BEATS & PIECES
“MENTAL HOUSE” is fast becoming this summer’s replacement for “acid house”, with (as in the Manic MCs) “mental” the new “acieed” chant … PRT’s abrupt closure has caused consternation and upheaval in the dance music business, its distribution wing having handled perhaps more independent dance labels than any other, these now suddenly finding themselves with no way of marketing their product … Peter Edge has moved from Cooltempo, which he set up at Chrysalis, to start a similar though more “left field” artist orientated black music label (untitled so far but for probable August launch) at WEA, as a UK collaboration with specifically US Warner Bros, working in association with the latter’s Benny Medina, vice president of black music (and a demon dancer!) … Rhythm King have promoed on 12 inch off The Beatmasters’ album their very derivative (but no less powerful for that) storming 0-123½bpm ‘Ska Train‘, authentically Sixties style ska with just a few token modern twitters so hardly sk’ouse/sk’acid, amazingly not scheduled as the next single although sure to hit The Club Chart … Precious ‘In Motion’, as the lead review last week should have read, is nowhere near as strong as the now UK flip relegated similar though much chunkier 119⅗-119⅘bpm A Definition Of A Rap and superb struttingly swinging dry bass driven instrumental (0-)119⅘-120⅕bpm A Definition Of A Track (these tracks now of course being due as the A-side after all!) … Motown’s hot soundtrack compilation album from Spike Lee’s new movie is now out here following full review on import, ‘Music from “Do The Right Thing”‘ (Motown ZL 72665), as is LL Cool J ‘Walking With A Panther’ (Def Jam 465112 1) … KISS-fm’s bid for the Greater London FM incremental radio licence will hopefully not have been harmed by a dreadfully amateurish cassette demo of the station’s presenters (on which, incidentally, Bob Jones sounded exactly like Pete Tong!), it being the cassette’s production that was at fault rather than many of the actual jocks, sounding as if all the worst bits had been slung together … Solar Records’ new association with Epic will be kicked off by solo product from Babyface … David Morales’ percussively throbbing 121⅓bpm The Classic Remix of Frankie Knuckles presents Satoshi Tomiie ‘Tears’ (ffrr FXR 108) has a couple more new 121⅓-0bpm mixes as flip although only one Classic Remix Dub is labelled … Champion’s rapidly promoed UK pressing of Chubb Rock ‘Ya Bad Chubbs’ (CHAMP 12-215) has the here 108bpm Chubb Club, 107½bpm Instrumental, 118¼bpm Crib Mix and 107⅓-0bpm Howie’s Beat (retitled as a Remix) versions … Leotis alleges that his friend Miki Howard, who sang on Side Effect’s ‘Always There’, is to be heard also on CharVoni’s current version! … Lindsay Wesker points out that Corporation Of One’s ‘Vanessa Del Rio‘, apart from its ‘Break 4 Love’ influence, is based on the Police’s ‘When The World Is Running Down (You Make The Best Of What’s Still Around)‘ … Limahl’s comeback album on Arista (one everyone’s sure to be waiting for!) will include a Shaun Imrei-penned house track produced by Kevin Saunderson, called ‘Life Must Go On’ … Graeme Park turns out not to have had any involvement in Kicking Back’s ‘Keep On Trying’ on Submission … Chris Phillips & Paul Bennun are joined by Prince’s official UK fan club The Revolution at a massive Minnea-P-Funk party in Exeter’s Warehouse this Thursday (29) for their latest GOD (Get On Down) night, which next Thursday (July 6) moves to Southampton’s Escape Club for a W.E.F.U.N.K. one-off … Norman Jay gets ‘High On Hope’ by the sea this Friday (30) with the likes of Norman Cook, Carl Cox and Streets Ahead at Brighton’s newly revamped Zap Club … Stu Allan brings his funky stuff to Blackpool’s Adam & Eve’s opposite the central pier every Wednesday through the summer, with a wear what you like policy … Tim Westwood and Lindon T throwdown Thursdays at Paddington’s Starlight in Praed Street … Lonnie Gordon maybe should consider changing her name, the number of times she ends up misprinted as “Lennie” (incidentally, the close proximity of “t” and “g” on typesetting keyboards probably makes it inevitable that “chanting” will often end up in print as “changing”)! … Scotland, sweltering early last week on my quick four day tour, apparently is getting fewer American visitors this year just because that unfortunate airliner was blown up over Lockerbie … I’m outta here — BUT NOT FOR LONG!
