BEATS & PIECES
SOUL II SOUL ‘Keep On Movin’’, having already topped the US Club Play chart in Billboard, last week was still number one in 12-Inch Single Sales and also hit number one in the overall Hot Black Singles chart (healthily as the top seller, rather than through radio play), although by now UK imports of ‘Back To Life’ are currently hotter than hot in the New York City — their follow-up here will couple re-recorded versions of the album’s ‘Holdin’ On (Bambelela)’ and ‘Jazzie’s Groove’ … Clivilles & Cole’s remix of ‘Clouds’ — surely the best track on her oldies album? — will be Chaka Khan’s follow up … ffrr’s UK pressing of Lil Louis ‘French Kiss’ will include two new local versions, presumably to give radio something easier to play … Teddy Riley is being sued by Jive/Zomba for allegedly wriggling out of a five year production and writing contract by crediting the more recent of his own creations to colleague Gene Griffin (also named in the suit), his remixing and arranging work obviously not being covered by the contract — Teddy, for instance, “arranged” the current Redhead Kingpin hit, co-penned/produced (as pointed out in its review) by a mysterious and so far unidentified Markell Riley … Bob Masters has moved from Supreme Records to become promotions manager at Sleeping Bag Records … Island — in the USA, at least — have launched a 4th + B’way sister label called Great Jones for what is considered there to be the more “underground” types of dance music, y’know, like rap and house! … Heavy D & The Boyz ‘We Got Our Own Thang’ — to judge from the national chart! — would appear to have been released here on the quiet (MCA Records MCAT 23942) … Kiara’s promo twinpack is now commercially available … Raul featuring J. Bonell ‘Guitarra’ has had its full commercial release delayed to coincide with BBC1-tv’s new Saturday morning ‘Up 2 U’ kids’ show, for which its various mixes are being used as theme music — meanwhile, the also Spanish guitar strumming Gipsy Kings have had a slight hiccup while their label A1 Records switches distribution from the defunct PRT to BMG/The Total Record Company, the same arrangement made also by Touchtone Records for the current Princess single … Milli Vanilli ‘Blame It On The Rain’ in its commercial 12 inch form has its (0-)97⅓bpm Club Mix flipped by a gentler (0-)97bpm Radio Mix and Pink Floyd cash till effects sampling jerky 123⅕bpm ‘Money (Remix)‘… Liz Torres ‘Payback Is A Bitch’, reviewed off better value import in all six of its mixes, has been promoed here in just its Club Mix and Spanish Version but the commercial release will couple first on July 24 the Club Mix, Bassy Bitch Mix and Radio Edit, followed on August 7 (Gallup chart rules permitting) by the Spanish Version, Edward ‘Get Down’ Crosby Mix and Lugo Dub Mix … Norman Cook’s video for ‘Blame It On The Bassline’ is great fun, a real game of spot the DJs, Norman sharing the decks with Streets Ahead while others cavort on the sidelines — his hit was originally promoed as a single side 12 inch with just the clubs aimed ‘Bassline’, the side its obviously been selling for but commercial pressings turn out to be A-sided by the supposedly more radio orientated (though not very), semi-falsetto title repeating jiggly calm walking bass burbled 0-105⅔bpm ‘Won’t Talk About It‘ featuring Billy Bragg, while the MC Wildski rapped ‘Blame It On The Bassline’ is also now in a DJ Streets Ahead scratched twittery hip house (0-)120½bpm Remix (Go Beat GODXR 33) … Mark Moore of S’Express and William Orbit have done wonders remixing Prince ‘Batdance’ (which I haven’t had time to BPM yet), making a fast but funkily driving coherent Batmix out of the uptempo ingredients and a separate Vicki Vale Mix out of the slower passage’s elements … Blacksmith’s long awaited Swing Beat Club Mix of their own ‘Get Back To Love’ is also about at last … LA Mix’s upcoming remix of ‘Get Loose’ replaces its Atmosfear break beat with a “harder” original groove … US imports I’ve had not time to review yet include the Clivilles & Cole created Maurice ‘This Is Acid’ and Jomanda ‘Make My Body Rock’ sampling (with two new dubs as flip) The 28th St. Crew ‘I Need A Rhythm‘ (Vendetta Records); twittery acidic hip house Smokin’ Gang featuring DJ Jack Boy, Rapper ‘Just Rock (Rap House Anthem)‘ (Hot Mix 5 Inc Records); breathily hushed muttering (by a guy previously spelt as Jerry) subdued loping house Jere McAllister ‘What I Do‘ (D.J. International Records); typical dated Todd Terry created “yo yo get funky” samples woven jittery lurching Royal House ‘Get Funky‘ (Idlers); samples studded jerky monotonous The Break Boys ‘Give Us A Break (Boyee)‘ (Fourth Floor Records) … I was instead driving along the sundrenched Devon and Dorset border last Tuesday afternoon listening to a Motown oldies show on BBC Radio Bristol when surprisingly the jingle appeared to identify its presenter as former SOLAR-fm supremo Tony Monson — but later investigation revealed him to be Tony Moxon (the “real” Mr Monson is currently back on Essex Radio presenting Saturday night’s 10pm-2am ‘Essex Mayhem’ soul show!) … London’s incremental FM licence winning station was due to have been informed of its success last Saturday … Adrian Allen (‘Little Chunky’), as last week’s mention was meant to read, has graduated on Metro Radio’s Teeside based TFM to hosting not only Saturday’s 5-8pm soul show but also the weekday 2.30-4.30pm afternoon show, while his colleague Tim Smith at Tyneside’s Metro FM sister station handles weekday 4.30-7pm “drive time” as well as Sunday’s 2-4pm soul slot … Greg Edwards is trying to syndicate his ‘Soul Spectrum’ show … Pete Tong (who surely can’t be slipping?) is amazingly in no direct way behind the currently exploding Italian scam! … London’s Charing Cross Road Busbys is where the Special Branch has returned to Doo it again every Friday with Nicky Holloway, Pete Tong and (upstairs) Gilles Peterson, Chris Bangs, Simon Dunmore — just like old times again! … Paul O Wain and Steve Poulton need no plugs for their Thursday at Rock City but are trying also to build up a harder house/garage/hip hop/funk/soul Monday scene at Nottingham’s Hippo … Upnorth Promotions’ fifth so-called “Blackpool” weekender — highly praised as being much more soulful that the others, always — actually moves up the coast to Morecambe on October 20/21/22, full details and £48 inclusive tickets on 091-389 0317 … Rhythim Is Rhythim ‘Sinister‘, about which Tim Jeffery raved in his Cool Cuts chart last week, has been out several times already in various combinations, including on a UK issued Jack Trax album … Tim Taylor has returned from a refreshing experience jocking for two nights in Brazil at Sao Paulo’s Nation, where he played a lot of latin hip hop/free-style but the mainly gay crowd (who were happy to dance to anything new) really got off on the likes of Ralphi Rosario, 2 In A Room, Double Trouble, Bang – The Party, Bones Breaks, WestBam, ABC, Voodoo Doll, A Guy Called Gerald, and indeed acid and techno in general (wot, no sambas!!) … Stephen Plant of Kings Norton raves about a “totally outrageous and over the top” Acid Remix of Petula Clark’s already recently rejigged ‘Downtown’, this newer treatment only being out in France on Clever Records … Hithouse turns out apparently to be a direct translation of Dutch producer/mixer Peter Slaghuis’s surname — certainly “slag” is Dutch for “cream”, as I’ve pointed out in the past, so maybe there’s an element of slang or poetic licence involved? … Sybil’s full name turns out to be Sybil Lunch! … KAOS is Simianne Joy, a Birmingham (West Midlands, not Alabama) singer for whom Kevin Saunderson created ‘Definition Of Love’ after she’d auditioned for him in London a year ago … Final Cut (whose ‘You Can’t Deny The Bass‘ was reviewed recently) are Detroit DJ Jeff ‘The Wizard’ Mills with Tony Srock (sic), accompanied by True Faith in the form of vocalist Jeanette Sellers … George Benson has finally been allowed to do what he wants to do, his new ‘Tenderly’ album being straight jazz in cocktail/easy listening style (apparently considered to be so uncommercial by Warner Bros that it has had hardly any promotion) … Greedy Beat Records’ marketing methods are beyond understanding: despite my encouraging reviews (and a supposed April 24 release date), their last batch of rather good singles still appear never to have reached either DJs or shops – and now they’re pushing out some new ones! … ‘Batman’ has a very clever logo — how many of you realised instantly that it was a bat shape, rather than the prominent front teeth (or Mouseketeer ears!) that its glittery surround initially suggests? … I’m outta here — BUT NOT FOR LONG!
