March 4, 1989: Chanelle, The 45 King, EPMD, De La Soul, Gerald Alston

BEATS & PIECES

THE 1989 International DJ Convention’s opening party on Sunday, March 12, will include an Alyson Williams live showcase plus PAs by such as De La Soul, Jungle Brothers. Cash Money & Marvelous, MC Lyte, Black Rock And Ron, Audio Two, Brian Keith, Jomanda, and Funky Worm, while the following day’s producers panel session will feature the likes of Clivilles & Cole, Frankie Knuckles, Hank Shocklee, Bruce Forest, Gail ‘Sky’ King and DJ Mark The 45 King — no rubbish, eh? (full booking details from the Disco Mix Club on 06286-67276, 63227, 67124) … De La Soul and Chanelle look like being added to the Prestatyn Easter weekender’s line-up (late bookings may still be available from LiveWire on 01-364 1212) … EMI have closed down their in-house dance promotion department, the Syncopate label however remaining as before with Tim Rudling still as club plugger and consultant but in an independent capacity, through his new The Kipyard Consortium … MCA Records’ UK pressing of Vicky Martin ‘Not Gonna Do It’, due commercially in four weeks but widely pre-released, turns out to be totally different from the US import with a brand new (0-)121½bpm Bam Bam House Mix as main A-side, 121½bpm 7″ Edit, Acapella and 121¼bpm Marshall Jefferson Radio Mixes being new too … Candi McKenzie’s ‘Wanna Be Good Tonight’, now I’ve finally seen properly printed finished copies, turns out to be a Jolley Harris Jolley creation, with no Dancin’ Danny D involvement after all! … RCA have picked up Jomanda ‘Make My Body Rock’, while Champion snapped up the new Lake Eerie … Diana Ross is returning to Motown, not only as an artiste but also as a shareholder in the label … Blaze are also now indeed signed to Motown, but Kevin Hedge has started his own Ground Level label “to bring a bit of black ownership into the current garage music scene” — Kevin, whose remix of Chanelle will be separately marketed as it arrived too late for inclusion on the main UK pressing, has also remixed the upcoming new Coldcut single … RePublic Records’ second compilation album of ‘The Garage Sound Of Deepest New York’ will be subtitled ‘Paradise Regained‘ and contain nothing but brand new unreleased New Jersey productions primarily by Blaze, with some by Smack Music Productions, Paul Scott and others … ‘Magic Juan’ Atkins has remixed the now Sharon Dee Clarke credited ‘Something Special’ for March 27 release, from the ‘Urban House’ LP on which this wailing 124½-0bpm skipper (the set’s main highlight) is confusingly billed as being by its producer Damon Rochefort … ffrr are plugging their Belgian new beat product with a supposedly promotional but fast selling — if you know where to look — 12 inch sampler (NBSAMP 1) coupling the ominous muttered chugging Dirty Harry ‘D’Bop’ (in 0-110bpm vocal and 0-108bpm instrumental) with the more thinly jittery rolling Taste Of Sugar ‘Hmm, Hmm’ (0-113¾bpm vocal and 0-113⅔bpm instrumental) … Chris Phillips and Paul Bennun’s monthly G.O.D. (Get On Down) night next Thursday (9) at Exeter Quay’s Warehouse Club features solid purple, P’funk, punk-funk and swing beat … Jay Strongman and a rota of guests including Bob Jones, Julian ‘Slack’ Palmer and Gilles Peterson spin all sorts and vintages of black music at Low Rider Thursdays in Soho’s Borderline (off the Charing Cross Road beside Foyles), where Madhatter Trevor hosts Upfront Fridays and jocks like DJ Mixmaster Tee, Colin Faver and Judge Jules have Garage Grooves Saturdays … Jazzy M, Steve Harris and Cut Master J mix up Chemistry on Thursdays at Brixton’s Fridge … Big ‘H’ hosts jazz ‘n’ soul Sunday evenings at Harry’s House in Slough’s Furze Hotel, on Uxbridge Road at George Green … Gary Mayo mixes Wednesdays at Cardiff Chicago’s … Steve Wiggins’ Saturday “70s Night” at Barry Island’s Warehouse has confused several flare-trousered Gary Glitter freaks — it’s all the drinks that are 70p! … Gt Yarmouth soul DJ Danny Smith had 500 of his most valuable records stolen from his car while it was parked outside his flat over the weekend (a silly place to leave them, it must be said), and offers a huge £5,000 reward for the conviction of the thief and return of the vinyl … John ‘JD’ Digweed, now he’s club promotions manager of the Sussex/Kent Playhouse group of venues, is looking for possible PAs and good DJs on 0424-421751 … WEA have made some promotional slipmats that advertise not only Ten City but also the company’s “man of the year”, club plugger Fred Dove! … Tyree Cooper and ladies’ man Kool Rock Steady by all accounts have found their brief moment of fame a heady experience while touring here … Ian Levine has actually gone to great expense to keep not only the legal right to the group name Seventh Avenue but also the group’s lead singer, now joined by two new members, Jive only having signed his past partners (who apparently didn’t sing on the records anyway) … Mick Brown & Pat Sharp’s next Stock Aitken Waterman-produced revival will be of Gonzalez ‘Haven’t Stopped Dancing Yet‘, again to benefit Capital Radio’s ‘Help A London Child’ … GIVE IT SOME OF THAT, KID!


HOT VINYL

CHANELLE ‘One Man (One Mix)’ (Cooltempo COOLX 183)
Reminiscent of the early Eighties’ Sharon Brown style, although largely based on Double Exposure’s ‘My Love Is Free’ from 1976, this Kevin Hedge of Blaze co-produced, Frankie Knuckles & David Morales remixed, superb cool girl gurgled and wailed smooth bass bubbled weaving here 118⅖-118¼-0bpm strider (118¼-0bpm Dope Dub and Intense Mix too) already is “the new Adeva”, instantly massive on import.