I know that for the casual reader, there may appear to be a puzzling repetition of adjectives, adverbs and verbs in my reviews of records. While these reviews are there for all to read, they are actually written for the professional users of records, DJs — who hopefully by now understand what’s going on! Every descriptive word has been repeated consistently for years as near as possible within the same context, to describe specific elements in the structure of records, with the result that regular readers should in theory be able to tell exactly what something is going to sound like. From the feedback I’ve had over the years, this thankfully would appear to be the case. As for the repetition — have you had to listen to all these records? A lot of them sound the same, so, using this style of consistently descriptive reviewing, repetition is inevitable! Once it used to be “hi-hat hissed hustlers”, “funkily bumping chuggers”, “juddery hip hop jolters”, “rolling soulful joggers”, “bounding house fliers”, “twittery acidic sizzlers”; right now I am swamped by, and am consequently churning out in turn, “jittery swingbeat jigglers” — can anyone who has to listen to them deny that they all jitter and jiggle? Unfortunately, Roget’s Thesaurus does not suggest any more appropriate descriptive alternatives. Personally, I still yearn for that long past era when everything came with “chanting chix”!! (Personally, I certainly don’t — Ed.)
L.A. MIX FEATURING JAZZI P ‘Get Loose (Not For Long Mix)’ (Breakout USAT 659)
Plaintively rapping Jazzi Pauline joins (I to r) Emma Freilich, Les Adams and Mike Stevens for the first single from their variety packed upcoming ‘On The Side’ LP, an Atmosfear ‘Dancing In Outer Space’ break beat based (by permission) frantically wordy hip house flier, 127-127⅕-127bpm now that the Aleem originated “get loose” line has been re-recorded for this commercial pressing, flipped by Mike’s 0-127-0bpm Atmospheric Sax Dub and a Chad Jay (Jackson) scratched less frenetic 0- 127bpm Rock To The Hardcore Mix (Jazzipella too). Oh yes, your own MC Jammy Hammy provides the pivotal male sample of “But not for long” — which may explain a few things!
SYBIL ‘Don’t Make Me Over’ (Champion CHAMP 12-213)
One of the few long delayed pre-release promo strategies that have worked for the label, as massive already on DJs’ play alone and still not due commercially until July 17, this Bacharach & David penned Dionne Warwick launching 1963 classic has been revived with a sweetly simple street soul vocal and attractive tinkling arrangement set — here’s the commercial clincher! — to a gently jogging 96⅓bpm swingbeat rhythm (fully vocal so-called Dub Mix and 96½-0bpm 3.29 Mix too). Thanks to a combination of the sweet treatment and the song’s familiarity, it’ll possibly have wide enough appeal even to top the pop chart!
LIL LOUIS ‘French Kiss’ (US Diamond Records LL-01)
Although accurately described by Pete Tong as “to house music what ‘The 900 Number’ was to hip hop”, this moronically repetitive (0-)123⅖-123⅗-123⅘-0-124-0bpm instrumental driver does modulate through several changes of emphasis during its 10 minutes, most notably a gradual deceleration and acceleration into and out of an orgasmic girl groaned tempoless passage about two-thirds through, the mesmeric result creating dancefloor mayhem for the lucky few who managed to find one of the four-tracker’s initially limited pressings, coupled by the sheet metal clanging tumblingly swaying (0-)125⅖-125⅘-126bpm ‘Wargames (Remix)‘, percolating 124bpm ‘New York‘, twittery 0-121⅗bpm ‘Jupiter‘.
RUFUS & CHAKA KHAN ‘Ain’t Nobody (LP Remix Version)’ (Warner Bros W2880T)
Now out commercially after all, Frankie Knuckles remixed not only this bass bubbled bumpily swaying 0-104½bpm new version from Chaka’s current oldies album but also the flip’s unincluded totally different drumkit tapped and moody piano jangled resonant instrumental 0- 104½bpm Hallucogenic Version (coupled now, unlike on promo, by a Dancin’ Danny D remixed Dub Version of ‘I’m Every Woman’, which I hope you’ll excuse my not BPM-ing but there are other things to do before summer’s over!).
VARIOUS ‘Paradise Regained: The Garage Sound Of Deepest New York Vol. 2‘ (Republic Records UC 20 LP)
Consisting of New Jersey artists produced by Blaze (with help on a couple of tracks by Smack and Backroom Music Productions), and designed to recapture the spirit of New York’s now closed legendary Paradise Garage club, this gatefolded single album interestingly shows what seems to be some African influence especially on the infectious party flavoured (0-)120⅓bpm jazzily skipping instrumental STARDUST ‘Blazin’’, my own favourite from a consistently good set that also has the 119⅕bpm catchily churning soulful SHARONE ‘Play To Win‘, 119½bpm smooth lightly flying JERRY EDWARDS ‘I Am Somebody‘, 118⅓bpm guys emoted jiggly trotting SENSE OF VISION ‘All Of My Love‘, 121⅙bpm fluidly scurrying CYNTHIA “COOKIE” ABRAMS ‘Best Part Of Me‘, 0-118¼bpm mournful guys harmonised freewheeling ON TOP ‘Wake Up‘, 121¾bpm gruffly nagged jerkily shuffling BREED OF MOTION ‘Gotta Dance‘, and already known 115⅘-116bpm loosely striding TAWANNA CURRY ‘Let Me Show You‘.
