearic Beats Vol 1’), ffrr LP
92 re CHANGE (MAKES YOU WANT TO HUSTLE) Blow (featuring Belva), 10 Records 12in promo
93 — THE ONLY WAY IS UP (ACID DUB/THE UP UP UP MIX) Yazz and the Plastic Population, US Elektra 12in
94 81 COOLIN’ IN CALI/THAT’S HOW WE’RE LIVIN’/GROOVIN’ The 7A3, US Geffen Records 12in
95 — I wanna do MONKEY SAY MONKEY DO Westbam, German Low Spirit 12in
96 — THIS IS THE “B” SIDE (TODD TERRY PRODUCTION MIX)/(TONY D/TRUE BLUE MIXES)/LET’S MAKE SOME NOISE/(DUB) Choice MC, US Idlers 12in
97 85 LOVE SONG/DON’T ROCK THE BOAT/I DON’T WANNA BE LONELY Midnight Star, US Solar LP
98 80 MY GOOD FRIEND JAMES Tony Stone, Ensign LP
99 — HERE COMES THAT SOUND (DEMOLITION REMIX) Simon Harris, ffrr 12in
100= — THE REAL LIFE Corporation Of One, US Smokin’ 12in
100= — I DO BELIEVE (MIXES) E’leesa Weldon, US Bassment Records 12in
100= — 1st BASS/CAN YOU FEEL THE DIFFERENCE?/YOU ASK FOR IT/WE NEED SOMEBODY Separate Minds, US Express Records 12in


POP DANCE

01 02 WE CALL IT ACIEED (THE MATEY MIX) d. Mob (featuring Gary Haisman), ffrr 12in
02 01 BIG FUN Inner-City featuring Kevin Saunderson, 10 Records 12in
03 09 STAND UP FOR YOUR LOVE RIGHTS Yazz, Big Life 12in
04 04 JE NE SAIS PAS POURQUOI Kylie Minogue, PWL 12in
05 15 GIRL YOU KNOW IT’S TRUE Milli Vanilli, Cooltempo 12in
06 14 BURN IT UP Beatmasters featuring P.P. Arnold, Rhythm King 12in
07 03 TEARDROPS Womack & Womack, Fourth & Broadway 12in
08 08 A LITTLE RESPECT Erasure, Mute 12in
09 11 I DON’T WANT YOUR LOVE Duran Duran, EMI 12in
10 13 NEVER TRUST A STRANGER Kim Wilde, MCA 12in
11 06 LOVE, TRUTH & HONESTY Bananarama, London 12in
12 12 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
13 05 ONE MOMENT IN TIME Whitney Houston, Arista 12in
14 10 IN THE NAME OF LOVE (CLUB MIX) Swan Lake, Champion 12in
15 07 TURN IT INTO LOVE Hazell Dean, EMI 12in
16 — THE PARTY Kraze, MCA 12in
17 — KISS Art Of Noise featuring Tom Jones, China 12in
18 — I’LL HOUSE YOU Jungle Brothers, Gee St. 12in
19 — HE AIN’T NO COMPETITION Brother Beyond, EMI 12in
20 19 DOMINO DANCING (DISCO MIX) Pet Shop Boys, Parlophone 12in


HI-NRG

01 01 OVER AND OVER AND OVER Michelle Goulet, Saturday 12in
02 02 THE RUMOUR (SHEP PETTIBONE REMIX) Olivia Newton-John, US MCA 12in
03 03 I NEED YOUR PASSION Sweet Connection, German Blow Up 12in
04 04 I CAN FLY Louise Thomas, Nightmare 12in
05 05 LOVE EVICTION/LOOKING FOR SOMEONE TO LOVE TONIGHT Quartzlock, Retro 12in
06 06 TURN IT ON TO LOVE (EXTENDED VERSION) Hazell Dean, EMI 12in
07 16 BIG FUN Inner-City featuring Kevin Saunderson, 10 Records 12in
08 09 YOUR LOVE CAME TOO LATE Eria Fachin, US Critique 12in
09 08 ONLY MUSIC SURVIVES (DJ PROMIX)/SPEND A LITTLE TIME Alba, Italian Merak Music 12in
10 10 HIT ‘N’ RUN LOVER (REMAKE) Carol Jiani, Passion 12in
11 12 REQUIEM London Boys, German Teldec 12in
12 30 CAN YOU PARTY (CLUB MIX) Royal House, Champion 12in
13 11 ROCK ME BABY Lysa Lynn, US Emergency 12in
14 27 STAND UP FOR YOUR LOVE RIGHTS Yazz, Big Life 12in
15 07 ALL OF ME (BOY OH BOY) Sabrina, PWL/Mega/Videogram 12in
16 18 YÉ KÉ YÉ KÉ (AFRO ACID MIX) Mory Kante, ffrr 12in
17 17 LOVE, TRUTH & HONESTY (BALEARACIDIC MIX) Bananarama, London 12in
18 19 JIVE INTO THE NIGHT Green Olives, Italian “X”-Energy 12in
19 13 THE ONLY WAY IS UP Yazz And The Plastic Population, Big Life 12in
20 20 TOO MANY TIMES, TOO MANY CHANGES San, Belgian Infinity 12in
21 — STEALING MY TIME Kelly Marie, Saturday 12in
22 14 NEVER TRUST A STRANGER/YOU CAME (JELLYBEAN REMIX) Kim Wilde, MCA 12in
23 22 I DON’T BELIEVE IN MIRACLES Sinitta, Fanfare 12in
24 25 RIVAL LOVE Astaire, Passion 12in
25 21 IS THIS REALLY LOVE Jon Otis, PWL 12in
26 33 WHAT KIND OF LOVE Diana Randall, French Public 12in
27 26 THEME FROM P.O.P. Perfectly Ordinary People, Urban 12in
28 24 LET’S NOT SAY GOODBYE Jigsaw, Nightmare 12in
29 — HEART OF GLASS Desiderata, Nightmare 12in
30 40 FLAMES OF LOVE Fancy, German Metronome 12in
31 37 OOCHY KOOCHY (F.U. BABY YEAH YEAH) Baby Ford, Rhythm King 12in
32 35 A LITTLE RESPECT (MARK SAUNDERS MIX) Erasure, Mute 12in
33 29 STUCK ON LOVE (PHIL HARDING MIX) Dee Lewis, Mercury 12in
34 — NEVER SATISFIED Carol Woods, Nightmare 12in
35 — BURN IT UP Beatmasters featuring P.P. Arnold, Rhythm King 12in
36 34 JOHN (LES ADAMS REMIX) Desireless, CBS 12in
37 15 SAFE IN THE ARMS OF LOVE (EXTRA BEAT BOYS REMIX) Shooting Party, Lisson 12in
38 23 LOVE, TRUTH & HONESTY Bananarama, London 12in
39 re SAYIN’ SORRY (DOESN’T MAKE IT RIGHT) Denise Lopez, Breakout 12in
40 31 I CRY FOR YOU Shy Rose, US JDC 12in