THE 45 KING ‘The 900 Number’ (Doctor Beat DRX 912)
DJ Mark The 45 King’s fruity baritone sax honked and dryly funked drums thumped repetitively looped 107⅙bpm break beat already drives hip hop crowds wilder than just about anything else at the moment, and is finally out here coupled with the similarly instrumental drum and bass thudded 102½bpm ‘Coolin’‘, and boringly rapped 100⅔bpm ‘The King Is Here!‘ — rather a waste considering two vocal versions of ‘The 900 Number’ could have been used instead, from his LP, and MC La Kim’s ‘The Posse Is Large’.

EPMD ‘I’m Housin’’ (Sleeping Bag Records SBUK 7T)
Long Island rappers Erick & Parrish Making Dollars’ jiggly shuffling lurcher from their last album is much brighter now in an exclusive UK-only 107⅓-107-0bpm Simon Harris remix, transformer scratching some “what it is, what it is” gospel wailing from Aretha Franklin’s ‘Rock Steady’ (107⅙-106⅚bpm semi-Instrumental too), flipped by a brand new echoingly drawled dedications started and Steve Miller Band ‘Fly Like An Eagle’ quoting 87⅔-0bpm treatment of ‘Get Off The Bandwagon‘ (Instrumental too), already hot on promo.

DE LA SOUL ‘3 Feet High And Rising’ (US Tommy Boy TBLP 1019)
Chatting and talking as well as rapping, this Prince Paul produced tracks crammed eccentric concept album by Trugoy The Dove, Posdnuos, and P.A. Pase Master Mase is fragmented by dialogue and brief musical interludes, the stand-outs being the Funkadelic ‘One Nation Under A Groove’-based 114½bpm ‘Me Myself And I’ (their next single) and chugging Hall & Oates ‘I Can’t Go For That’-based 110⅓bpm ‘Say No Go‘, while everything else with a beat (which doesn’t automatically make it a “dancer”) is the huskily wordy 120⅓-0bpm ‘The Magic Number‘, funky 107-0bpm ‘Change In Speak‘, whispering thin 123¾-0bpm ‘Can U Keep A Secret‘, annoyingly interrupted 119¼-0-119¼bpm ‘Jenifa Taught Me (Derwin’s Revenge)‘, lispingly chatted 106⅓-0bpm ‘Ghetto Thang‘, French spoken drifting brief 0-82bpm ‘Transmitting Live From Mars‘, ‘Dock Of The Bay’ whistling languid 109⅓bpm ‘Eye Know‘, repetitively pleading 0-101⅙bpm ‘Take It Off‘, Jarmels based brief 117½bpm ‘A Little Bit Of Soap‘, ‘Tramp’-ish 113⅓bpm ‘Tread Water‘, ragged call and answer 0-97bpm ‘Do As De La Does‘, haunting lazily rolling (0-)94bpm ‘Plug Tunin’ (Last Chance To Comprehend)‘, Barry White satirising brief 88⅓-0bpm ‘De La Orgee‘, gently weaving 99⅓-0bpm ‘Buddy‘ (with the Jungle Brothers and Q-Tip from A Tribe Called Quest), slowly rolling brief 88⅚bpm ‘Description‘, jittery jogging 103⅓bpm ‘This Is A Recording 4 Living In A Full Time Era (L.I.F.E)‘, jerky 101-0-96⅙-0bpm ‘D.A.I.S.Y Age‘, and drawling 0-93⅚-0bpm ‘Potholes In My Lawn‘, listed for ease of reference in album running order.

GERALD ALSTON ‘Activated (12″ Remix)’ (Motown/Taj Records ZT 42682)
The Manhattans’ ex-lead singer only had one truly uptempo track on his excellent By All Means-produced/penned album, this gloriously romping hoarsely enthusiastic jittery tumbling leaper with a tinkling vibes break now being in an even more zestful 118bpm Timmy Regisford remix (dub/edit too), thoroughly recommended.

MADHOUSE ‘Voices In My House’ (US Easy Street EZS-7546)
Todd Terry created emptily leaping dull jerky instrumental in a (0-)120½bpm Club Mix and more percussive 0-120⅖bpm Voice Dubba, coupled by the disjointed more typical bassier ‘The Bass Girl’, in 122bpm Club House and Rubba Dubba Mixes, neither side being that special.

KEIA WEIA ‘Just Another Game’ (BlackMarket Records BLMK 005, via PRT)
Smack Music Prods-produced (as was the far better Adeva ‘Respect’) monotonously plaintive New Jersey girl keened and squeaky synth piped jerkily burbling here 117¾bpm garage canterer (in four mixes).

THE DJ FAST EDDIE ‘Yo Yo Get Funky’ (D.J. International Records DJINT 7, via Westside)
12-inched here at last, the ‘Turn Up The Bass’-like standout from his album is a terrifically exciting Lyn Collins/Rob Base “wooh”/”yeah”, Maceo & The Macks ‘Cross The Track’, and other funky samples prodded jumpy hip house rap, here in 124½bpm Original Radio and Use To Hearin, 124¼bpm Funky Music and Tyree’s Funky Beats mixes, huge already for months.

LAKE EERIE ‘Sex 4 Daze (I Want It, You Can Get It)’ (US nugroove NG-009)
Frankie “Bones” created, Tommy Musto engineered, panting and groaning overlaid episodic samples studded jerkily jittering nervy Todd Terry-ish leaper in five different but exactly 122bpm versions (the London Side’s pair being ‘Sex 4 Daze On Acid’), an instant seller.