TEN CITY ‘Where Do We Go?’ (US Atlantic 0-86409)
Much beefed up from their album’s version although, to my mind, still not an obviously catchy standout, this typically whinneyed slower than usual trotter is now in three totally different contrasting remixes, Timmy Regisford’s chuggingly striding calm lush 115bpm Dance Remix Edit, Steve ‘Silk’ Hurley’s less richly rolling jittery stark 114½bpm House Of Trix Piano Remix (the most wailingly vocal of all, in fact), and Marshall Jefferson’s faster percussively rumbled and chattered rambling 121¼-120¾-120½-120¼-119¾-119½bpm Earl Young’s Revenge.
DIGITAL EMOTION ‘Doowutchyalike’ (US Tommy Boy TB 932)
Impatiently awaited by all who’ve heard Tim Westwood plug it, this De La Soul-ish lazily drawling guys chatted terrific P’funk roller is ear-grabbingly interrupted after 3½ minutes of its 108⅚-0bpm Playhowyalike Mix by an amusingly announced pause for station identification and false fade for radio DJs — not false in the actual 108⅚bpm Radio Mix! (Instrumental and Underground Like-Appella Mixes too) — coupled by the sleazily rumbling and in spurts jauntily vaudevillian 92⅙bpm ‘Hip-Hip Doll’ (Instrumental Mix too).
DAVID PEASTON ‘Two Wrongs (Don’t Make It Right)’ (US Geffen Records 0-21215)
The Rance Allen-like soaring and roaring gospel toned continual winner of the weekly amateur talent contest in the recently televised ‘Showtime At The Apollo’ series makes his debut with this Teddy Riley & Gene-Griffin remixed, so inevitably swingbeat, jiggly roller with different degrees of jitter in its 106½bpm Club Body, Almost There — fairly straight, Bonus Beats, Percappella and 105bpm 7″ Radio Mixes, coupled also by the similarly swooping but gentle acoustic piano backed 31½- 34¾bpm ‘Thank You For The Moment’ — this single having sold fast before being closely followed by his also big selling but mainly downtempo album,
‘Introducing … David Peaston’ (US Geffen Records GHS 24228)
on which the rollingly smacking 105bpm ‘Two Wrongs (Don’t Make It Right)’ and excellent slinkily jolting soulfully intensifying 99⅙bpm ‘We’re All In This Together’ — plus the lightly frantic (0-)155bpm ‘Eyes Of Love‘ and superb acoustic piano backed slow then suddenly brassily swinging 0-28⅓-126½bpm ‘Can I?‘ — rise above the smooch tempo of the tender 34/68⅓-35/70bpm ‘Take Me Now’, sweet 15/30-30/60-30½bpm ‘Tonight’, Billie Holiday’s bittersweet crawling 0-30-33/66-0bpm ‘God Bless The Child’, anguishedly weaving 46½/93bpm ‘Don’t Say No’, and above mentioned 31½-34¾bpm ‘Thank You For The Moment’, all classy listening.
FARLEY JACKMASTER presents PRECIOUS RED ‘Think’ (Champion CHAMP 12-210)
Not due commercially until July 10 but too hot to hold om promo until then, Farley ‘Jackmaster’ Funk’s fairly straight revival of Lyn Collins’ ‘Think (About It)’ comes complete with the “wooh yeah” chant, powerful female vocals and a beefed up jittery leaping rhythm drive topped and tailed by a few acidic twitters in the 120-121bpm Farley’s Hip-House Mix, flipped (minus the “wooh yeah”) by the original break beat based stuttery 119⅗bpm Farley’s House Mix and Precious Female Preachin’ Hip-House Mix.
BÄS NOIR ‘I’m Glad You Came To Me (Club Mix)’ (US Nugroove NG 017)
Mary Ridley and Marie Bivins return huskily cooing and wailing a Ronald Burrell created but blatantly Roy Ayers-like ‘Running Away’-type jerkily leaping 0-121⅘-0bpm staccato jazz-funk/house bounder, with a freakier flanged and phased Dub Mix (0-121⅘bpm Radio Edit too), catchy and instantly huge.
KARIYA ‘Let Me Love You For Tonight (The “Pumped Up Mix”)’ (Sleeping Bag Records SBUKR 4 T)
Deborah Cephas’s real “sleeper” hit from last year, still included in its ‘Tubular Bells’-ishly tinkled grittily chugging 111½bpm Original Version (and a new Vocal Dub), is now relaunched in this sparser, more cleanly and clompingly lurching 111½-0bpm remix by CJ Mackintosh of M|A|R|R|S (hence the pumping subtitle), a sinuously wailed unhurriedly rolling garage jogger with many added electronic effects, edits and scratches, making it bigger than ever.