2 thoughts on “November 5, 1988: New Beat: “The gadfly of dance music fashion has darted on, just as you thought “acieed!” was where it’s at.””

  1. Ah, “New Beat”. I bought into the hype just far enough to buy the compilation LP that James reviews here, on its eventual release in the UK – and that’s where my interest abruptly ended. (I played Erotic Dissidents ‘Move Your Ass’ out once, and that was that.)

    That said, the Who Killed The Kennedys mix of Laibach ‘Sympathy For The Devil’ (which strictly speaking is too fast to be truly New Beat) did very well for me. I bought it on the recommendation of a friend who was a massive Laibach fan, who told me it sounded a bit like Bananarama. It didn’t really, but it sounded like it might have potential. I started playing it out in mid-December, and by mid-January it was my biggest floor filler, always requested and often played twice. It helped that the record had only been briefly available, and could no longer be bought; I’m fairly certain I was the only DJ in Nottingham who had a copy. If my Thursday nights ever had an anthem, this was it.

    It’s interesting to read about the original pioneers of acid house in the UK cooling off, moving on, and even refusing entry to people in smiley T-shirts. As a replacement, New Beat might have been a dead end, but other variants on house music, more aligned towards James’s own tastes, were now in the ascendant. However, none of this takes account of the huge unlicensed party scene, which I presume is where acid eventually mutated into rave. There hasn’t been a single mention of these raves in James’s columns – but then, why would there be, as the rave scene operated completely independently of James’s orbit and influence.

    It’s great to hear S.L.F. ‘Show Me What You Got’ again after all these years – I’d forgotten how good it was. House piano has been around ever since Marshall Jefferson’s ‘Move Your Body’, but it seems to be becoming a more common feature.

    Like Kariya’s ‘Let Me Love You For Tonight’, I associate Corporation Of One’s ‘The Real Life’ more with 1989 than 1988. James has understandably missed its main sample, though: Simple Minds’ ‘Theme From Great Cities’.

    And finally, buried in the title of an Original Concept album track, the word “gangsta” makes its first appearance in these columns.

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  2. As far as I can remember the big M25 party operators had only been getting going in the last month or so Biology, Genesis etc being among the first I’m not sure Sunrise had even put one on yet and all were pretty small scale and at the scale of public awareness (even on the dance underground) that acid per se had been in about April. But as you said they wouldn’t really have come into JH’s orbit unless via chatting in the dance record shops where the DJ’s for clubs and raves all got their tackle.

    It’s all a bit weird when we’re still 2 months away from the end of 1988 and some people are talking about acid house as over. I don’t remember everything about Paul Oakenfold’s Fantasia (which I don’t think had anything to do with the big 1990s rave organisation of the same name but I could be wrong ) I always thought his next big thing (if a renaming can be called ‘next’) was Spectrum’s renaming as Land of Oz about now.

    I don’t remember when I first heard people talking about ‘rave’ in the context of its 1988 onwards meaning – I remember people used to say they were “going raving” probably about by about now but could have been a bit later but not talk about ‘raves” this far back.

    That “Tune In, Turn On” record by Children of the Night was a victim of a shock horror article at the time in ‘The Sun’ but IIRC was always looked on in the acid house world as a blatant cash in record anyway – maybe why it’s struggling in the dance chart – you have to wonder if ‘The Sun’ article was one of those PR things which the record company helped cook up hoping it would sell it.

    West Bam gets his first mention with ‘Monkey Say Monkey Do’. ‘Hold Me Back’ would be big next year.

    ‘Flesh’ is the only record that I remember from New Beat and was re-issued on a couple more occasions over the years.

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