CAPPELLA ‘Helyom Halib (acid acid acid)’ (Italian Media Record MR 527)
Nothing to do with Ofra Haza, this Italy recorded acidically twittering dated but madly infectious percussive jerkily jumping 122½-0bpm volume pumper, quoting “work it to the bone” as its main vocal hook (piano jangled housier 122½-0bpm acid mix flip), broke first in Manchester at the Hacienda some weeks back and is taking off everywhere now it’s more widely available.

AUFNAHME ‘Ein, Zwei, Drei, Vier’ (Italian Meet Record MEET 041)
The Kraftwerk-style German for “one, two, three, four” is the title line that punctuates this actually Italy recorded very powerfully driving brassy jiggling chugger, in 0-120¼-0bpm Tanz, 120bpm Verrückte, and (0-)120-0bpm Kurze Versions, another that broke alongside Cappella at the Hacienda before now finally spreading.

ANTHONY THOMAS ‘Don’t Say Goodbye’ (US NEXT Plateau Records Inc NP50092)
Mohamed Moretta created friskily lurching canterer, phrased in almost Rick Astley style by the singer of Joe Smooth’s ‘Promised Land’, in 119¼bpm Powerhouse Vocal Mix and Radio Edit, Chep’s Acid Meltdown, Freestyle Radio Edit, and Stock Aitken Waterman-style Euro-Mix versions, Latin hip hop-style jerkier 119⅓bpm Freestyle Vocal Mix and 119¼-0bpm Mohamed’s Heavyweight Dub, the overall effect being in fact lightweight and classy.

DENIZ ‘You Were The One’ (Urban URBX 32)
Plaintive 19-year-old New Jersey girl moaned and squawked remorselessly jittering Latin hip hop, pretty mind numbing in the A-side’s (0-)116½-116¾-0bpm Metro Club Mix (117¼bpm Deniz-A-Pella too) but usefully quite hip house in the flip’s far better James Brown sampling, piano jangled, more jerkily lurching 116¾-116⅓bpm House Mix and 116⅓-116½bpm Shameek’s House Mix — which even go “wooo”, without the “yeah”!

L.U.S.T. ‘2 Not 2 Stop’ (Bass Records BSS 12-7, via Champion)
Richie Weeks’ Break 4 Love’ inspired sparsely trotting here 120⅓bpm simple light disco lurcher has had its mixes retitled and then mislabelled for UK release, so that the new Midnight and Parisienne Mixes are the import’s Vocal and Nastii Mixes, with a repetitive title muttering guy crooning over an orgasmically panting girl, while the beefier and sexier French Tickler Mix (with one side to itself) here becomes the misleadingly innocent looking Vocal Mix!

COOKIE CREW ‘Got To Keep On’ (ffrr FFRX 25)
Daddy O and DBC produced frantically charging exciting Edwin Starr ’25 Miles’ based hip house-ish girl group rap with bassily fluttering resonance that’s distortedly pressed on the promo A-side in its 130½bpm 12″ Version and 129¼bpm Instrumental, flipped though by the cleanly throbbing sparser 129⅓bpm B. Boy Mix, and James Brown title line punctuated, New Jersey Queens & Friends ‘Party And Don’t Worry About It’ break beat based 99bpm ‘Pick Up On This‘ — which real b boys are likely to prefer.

CORPORATION OF ONE ‘So Where Are You’ (US Smokin’ TAI 126612)
Freddy Bastone produced anxious guys worried choppily skittering nervy garage jitterer in 117(intro)-119⅘-119⅗bpm Vocal, 120bpm Hashish Dub and Percappella Mixes, selling well for the flip’s (0-)119⅚-0bpm Oppy Mix remix of the Queen ‘Bohemian Rhapsody’ sampling ‘The Real Life’ (the previously reviewed original version of which has only recently started to take off in a big way too).

SOLOMON BURKE ‘Power’ (US Outpost Entertainment Company OET-30001)
About for a while and apparently getting “deep house” attention (although its beat is far from the accepted norm for that genre), this jittery jolting staccato dated bluesy chugger growled by the veteran “bishop of rock ‘n’ soul” whips up power in a 110½-0bpm Club Mix plus four more 110½bpm mixes, and is billed as appearing on the soundtrack of an Italian movie called ‘Potere’.

MASSIVE SOUNDS ‘She Say Kuff’ (US nugroove NG-010)
Snapped up here already by Champion, a Bobby Konders created, Tommy Musto engineered, drivingly mesmeric monotonous jingly jangly chugging 120bpm instrumental with background chatter in two mixes (plus Kuffapella), flipped by the similar in idea though different house-ier 120bpm ‘I Want You‘, in three mixes.

NAISHA ‘One Step At A Time’ (US Sutra/Anything Goes Records SUD 083)
Clivilles & Cole created “diva”-type girl wailed jerkily skittering spirited galloper, worth Hi-NRG attention too, in 123⅕bpm The Clivilles and Cole 1989 Garage Mix,123⅕-0bpm The Hot Cole & Clivilles Club Mix, 122⅘bpm Fun Dub, and 124bpm Notice The House Dub versions.

BLUE MAGIC ‘Romeo And Juliet (Vocal Remix)’ (US Def Jam 44 68197)
The veteran group debut on Def Jam, rather than as previously announced on the label’s new OBR (Original Black Records) soul logo, with a Hank Shocklee & Eric Sadler remixed nice lushly soulful (0-)105⅙bpm chunky jiggler set to the current US dominating formularised “swing” beat (instrumental too), flipped by the more timeless sweetly wailing gorgeous slow 30/60bpm ‘Couldn’t Get To Sleep Last Night‘.