ROBERTA FLACK ‘Uh-Uh Ooh-Ooh Look Out (Here It Comes) (Steve Hurley’s House Mix)’ (Atlanta A8941T)
Ashford & Simpson’s attractively undulating and surging song, included here in its 118½bpm Original Version, is tightened up by Arthur Baker’s jerkily bumping 118⅘-119-118⅘bpm Dance Mix but, now sensibly the A-side, it’s Steve ‘Silk’ Hurley’s exciting stuttery percussive (0-)119-0bpm remix that has had all the dancefloor action — even if it does sacrifice the song to its jolting drive.
DE LA SOUL ‘Say No Go (Say No Dope Mix)’ (Big Life DLS 2)
Dave Dorrell and CJ Mackintosh of M|A|R|R|S remixed this now Big Ben introed more resonantly booming slinky terrific 0-110bpm infectiously chugging and scrubbing gruffly chatted rap, based in surges on Hall & Oates’ I Can’t Go For That’ and likely to be even bigger here than ‘Me Myself And I’, promoed with a pictorially etched blank flipside but due commercially flipped by an unreceived ‘They Don’t Know That The Soul Don’t Go For That (Potholes Instrumental)‘.
VARIOUS ‘This Is Garage‘ (Cooltempo CTLP 12)
The label’s compilation album is helped or hindered according to taste by including the already well known 118½bpm Monie Love featuring Dancin’ Danny D remix of ADEVA ‘Respect’, 118⅘bpm Tuff E’nuff Mix of CHANELLE ‘One Man’, 112¾-112⅔bpm You Got The Love Mix of PAUL SIMPSON featuring CANDI STATION ‘Musical Freedom’, leaving room for the fresher 121¾bpm huskily moaned wriggly striding FRED FOWLER ‘Times Are Changin’ (Extended Mix)’, 115½bpm girl wailed jittery thwacking FB3 ‘Faith Hope & Charity (Dancin’ Danny D Remix)‘, plus Smack Music Productions’ 119⅗bpm wrily talked and barked bubbly bumping K-Y-ZE ‘Stomp (Move, Jump, Jack Your Body)‘, 119⅗bpm hi-hat hustling bass burbled sinuously moaned MICHAEL WATFORD ‘Baby Love‘, 0-117⅘-118-117⅘bpm male group moaned cantering ALIAS ‘Runaway’, 118⅗-119⅕bpm disjointedly testifying jerkily trotting KAVON ‘Stand Up & Make A Difference‘.
STEREO MCs ‘On 33’ (US Gee Street WAR TP 87/11)
Released in the US via Warlock/Idlers but apparently due here from Fourth & Broadway, UK based wordily rapping Rob B, The Head and scratching DJ Cesare appear to be hottest around Manchester with this bassy chugger in its 0-123⅕bpm Vocal, 0-123⅖bpm A to B instrumental, mesmerically syncopated 123⅗bpm Chase The Bass, DJ Mark The 45 King remixed more starkly bumpy hip house-ish 124⅕-124⅖-124bpm Vocal and 123⅘bpm Instrumental, plus the throbbing drums rumbled 119⅗-0bpm ‘Non Stop’.
TAMMY LUCAS ‘Hey Boy (Club Mixes)’ (RePublic Records LICT 019)
Commercial copies of the newly Gordon ‘G-Man’ Williams remixed Timmy Regisford & Boyd Jarvis created wailing 1986 New York garage hit have as A-side a rumbling bass tugged and hi-hat ticked shuffling 118bpm 12″ Club Mix, flipped by the initial limited edition promo’s similar though more sparsely rambling 118bpm House Mix and chunkier more instrumental (0-)118bpm G-Man Mix.
LIZ TORRES ‘Pay Back Is A Bitch (What Goes Around Comes Around)’ (US Jive 1239-1-JD)
Sultrily whispered, panted, spat and spoken (sometimes in Spanish), bounding bass and jerky beats hustled cool latin house galloper differently treated in 123bpm Club, Bassy Bitch, Lugo Dub and Radio Edit Mixes, 122⅘bpm Spanish Version and 123⅕bpm Edward ‘Get Down’ Crosby Mix variations.
BRAVO ‘Life (Vocal)’ (US Quark QK016)
Mutteringly introed then huskily moaning guy nagged calmly striding through jitteringly backed 0-120⅗-120⅖-0bpm garage loper, coupled by longer and sparser less jittery rambling dubwise 0-120⅖-120⅕bpm 3am Or Better and 120-119⅕bpm Platinum Mixes, plus — possibly the track it’s selling for — a stutteringly whispered then funky guitar chinked long 123⅖-123-122⅖bpm Remix of ‘Can’t Stop’.
DYNASTY OF TWO ‘Stop This Thing’ (de/Construction Records DOO 2)
Mancunian “green” house, an ecological message from Mike Pickering and Graeme Park, this ‘The Onion Song’-ishly introed then mournfully keening girl wailed 0-117-116⅘bpm electronically lurching episodic keyboards backed shuffler is flipped by its 0-117⅖-117⅕-0bpm instrumental and the straightforwardly thundering 122-0bpm ‘Energy‘.
FRANKIE “BONES” ‘Call It Techno’ (US Breaking Bones Records BBR-400)
Conceding in its space monster-like electronically droning vocal that Frankie’s version of techno owes more to Brooklyn than to Detroit, this synth chorded ominously chugging lurcher sounds actually more like Belgian new beat in its 119⅘bpm House Mix, 119⅘-0bpm Technopella, 0-119⅘-0bpm Bonesbreak Dub, with a flutteringly driving lighter instrumental 120-0bpm Technocolor Dub.
PINK NOISE ‘Give Me Energy’ (US Fourth Floor Records FF-1099)
Tommy Musto & Frankie “Bones” created stuttery and jittery samples built quite acidic twitterer in 122-121⅘bpm Energetic Club and 121⅘-0bpm Hyper Dub Mixes, flipped by the bragging title line repeating (ad nauseaum) monotonously jittery long 122bpm ‘I Gotta Bigga Dick‘ (in two mixes).
SAMURAI SAM ‘House Of Japanese’ (US Trax Records TX 180)
Japanese geisha girls sampling simple bass throbbed 123⅖-0bpm vigorous canterer (123⅖bpm Dub The Japanese and Rub The Dub Japanese flip).
EQUATION ‘The Answer’ (US Nugroove NG-019)
Ronald Burrell created odd little ‘Popcorn’-ish percolating, tapping and lurching percussive synth instrumental in 120-119½-0bpm X² (RB) Mix (My Time) and 0-120-0bpm X³ (RB) Mix (Your Time) versions — whatever all that means!
OVERLORD X ‘Radical Kickbag’ (Mango Street 12IS 415)]
Untidily cluttered frantic 0-125⅖-0bpm gruffly rapped slithery hip-house, using bursts of ‘Papa’s Got A Brand New Pigbag’, flipped by a slowly dragging 0-98-0bpm alternative ‘Kickbag‘ version, and the scrubbing samples backed angrily jiggling remorseless 0-118⅕bpm ‘Weapon Is My Lyric (Remix)‘.
BOOGIE DOWN PRODUCTIONS ‘Why Is That? (Extended Edit)’ (US Jive 1231-1-JD)
KRS-One created weaving sombre 96bpm social commentary rap, drawing on biblical examples for black youth to follow and declaring that “the age of the ignorant rapper is done”, with repeated samples of (I think) Malcolm X’s “the government you have elected is inoperative” (edit/inst too, plus the really angry police criticising brilliant sparse short 87bpm ‘Who Protects Us From You?‘).
BROOKLYN FUNK ESSENTIALS ‘Change The Track’ (US Minimal Records 6)
Victor Simonelli & Lenny Dee created Todd Terry-type samples woven and Prince Charm (Phil Falcone) raucously rapped rather untidily frantic 120½-0bpm hip house leaper in Micaliami Hip House Mix, Brooklyn Bomb Dub, wailing girl punctuated ironically more garage-ish London Groove and twittery acidic New York Mix versions (Percapella too).
TONY TERRY ‘Forget The Girl’ (Epic 655021 6)
From the movie ‘TAP’, this Ted Currier produced at first quite calmly lurching though vocally anxious pshta pshta-ing chugger builds increasingly through clichéd Todd Terry-type samples to end up quite a nagging house-ish stormer, here in just its 113½-0bpm Extended Remix and more acidic Midtown Mix (Acappella too).
JOHNNY KEMP ‘Birthday Suit (Extended Mix)’ (CBS 654838 8)
Keith Cohen’s vigorously chugging A-side mix of this 120⅕-0bpm choppily chanting and surging modern funk strutter is flipped on promo by his more tightly jittering hi-hat hissed so-called House Mix, whereas the unreceived commercial flip apparently features a Club Dub (the same thing?) and Percapella.
R. TYME ‘Illusion’ (Kool Kat R. TYME 1, via Big Life)
Another that originally appeared on the ‘Techno-1’ album, this Derrick ‘Mayday’ May produced unusual reedy organ spiked jerkily shuffling instrumental (co-penned also by Kevin Saunderson and Detroit DJ Darryl Wynn) is here 12-inched in brand new 125⅕-125⅗-125-123½-124⅕-0bpm Mayday and burbling bounding 127-127⅕-127⅖-0bpm Magic Juan Mixes, flipped by the tunefully synched ‘R-Theme’ in straightforwardly cantering 125⅖-125⅗-126⅕-126⅕-0bpm Mayday and more percussively episodic 125⅘-125⅖-126⅕bpm Darryl Wynn Mixes. For my sake, guys, please get your beats together!