TODAY ‘Girl I Got My Eyes On You (Remix)’ (Motown ZT 42684)
Semi-falsetto lushly wailed and harmonised 0-104⅓bpm rolling jogger arranged by Teddy Riley with his archetypal bumpily jolting jittery “swing” beat, remixed by Timmy Regisford (dub/edit too).

RAGTYME featuring Byron Stingily ‘I Can’t Stay Away’ (US Bright Star Records BR-005)
Delving back pre-Ten City to 1987, this Marshall Jefferson produced whinneyingly nagged pshta pshta hi-hat hissed thumping rambler is strongest in the 119¾bpm Ron Hardy’s Club Mix and 0-119¾bpm Lil Louis House Mix, the 0-119¾-0bpm Power-Pella and 119¾-0bpm Powerhouse Mix being quite formless (all being credited as mixed by Frankie Knuckles).

IN-HOUSE II ‘Love To Love You Baby (Love Your Body Mix)’ (US Hit-n-Run Records HR-91655)
Previously mentioned in passing but deserving fuller attention now that Donna Summer is much in evidence again, this reworking of her debut hit is a syndrum “poo poo”-ed (and “toot toot, beep beep” punctuated) lightly loping and chugging disco tripper in three 120bpm mixes, plus a 110-0bpm Between The Sheets version that’s perhaps more usefully closer to the original (soon to be reissued in the wake of Bali’s rival cover version).

VARIOUS ‘Rap Trax Volume One‘ (US Trax Records TX 5005)
12 inch-style packaged rap album from the house label, only some of the material being “hip-house”, most effectively so the actually “rap house” credited 121⅔bpm fast talking bubbly BRYON LESTER ‘Ain’t It Funky’, while the 124⅕bpm twittering bubbly KOOL ROCK STEADY ‘I’ll Make You Dance‘, 122½bpm girls rapped acidic sparse M&M ‘Get Off Your Butt‘, 120⅕-0bpm “bass how low can you go” quoting chattery CHI-BOYZ ‘Bass‘, and 0-116½bpm thumpingly cantering FAT ALBERT ‘Fat Albert Rap‘ are uptempo, the 0-89/44½bpm atmospheric lazy MELODY ‘Cool Chillin’‘, 91-0bpm jittery lurching DANCER ‘Keep On Tryin’’, 0-108bpm jolting beat riding CHILLY T ‘This Is War‘, (0-)96⅓-0bpm Aretha reviving K.G.B. ‘Respect Rap‘, and 84/42bpm slowly weaving FAHEEM ‘Bitches ‘N Shacks‘ being more specialist and slow pure rap, without any house trappings.


POP DANCE

KON KAN ‘I Beg Your Pardon (Club Mix)’ (Atlantic A8969T), Canadian disco DJ Barry Harris created droningly sung (by Kevin Wynne) 123¼-0bpm pop thumper sometimes synched with what sounds like Cher singing ‘(I Never Promised You A) Rose Garden’, and broken up by the “rock-freak” from GQ’s ‘Disco Nights’ (both doubtless remade), so rush released to meet radio created demand that it’s BPM-ed off the US pressing, which also has a 123¼-0bpm Radio Mix plus instrumental 121-0bpm I Beg Your House and 122-0bpm Instrumental;

BEATS WORKIN’ ‘Burn Out — Don’t Fade Away (Sin Mix)’ (ffrr FFRX 26), Nicky Holloway and cohorts’ latest pure pop offering is a gruffly talked-sung jittery pounding (0-)122bpm galloper with “ooh-aah” accents and surging momentum giving an air of excitement;

N.T. GANG ‘There’s A Noise Going On’ (Cooltempo COOL X 174), Germany recorded zingily thumping 116½bpm twittery still quite “volume pumping” pounder, emptily exciting, flipped by the Herbie Hancock-like vocoder sampling jittery leaping old jazz-funk style 117bpm ‘Lonely’;

DEPECHE MODE ‘Strangelove (Hijack Mix)’ (Mute Records PP12 BONG 16), chirping crickets introed throbbing (0-)118½bpm thudder with bursts of quaveringly bellowed pop vocal, flipped by the electro backed gloomier 110⅙ ‘Nothing’, remixed from their new Pasadena Rosebowl recorded album;

BONEY M ‘Rasputin (Remix)’ (Hansa 612 096), Pete Hammond remixed jittering cantering 124-123-126¾-0bpm cheerful “Russian” oldie, its flip being the only commercial form in which you can now get Alan Coulthard’s neat and dated jolly 118-119-120-123¼-123⅔-127¼-128-128⅔-0bpm ‘Boney M-egamix‘ of the Hammond remixed ‘Rivers Of Babylon/Daddy Cool/ Rasputin/Ma Baker/Gotta Go Home’, promoed last year;

PAULA ABDUL ‘Straight Up (12″ Remix)’ (Siren SRNT 111), US pop chart-topping but, in this mix, dreary boring slow jiggly 95½-0bpm jolter in the Janet Jackson style, tentatively squeaked by in fact her choreographer, with a similar 95⅓bpm Power Mix, bluesily chugging 96⅔bpm Marley Marl Mix, and slightly better smacking 115bpm Kevin Saunderson ‘House’ Mix, the latter B-side pair being more Madonna-ish vocally;

MATT BIANCO ‘Wap Bam Boogie (Latin Remix)’ (WEA YZ328T), previously promoed frantically flying friskily percussive and piano jangled 119¾-119½bpm jumper, the far stronger flip to the drearily thudding choppily jolting dated Level 42-ish 108⅚bpm ‘Nervous (Extended Re-recorded Version)‘, both remixed by Phil Harding;

BOY GEORGE ‘Don’t Take My Mind On A Trip (US Club Mix)’ (Virgin BOY 108 12), Teddy Riley arranged bassily thrumming jittery jolting 113½bpm thudding chugger with in fact the rhythm overwhelming the hoarsely worried and not particularly distinctive song;

SID HAYWOODE ‘He’s Got Magic (The “Tubular” Remix)’ (Fresher Records STD 122R), squeakily cooed jittery throbbing (0-)120¼bpm trite monotonously shuffling canterer, apparently remixed from an earlier unreceived version.