THE CLUB CHART – July 1, 1989
01 01 BACK TO LIFE (CLUB MIX/JAM ON THE GROOVE) Soul II Soul, 10 Records 12in
02 02 LET IT ROLL Raze presents Doug Lazy, US Atlantic/Grove St. 12in/Champion promo/bootlegs
03 03 IT IS TIME TO GET FUNKY D Mob featuring LRS, ffrr 12in
04 09 GET LOOSE (MIXES) L.A. Mix featuring Jazzi P, Breakout 12in pre-release
05 07 GRANDPA’S PARTY (12” MUSIC/BEAT MIXES) Monie Love, Cooltempo 12in
06 06 DO IT TO THE CROWD Twin Hype, Profile 12in
07 05 TEARS (CLASSIC VOCAL/INSTRUMENTAL) Frankie Knuckles presents Satoshi Tomiie, ffrr 12in
08 11 FIGHT THE POWER (EXTENDED VERSION) Public Enemy, US Motown 12in
09 04 JUST KEEP ROCKIN’ (SK’OUSE/HIP HOUSE) Double Trouble & The Rebel MC, Desire 12in
10 08 WE GOT OUR OWN THANG (CLUB VERSION) Heavy D & The Boyz, US Uptown Records 12in
11 10 LOOKING FOR A LOVE (CLUB MIX) Joyce Sims, ffrr 12in
12 19 FOREVER TOGETHER (MIXES) Raven Maize, US Quark 12in
13 16 HEAVEN (CELESTIAL CLUB MIX) Miles Jaye, Fourth & Broadway 12in
14 23 BLAME IT ON THE BASSLINE Norman Cook featuring MC Wildski, Go Beat 12in pre-release
15 15 JOY AND PAIN (REMIXES) Donna Allen, BCM Records 12in
16 — FRENCH KISS Lil Louis, US Diamond Records 12in
17 28 LET ME LOVE YOU FOR TONIGHT (THE “PUMPED UP MIX”/ORIGINAL VERSION) Kariya, Sleeping Bag Records 12in pre-release
18 22 LET’S WORK (CLUB VERSION)/I CAN’T TAKE IT (CHEP’S DOWN) Casanovas Revenge, de/Construction Records 12in
19 40 MENTAL Manic MC’s, RCA 12in white label
20 26 HEARTBREAKER (I CAN’T UNDERSTAND)/SALSA PARTY (MIXES) Mystique featuring Kid Valdez/Tina Gomez, RePublic Records 12in
21 35 SAY NO GO (SAY NO DOPE MIX) De La Soul, Big Life 12in pre-release
22 44 WHY (EXTENDED VERSION/INSTRUMENTAL) Carly Simon/Chic, WEA 12in
23 82 101 (THE REMIX/UPTOWN VERSION) Sheena Easton, MCA Records 12in
24 20 WORK IT TO THE BONE (THE CLUBHOUSE MIX/UK REMIXES) LNR, Kool Kat 12in
25 32 REFLECTIONS (STYLE 1 & 2/R & R INSTRUMENTAL) Dorothy, Cooltempo 12in
26 13 CLOUDS (CLIVILLES & COLE REMIX)/AIN’T NOBODY (FRANKIE KNUCKLES REMIX)/EYE TO EYE/I FEEL FOR YOU (PAUL SIMPSON REMIXES)/I’M EVERY WOMAN (DANCIN’ DANNY D REMIX)/LIFE IS A DANCE (DAVID MORALES REMIX)/FATE (JONES & SHAW REMIX) Chaka Khan, Warner Bros LP
27 42 ROXANNE’S ON A ROLL (MIXES) The Real Roxanne, Urban 12in
28 91 FORGET THE GIRL (EXTENDED REMIX/MIDTOWN MIX) Tony Terry, Epic 12in
29 49 DO THE RIGHT THING (MIXES) Redhead Kingpin & The FBI, US Virgin 12in/10 Records promo
30 76 IN MOTION (MIXES) Precious, MCA Records 12in pre-release
31 96 TEARS (THE CLASSIC REMIXES) Frankie Knuckles presents Satoshi Tomiie, ffrr 12in
32 41 DEFINITION OF A TRACK/DEFINITION OF A RAP/THE RAP’S IN MOTION/IN MOTION Precious, US Big Beat 12in
33 38 TIMES ARE CHANGIN’ (EXTENDED MIX) Fred Fowler/STOMP (MOVE, JUMP, JACK YOUR BODY) K-Y-ZE, Cooltempo 12in promo
34 12 I’M EVERY WOMAN (DANCIN’ DANNY D REMIX) Chaka Khan, Warner Bros 12in
35 55 AIN’T NOBODY (LP REMIX/HALLUCINOGENIC/BASSAPELLA VERSIONS) Rufus & Chaka Khan, Warner Bros 12in mailing list promo
36 61 ON OUR OWN (EXTENDED CLUB VERSION) Bobby Brown, US MCA Records 12in
37 64 HEY BOY (12” CLUB MIX/HOUSE MIX/G-MAN MIX) Tammy Lucas, RePublic Records 12in