REMIXES

S’EXPRESS ‘Hey Music Lover (The Glass Cut)‘ (Rhythm King LEFT L30T), what you think is going to be just an acappella intro then merely fleshes out with twitters and bumps in a 0-123¾-0bpm Phillip Glass remix that totally lacks a solid beat, the flip’s pulsing tinkly sizzling (0-)123¾-0bpm Red Giant Mix by Daniel Miller being monotonously driving and basically instrumental;

THE GAP BAND ‘I’m Gonna Git You Sucka (Sugar Shack)‘ (Arista 612 095), split UK marketing of the import’s beat confusing more Latin flavoured 101⅙bpm alternative version;

COOKIE CREW ‘Born This Way (Let’s Dance) (The Prince Paul Dope Mix)‘ (ffrr FFRXR 19), braying old Memphis-style brass augmented (0-)118⅙bpm remix;

ROBERT HOWARD & KYM MAZELLE ‘Wait (Remix)‘ (RCA PT 42598), much more acidically twittering 120bpm virtually instrumental treatment.


THE CLUB CHART – March 4, 1989

01 04 ONE MAN (ONE MIX/DOPE DUB/INTENSE MIX) Chanelle, Cooltempo 12in
02 01 TURN UP THE BASS (REMIXES) Tyree featuring Kool Rock Steady, ffrr 12in
03 05 SLEEP TALK Alyson Williams, US Def Jam 12in
04 02 THAT’S THE WAY LOVE IS (ACIEED/UNDERGROUND MIXES) Ten City, Atlantic 12in
05 03 I CAN DO THIS (DOWNTOWN/UPTOWN MIXES) Monie Love, Cooltempo 12in
06 37 KEEP ON MOVIN’ (CLUB MIX) Soul II Soul (featuring Caron Wheeler), 10 Records 12in
07 13 SATISFACTION/YOU MUST BE THE ONE/SUSPICIOUS/WHERE DO WE GO? Ten City, Atlantic LP
08 06 RUNAWAY GIRL/IT’S ALL RIGHT (MIXES) Sterling Void, ffrr 12in
09 07 RESPECT (MIXES) Adeva, Cooltempo 12in
10 09 THIS IS SKA (SKACID MIX) Longsy D’s House Sound, Big One 12in
11 20 PROMISED LAND (LONGER VERSION)/CAN YOU STILL LOVE ME? The Style Council, Polydor 12in
12 12 SELF-DESTRUCTION (MIXES) The Stop The Violence Movement, Jive 12in
13 08 MY PREROGATIVE (EXTENDED REMIX) Bobby Brown, MCA Records 12in
14 16 YO YO GET FUNKY (MIXES) Fast Eddie, US DJ International Records 12in
15 — MUSICAL FREEDOM (FREE AT LAST) (EXTENDED FREEDOM MIX/THE ORIGINAL/SIMPSON TREATMENT) Paul Simpson featuring Adeva and introducing Carmen Marie, Cooltempo 12in pre-release
16 14 WAIT (LONG) Robert Howard + Kym Mazelle, RCA 12in
17 15 PROMISED LAND (MIXES) Joe Smooth featuring Anthony Thomas, DJ International Records 12in
18 31 THE 900 NUMBER The 45 King, Doctor Beat 12in
19 34 MY LOVE IS MAGIC (LES ADAMS’ BIG BÄS DRUM REMIX) Bäs Noir, 10 Records 12in
20 10 RESPECT (THE DANCIN’ DANNY D REMIX) Adeva featuring Monie Love, Cooltempo 12in
21 38 TOUCH ME (LOVE ME TONIGHT) (MIXES) Brian Keith, CityBeat 12in
22 52 SECRET RENDEZVOUS (AFTER HOUR MIX) Karyn White, Warner Bros 12in
23 19 REACHIN’ (BROTHERHOOD/LATIN WORKOUT MIXES)/IT’S A MYSTERY (MYSTERY II U/ORIGINAL MYSTERY MIXES) Phase II, RePublic Records 12in pre-release
24 30 WILD THING/LOC’ED AFTER DARK Tone Loc, Fourth & Broadway 12in
25 48 M.U.S.I.C. (USE IT)/FASTER THAN FAST! (HIP HOUSE VER.)/MAKE THE FLOOR BURN (BONUS DUB) The Dynamic Guv’nors present Jazzy Jason, Blapps! Records 12in
26 27 ADDING ON (CLUB TRACK)/FIRST IN EXISTENCE/BLACK IS BACK/PURE RIGHTEOUSNESS/ALL TRUE AND LIVING/DON’T TRY US Lakim Shabazz, US Tuff City LP
27 39 I FEEL FINE (12” REMIX) Positiv Noize, Urban 12in
28 29 JOY AND PAIN (REMIXES) Donna Allen, US Oceana 12in
29 22 YOU’RE GONNA MISS ME (EXTENDED VER.) Turntable Orchestra, RePublic Records 12in
30 28 LOVE’S GOT 2 BE STRONG (MIXES) Keyman Edwards, US Sound Pak 12in
31 11 GET ON THE DANCE FLOOR (THE “SKY” KING REMIXES/ORIGINAL ALBUM VERSION) Rob Base & DJ E-Z Rock, Supreme Records 12in
32 58 I’M RIFFIN (ENGLISH RASTA) MC Duke, Music Of Life 12in
33 — JUICE CREW LAW/THEY USED TO DO IT OUT IN THE PARK MC Shan, US Cold Chillin’ 12in
34 59 IT’S A MYSTERY (OF LOVE) (REMIXES) Phase II, RePublic Records 12in limited edition
35 26 THE LOVER IN ME (EXTENDED VERSION) Sheena Easton, MCA Records 12in
36 25 WRATH OF KANE Big Daddy Kane, US Cold Chillin’ 12in
37 32 SEDUCTION (MIXES)/EVERYBODY “JUMP” Seduction, Breakout 12in
38 83 GIRL I GOT MY EYES ON YOU (REMIX) Today, Motown 12in pre-release
39 33 THE HUNTED CHILD/POWER/HIGH ROLLERS (REMIXES) Ice-T, US Sire 12in
40 60 NOT GONNA DO IT (I NEED A MAN) (BAM BAM HOUSE REMIX) Vicky Martin, MCA Records 12in pre-release
41 40 ON STAGE (BROAD BEANS MIX)/GET UP ON THIS (ADONIS MIX) She Rockers, Jive 12in
42 82 FADING AWAY (SHEP PETTIBONE POWER HOUSE MIX) Will To Power, US Epic 12in
43 24 YOYO GET FUNKY/HIP HOUSE/I CAN DANCE The DJ Fast Eddie, DJ International Records LP
44 17 TURN UP THE BASS (HIP HOP/MIXES) Tyree featuring Kool Rock Steady, US DJ International Records 12in
45 35 SEX 4 DAZE (I WANT IT, YOU CAN GET IT) (MIXES) Lake Eerie, US nugroove 12in
46 65 PARTY AND DON’T WORRY ABOUT IT (INSTRUMENTAL) New Jersey Queens & Friends, Base Line 12in
47 43 WANNA BE GOOD TONIGHT (TOP CAT/CANDI MIXES) Candi McKenzie, Cooltempo 12in
48 94 ONE STEP AT A TIME (MIXES) Naisha, US Sutra/Anything Goes Records 12in
49 23 THE COURT IS NOW IN SESSION Chill Rob G, US Wild Pitch 12in
50 44 CAN YOU STILL LOVE ME? (J.Z.J. REMIXES)/PROMISED LAND (JOE SMOOTH’S ALTERNATE CLUB MIX) The Style Council, Polydor 12in
51 — SHE SAY KUFF/I WANT YOU (MIXES) Massive Sounds, US nugroove 12in
52 41 THE REAL LIFE (OPPY MIX)/SO WHERE ARE YOU (MIXES) Corporation Of One, US Smokin’ 12in
53 42 HELYOM HALIB (ACID ACID ACID/ACID MIX) Cappella, Italian Media 12in
54 45 I’M GONNA GIT YOU SUCKA (EXTENDED VERSION) The Gap Band, Arista 12in
55 57 BREAK 4 LOVE (CAUGHT IN THE ACT MIX aka DROP THE PANTIES MIX) Raze, Champion/US Columbia 12in
56 63 LACK OF LOVE/(IVORY MIX) Charles B, Desire 12in
57 55 LOVE WILL FIND A WAY (MIXES) Victor Romeo presents Leatrice Brown, US Dance Mania 12in
58 18 MY LOVE IS MAGIC (CLUB MIX) Bäs Noir, 10 Records 12in
59 re FLESH A Split Second, ffrr 12in
60 90 D’BOP Dirty Harry/HMM, HMM Taste Of Sugar, ffrr 12in sampler
61 100= I CAN’T STAY AWAY (MIXES) Ragtyme featuring Byron Stingily, US Bright Star Records 12in
62 88 JUST A LITTLE MORE Deluxe, Unyque Artists/The Dance Yard Recording Corporation 12in
63 61 BREAK 4 LOVE (SPANISH FLY) Raze, Champion 12in
64 89 ME MYSELF AND I/SAY NO GO De La Soul, US Tommy Boy LP
65 36 ON THE REAL TIP/GIVE IT HERE/JUST A POET (IT FEELS MIGHTY FINE) Def Jef, US Delicious Vinyl 12in
66 62 GOOD GIRL/WE CAN MAKE IT Bonnie Byrd, US Wadworth Records 12in
67 re DON’T BE CRUEL (EXTENDED VERSION/RAPACIOUS MIX/RAPACIOUS DUB) Bobby Brown, MCA Records 12in pre-release
68 76 JUST STARTED (CLUB MIX) Lachandra, Garage Trax 12in
69 47 I’M HOUSIN’/GET OFF THE BANDWAGON (REMIXES) EPMD, Sleeping Bag Records 12in
70 77 THE REAL LIFE Corporation Of One, US Smokin’ 12in
71 95 ROAD TO THE RICHES/BUTCHER SHOP Kool G Rap & DJ Polo, US Cold Chillin’ 12in
72 85 AS ALWAYS (MIXES) Farley ‘Jackmaster’ Funk presents Ricky Dillard, Champion 12in
73 86 HOUSE SENSATION (MAGIC JUAN’S REMIXES) Liaz, 10 Records 12in
74 — GOT TO KEEP ON (MIXES)/PICK UP ON THIS Cookie Crew, ffrr 12in pre-release
75 — YOU WERE THE ONE (HOUSE MIX/SHAMEEK’S HOUSE/METRO CLUB MIX)/DENIZ-A-PELLA Deniz, Urban 12in pre-release
76 — DESIRABLE REVENGE (JACK ‘EM OFF VERSION/PUMP IT HARD DUB/CANDY’S BIG DICK MIX) Candy J (The Saga of Sweet Pussy Pauline), US Hot Mix 5 Inc Records 12in
77 — FIX IT MAN (WITH MY TOOL IN MY HAND) Ragtyme featuring T.C. Roper, US Bright Star Records 12in
78 79 DO THAT DANCE/IT AIN’T NOTHING S.L. II, B/Ware! Records 12in
79 51 THE R (WORK, REST & PLAY MIX) Eric B & Rakim, MCA Records 12in
80 66 BLACK, ROCK AND RON (EXTENDED MIX)/GETTING LARGE (INSTRUMENTAL) Black, Rock And Ron, Supreme Records 12in
81 96 AIN’T IT FUNKY Byron Lester/I’LL MAKE YOU DANCE Kool Rock Steady/GET OFF YOUR BUTT M&M/BASS Chi-Boyz (‘Rap Trax Volume One’), US Trax Records LP
82 54 MAKE MY BODY ROCK (FEEL IT) (MIXES) Jomanda, US Big Beat 12in
83 — SERIOUS (CEEREEUS BDP REMIX) Steady B, US Jive 12in/UK promo
84 68 EIN, ZWEI, DREI, VIER (VERSIONS) Aufnahme, Italian Meet Record 12in
85 re ARE YOU MY BABY (12” MIX) Wendy & Lisa, Virgin 12in
86 56 I CAN DO THIS (THE DANCIN’ DANNY D REMIX/HOUSE ACAPELLA) Monie Love, Cooltempo 12in
87 — YOU’RE TOO GOOD/(TONE DEF MIX/RAZZ MIX/DEZZ-A-DUB) Grant And Dezz, US Trax Records 12in
88 — BAD ATTITUDE (EXTENDED MIX) Heather Austyn, Urban 12in pre-release
89 69 DON’T SAY GOODBYE (MIXES) Anthony Thomas, US Next Plateau Inc 12in
90 91 ACTION Don Baron, US UNI Records 12in
91 re SHE WON’T TALK TO ME (KEITH COHEN EXTENDED VERSION) Luther Vandross, Epic 12in
92 re VOODOO RAY A Guy Called Gerald, Rham! Records 12in
93 74 I’M IN LOVE (VERSIONS) Sha-Lor, US Gertie 12in
94 97 ROMEO AND JULIET (VOCAL REMIX) Blue Magic, US Def Jam 12in
95 100= EASE BACK/WATCH ME NOW/GIVE THE DRUMMER SOME Ultramagnetic MC’s, ffrr 12in sampler
96 — MIAMI BASS (VOCAL REMIX/DUB/LP VERSION) Stetsasonic, US Tommy Boy 12in
97 70 HOW FAR I GO (MIXES) Peter Black, US DJ International Records 12in
98 64 STOP JOCKIN’ JAMES Kings Of Swing, US BumRush! 12in
99= — COME ON DADDY (RIGHT ON) (JAZZY M MIX) B.s.Q., Gee St Recordings 12in
99= 81 VOICES IN MY HOUSE/THE BASS GIRL (MIXES) Hardhouse, US Easy Street 12in
99= — PARADHOUSE REMIX/LA MARANZA (EXTENDED SPANISH VERSION/FULL VERSION) Koxo Club Band, German ZYX Records 12in
99= — OK, ALRIGHT (CLUB MIX/SPAGO MIX/BONUS BEATS/RADIO MIX) The Minutemen, US Smokin’ 12in