38 24 LET ME SHOW YOU (MIXES) Tawanna Curry, RePublic Records 12in
39 54 ALL OVER THE WORLD Chuck Jackson, Nightmare 12in
40 27 PARADISE REGAINED – THE GARAGE SOUND OF DEEPEST NEW YORK VOL.2 (VARIOUS TRACKS) Various, RePublic Records LP
41 30 MORE BOUNCE/HERE WE GO AGAIN, Y’ALL/FLEXIN’/YOU AIN’T HEARD NUTTIN YET/MOOD FOR LOVE/BIG TYME Heavy D & The Boyz, US Uptown Records LP
42 — GRANDPA’S PARTY (JAZZIE B & NELLEE HOOPER’S THE LOVE II LOVE REMIX)/I’LL DRIVE YOU CRAZY Monie Love, Cooltempo 12in
43 14 EVERY LITTLE STEP (EXTENDED/UPTOWN MIXES) Bobby Brown, MCA Records 12in
44 — TWO WRONGS (DON’T MAKE IT RIGHT)/WE’RE ALL IN THIS TOGETHER/DON’T SAY NO/GOD BLESS THE CHILD David Peaston, US Geffen Records LP
45 46 I’M GLAD YOU CAME TO ME (CLUB MIX/DUB MIX) Bäs Noir, US Nugroove 12in
46 99 TWO WRONGS (DON’T MAKE IT RIGHT) (CLUB BODY MIX/ALMOST THERE – FAIRLY STRAIGHT) David Peaston, US Geffen Records 12in
47 51 I DON’T MIND THE WAITING Omar, Kongo 12in
48 — BUST A MOVE/GOT MORE RHYMES Young MC, Delicious Vinyl/Fourth & Broadway 12in
49 18 VOODOO RAY (ORIGINAL/RICKY ROUGE REMIXES) A Guy Called Gerald, Rham! 12in
50 48 FIGHT THE POWER Public Enemy/MY FANTASY Teddy Riley featuring Guy/PARTY HEARTY EU/FEEL SO GOOD/PROVE TO ME Perri (‘Do The Right Thing’), US Motown LP
51 29 THEY WANT MONEY (EXTENDED REMIX) Kool Moe Dee, Jive 12in
52 43 EVERY LITTLE TIME (HIP HOP/DETROIT) Kiara, Arista 12in promo twin-pack
53 75 LIVIN’ IN THE GHETTO Down By Law, CityBeat 12in white label
54 33 IT GETS NO ROUGHER/I’M THAT TYPE OF GUY LL Cool J, Def Jam 12in
55 39 I NEED A RHYTHM/WHERE’S THE PARTY/PUMP IT UP (LET’S GROOVE) The 28th St. Crew, US Vendetta Records LP
56 — IT’S REAL (12” EXTENDED VERSION) James Ingram, Warner Bros 12in
57 57 DON’T FIGHT THE MUSIC (MIXES) Maureen, The Dance Yard Recording Corporation 12in
58 17 IT’S YOUR TIME (NYC VOCAL) Arthur Baker and the Backbeat Disciples, Breakout 12in
59 50 STRINGS OF LIFE (MIXES) Rhythim Is Rhythim, Jack Trax 12in
60 25 WOMEN BEAT THEIR MEN (MIXES) Voodoo Doll, Champion 12in
61 34 UH-UH OOH-OOH LOOK OUT (HERE IT COMES) (STEVE HURLEY’S HOUSE MIX) Roberta Flack, US Atlantic 12in
62 — PAYBACK IS A BITCH (WHAT GOES AROUND COMES AROUND) (MIXES) Liz Torres, US Jive 12in
63 — SET YOURSELF FREE/SALSA HOUSE (THE REMIX)/I CAN MAKE YOU DANCE/COMING FROM LONDON Richie Rich, Gee Street 12in mailing list promo
64 63 ROXANNE’S ON A ROLL (NORMAN COOK REMIXES) The Real Roxanne, Urban 12in
65 45 IF I’M NOT YOUR LOVER (REMIXES) Al B. Sure! featuring Slick Rick, Warner Bros/Uptown Records 12in
66 re STILL WAITING (MIXES) Kechia Jenkins, Profile 12in
67 re GET BACK TO LOVE (BLACKSMITH/BLAZE MIXES) Blacksmith, ffrr 12in promo
68 98 GUITARRA (ORIGINAL MIX) Raul featuring J. Bonell, Rhyme ‘n’ Reason Records 12in
69 re GUNS OF THE BOOGIE DOWN/VANESSA DEL RIO/CONCRETE JUNGLE Corporation Of One, Desire LP
70 31 ALWAYS THERE (MIXES) CharVoni, Syncopate 12in
71 — FRIENDS (EXTENDED VERSION) Jody Watley with Eric B & Rakim, US MCA Records 12in
72 60 LOVESTRUCK (STREETFUNK STYLE) (PARTS 1&2) Projection, Jam Today 12in