HI-NRG

01 01 A B C D/BAD GIRLS Radiorama, Italian Disco Magic 12in
02 02 THIS TIME I KNOW IT’S FOR REAL (EXTENDED VERSION) Donna Summer, WEA 12in
03 04 DANCE WITH ME Claudia T, Dutch Made Up 12in
04 03 REQUIEM (HAMBURG MIX) London Boys, WEA 12in
05 05 AUTOMATICALLY YOURS Brenda Cochrane, Dazzle 12in
06 07 IT’S YOU Sheila Stewart, Dutch Made Up 12in
07 21 DANGER IN HER EYES Deborah Sasson, Germany 8ighty 8ight Records 12in
08 20 LOVE TRAIN Holly Johnson, MCA 12in
09 19 FANTASY BOY Baccara, German Bellaphon 12in
10 10 CALL ME Coco, German Blow Up 12in
11 24 GO BABY GO/HEAVEN MUST HAVE SENT YOU/ONE WAY TICKET (TO HEAVEN) Samantha Gilles, Belgian Hi-Tension 12in
12 23 EVERYTHING YOU LOVE Chip Chip, Italian Flea 12in
13 11 LOVE EVICTION Quartzlock, Retro 12in
14 13 MY MY MY Chris, Italian AAA 12in
15 17 DIVINE Mike Hemmer, Italian Time 12in
16 28 SECRETS OF LOVE Sara Carlson, Italian Cinevox 12in
17 — REACHING FOR THE BEST Brenda Reid & The New Exciters, Nightmare 12in
18 re THIS OLD HEART OF MINE Gee Morris, Nightmare 12in
19 30 IT’S SO FUNNY King Kong & The D.J.Ungle Girls, Italian Flea 12in
20 06 DON’T TALK TO STRANGERS Silk & Steele, Strike 12in
21 22 LET’S ALL DANCE Argentina, Italian Memory 12in
22 — I’D RATHER JACK Reynolds Girls, PWL 12in
23 09 I HEAR A SYMPHONY Eria Fachin, Canadian Power 12in
24 16 WHAT KIND OF LOVE Diana Randall, French Public 12in
25 08 I ONLY WANNA BE WITH YOU (EXTENDED MIX) Samantha Fox, Jive 12in
26 re JIVE INTO THE NIGHT Green Olives, Italian X-Energy 12in
27 40 VOULEZ VOUS Big Bang, Swan 12in white label
28 35 YOU CAN SET ME FREE Coo Coo, Italian Flea 12in
29 25 GIVE ME YOUR BODY Dana Kay, German Polydor 12in
30 29 WE’LL BE TOGETHER (’89 REMIX) Sandra, German Virgin 12in
31 18 THE RUMOUR (SHEP PETTIBONE REMIX) Olivia Newton-John, Mercury 12in
32 — THE VISITORS Moonstone, Nightmare 12in
33 re A LA VIE, A L’AMOUR (IN THE CANNES MIX) Jakie Quartz, PWL Continental 12in
34 34 GO GO BOY Ross, Italian Flea 12in
35 — THAT’S THE WAY LOVE IS Ten City, Atlantic 12in
36 37 SO FAR AWAY Selena, Italian EMI 12in
37 15 I WANNA BE YOUR WIFE (THE LES ADAMS REMIX) Spagna, CBS 12in
38 14 I NEED YOUR PASSION Sweet Connection, German Blow Up 12in
39 27 WAIT (LONG) Robert Howard & Kym Mazelle, RCA 12in
40 12 KNOCKING ON YOUR DOOR (MARK SAUNDERS REMIX)/STOP! Erasure, Mute 12in

6 thoughts on “March 4, 1989: Chanelle, The 45 King, EPMD, De La Soul, Gerald Alston”

  1. John Digweed and Judge Jules get their first mentions this week, the latter in connection with The Borderline, which was emerging as a key venue for black music. Towards the end of April, my sister took me to one of Trevor “Madhatter” Nelson’s Upfront Fridays, and it remains one of the most joyous clubbing experiences I have ever had: the entire room was dancing, with everybody present fully committed to the music above all else, which was a mixture of the brand new and the revived, with the Universal Robot Band’s ‘Barely Breaking Even’ being a key moment. There was also a tangible sense of “family”, underlined at the end of the night when Gordon Mac and the other KISS-fm head honchos lined up at the exit, shaking everyone’s hands.

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  2. Wasn’t Judge Jules mentioned just as Jules as one of the DJ’s appearing at one of Norman Jay’s rare groove Shake and Fingerpop nights about a year back – I’m pretty sure that night was how he initially broke through.

    Also is this the first time we’ve had the Hacienda mentioned in the context of house (twice in one week) as opposed to the few mentions it’s had as a hiphop venue recently?

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    1. Although Shake & Fingerpop has had a few mentions, none of them referenced Judge Jules, and this is the first time his name has appeared (there are also no references to his birth name, Julius (or Jules) O’Riordan).

      For all that it has been mythologised as a house music Mecca, actual references to the Hacienda playing house have been few and far between. A package of Trax Records artists (Frankie Knuckles, Marshall Jefferson, Kevin Irving, Adonis, Fingers Inc) were listed as playing there on 9th March 1987; Mike Pickering’s Friday Nude night is briefly mentioned on 18th July 1987; Pickering’s status as a Hacienda DJ is mentioned in reviews of T-Coy releases; the review of Laurent X’s ‘Machines (Apocalypse Mix)’ on 6th August 1988 mentions that it’s “number one in Mike Pickering’s chart at the Hacienda”; there was a Hacienda Mix as lead cut on Children Of The Night’s ‘It’s A Trip (Tune In, Turn On, Drop Out)’; and finally, on 17th September 1988, we are told that “Graeme Park has teamed up with Mike Pickering playing house at Manchester’s Hacienda on Fridays”. As evidence goes, this is pretty meagre stuff!

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      1. Re the Hacienda – since I moved to the north west 24years ago that actually doesn’t surprise me as most of the ravers of that vintage who I’ve met have been pretty uncomplimentary about the place. The majority I’ve known in places in East Lancs were regulars at the Blackburn Raves which I think started sometime in 1989. Even in Manchester those who were really into the underground dance scene back then talk about the Thunderdome and another big place I’ve completely forgotten the name of as the place where they went. Many from East Lancs where I live either didn’t bother with the Hacienda or went once and weren’t over impressed or blame its door staff for eventually moving in on the Blackburn raves and ruining them by attracting more police attention.

        I think because the Hacienda was connected to lots of groups like New Order and more vaguely the Madchester bands that got written about in the overground rock and pop press it assumed this legendary acid house guise far out of proportion to its actual influence on the underground acid house scene.
        It remind me a bit when they used to go on about The Who as the ultimate
        Mid band when the actual mods were far more likely to dance to soul and even modern jazz. But of course she the Who were known to the average man in the street after being written up in the mainstream press and so people started to think Mod= The Who.

        I suppose we should jusr face it that underground dance (even when it’s absolutely massive such as in the mod era or jazz-funk or acid house/rave era) will never be accurately reflected in the mainstream media or mainstream music media.

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  3. Interesting comment, thanks for that. I only visited the Hacienda once, for one of their Flesh nights in the mid-90s. My abiding memory was the astonishingly poor sound system – you’d need Happy Mondays levels of Class A consumption to deal with it!

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  4. I think by the time I got up here it had shut. But easily the worst sound I ever heard was one night at Club UK in Wandsworth just before it got busted and shut down. I think it was Judge Jules playing and the walls were metal and the sound was so bad that it felt like a drill going through your ears when the sound bounced off the metal walls. I’d had some great nights there but just that night the sound was atrocious to the extent you thought you might have had permanently damaged ear drums when you came out – we eventually made a very late trip across London to Bagley’s at Kings Cross to get out of the place.

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