73 85 (I’VE GOT YOUR) PLEASURE CONTROL (CLUB MIX) Simon Harris featuring Lonnie Gordon, ffrr 12in
74 78 KEEP ON TRYING (MIXES) Kicking Back, Submission 12in
75 — DOOWUTCHYALIKE (PLAYHOWYALIKE MIX) Digital Underground, US Tommy Boy 12in
76 71 I PROMISE/SOMETHING REAL/EVERY LITTLE THING/LOCK-N-KEY/KNOCKS ME OFF MY FEET/CAN HE ROCK YOU LIKE THIS Mikki Bleu, US EMI LP
77 81 AFRO DIZZI ACT Cry Sisco!, Escape Records 12in
78 — TELL IT AS IT IS (PL MIX/PA VERSION/BONUS BEATS) Company 2, Tam Tam 12in white label pre-release
79 52 DO YOU LOVE WHAT YOU FEEL Inner City, 10 Records LP/12in promo
80 re DREAMS OF SANTA ANNA (EXTENDED CLUB MIX) Orange Lemon, US Idlers 12in
81 86 READY 4 LOVE (MIXES) Razette featuring Lamya, US DaSHEET Records 12in/Champion promo
82 84 LET’S PLAY HOUSE (CLUB) Kraze, MCA Records 12in
83 21 ON THE CLUB TIP King Sun, Profile 12in
84 62 WHERE DO WE GO? (REMIXES) Ten City, US Atlantic 12in
85 69 25 MILES (PAUL DAKEYNE 12” REMIX ’89) Edwin Starr, Motown 12in
86 70 BACKSTABBERS (STAB 1) Pressure Zone, Tam Tam 12in
87 97 JUST KEEP ROCKIN’ (REMIXES) Double Trouble & The Rebel MC, Desire 12in
88 — LIFE (MIXES)/CAN’T STOP (REMIX) Bravo, US Quark 12in
89 — SKA TRAIN The Beatmasters, Rhythm King 12in promo
90 — TALK IT OVER (PAUL SIMPSON’S US UNDERGROUND MIX/ARTHUR BAKER’S MIDNIGHT MIX/ORIGINAL MIX/FRED’S TALKIN’ PIANO DUB/PAUL’S TALKIN’ PIANO MIX) Arthur Baker and the Backbeat Disciples, Breakout 12in pre-release
91 73 SOMEBODY IN THE HOUSE SAY YEAH! (MIXES) 2 In A Room, US Cutting Records 12in
92 — DON’T MAKE ME OVER Sybil, Champion 12in mailing list promo
93 — ONE NIGHT IN MY LIFE (IT’S TIME)/(NECTAR MIX/TRIPLE B MIX) Akasa, WEA 12in pre-release
94 — SALSA PARTY (SUNBURST MIX/CARNIVAL MIX)/HEARTBREAKER (I CAN’T UNDERSTAND) )TOTAL RAGE MIX/DEFINED MIX) Mystique featuring Tina Gomez, Kid Valdez, RePublic Records 12in
95 — LOVE’S TAKING OVER (DAVID MORALES SENSITIVE MIX/T-COY MIX) Imagination, RCA 12in
96 — MY FANTASY (EXTENDED VERSION/RAP VERSION) Teddy Riley featuring Guy, US Motown 12in
97 — IT IS TIME TO GET FUNKY (CASUALTY MIX/CASUALTY INSTRUMENTAL) D Mob featuring LRS, ffrr 12in
98 — ON 33 (MIXES)/NON STOP Stereo MCs, US Gee Street 12in
99 — EXPRESS YOURSELF (EXTENDED MIX)/STRAIGHT OUTTA COMPTON (EXTENDED MIX)/A BITCH IZ A BITCH N.W.A., US Ruthless Records 12in
100= — REAL LIFE (HOUSE MIX aka HOUSE DUB PART 1) Corporation Of One, Desire 12in
100= 80 INNA CITY MAMA/SO HERE I COME/OUTRÉ RISQUÉ LOCOMOTIVE/LOVE GHETTO/HEART Neneh Cherry, Circa Records LP
One thought on “July 1, 1989: L.A. Mix featuring Jazzi P & MC Jammy Hammy, Sybil, Lil Louis, Rufus & Chaka Khan, “Jittery Jigglers””
He’s right about ‘Mental’ it was briefly very famous but unlike ‘We Call It Acid’ didn’t quite cross over to the general public consciousness outside the rave world so you’re granny probably hadn’t heard of it. But the ‘mental mental ‘ thing was everywhere in the places I went.
I noticed Shaun Imrei gets a mention this week – he made loads of hardcore tunes Under different names including the two massive Terrorise tunes. I believe he was another who was taken far too young.