PET SHOP BOYS ‘It’s Alright (The D.J. International Mixes)’ (Parlophone 12RX 6220)
Their ‘Introspective’ album’s Sterling Void cover version has been long awaited on single, a Frankie Knuckles remix once being rumoured, finally hitting the pop chart last week in a throbbingly frantic then typically vocal frisky flying (0-)124-0-123⅘bpm Extended Version (Parlophone 12R 6220), but this week it’s going to hit The Club Chart in the form of these authentic house remixes, The Tyree Mix being a thudding and twittering hard (0-)123¼-123½bpm acidic instrumental with just Tessa Niles & Sally Bradshaw’s background vocals while (remixed by the tune’s originator along with Rocky Jones) The Sterling Void Mix is an also twittery although actually much softer and poppier 123½bpm full Pet Shop Boys vocal.
STARLIGHT ‘Numero Uno’ (CityBeat CBE 1242)
Originally credited as being by Starlight Invention Group when on Italy’s Dee Jay Lelewel label, one of the biggest and best DJ created volume pumping contenders to follow Cappella in the suddenly much hyped “Italian house” trend is this brightly jumping 123-123⅕-0bpm jitterer sampling Hi-Tension’s “bless the funk”, James Brown grunts and a whole host more over jauntily jangling piano and driving beats, with a synth buzzed less “vocal” 123-0bpm Alternative Mix flip. While nothing new, it’s so simple and instantly infectious it’s sure to smash when out here fully on July 31.
KOXO CLUB BAND ‘Paradhouse Remix’ (CityBeat CBE 1240)
Already raved over on import many months back, this long established Balearic smash has been deservedly huge at certain venues for over a year, a superb Spanish guitar picked and girls muttered disco-flamenco bounder along the lines of the Gipsy Kings and Raul featuring J. Bonnell with bursts of ‘Tequila’ and other party rousers in the previously reviewed 127⅘-117⅗bpm German remix by Bob One, Enzo Persueder and Sunny, who actually combined the Spanish ‘La Maranza’ with — coupled now for the first time on the same record — the piano jangled more mundane but beefily driven good house-ish chugging 119bpm Original Mix and instrumental 118⅘bpm Piano Mix which, without any Spanish influence, were in fact the creation of yet another Italian DJ, Mario Tomasoni (who recently quit Rimini’s The Yellow Flag club to enter the priesthood!).
BLACK BOX ‘Ride On Time’ (Italian Dee Jay Lelewel OUT 31.99)
Another of the more likely “Italian house” hits, much hyped ahead of de/Construction Records release here, the Danial ‘DJ Lelewel’ Davoli mixed, Loleatta Holloway sampling, piano jangled jiggly canterer is throat rippingly wailed and roared by a painfully distraught sounding gospel-like girl, whose powerful delivery is what puts the track over in its 118⅘-118⅗(break)-118⅘bpm The Original, (0-)117⅗bpm Garage Trip, and 118⅖bpm Piano Version mixes.
SKIPWORTH & TURNER ‘Cash (Message For Carmen Mix)’ (Fourth & Broadway 12BRW 135)
Soulfully wailed and nagged through chanting girls, stabbing synthetic strings and a sinuously squealing sax break, this excellent cymbal schlurped, keyboards chorded and percussion pattered undulating 115¼bpm breezy trotter should please all the older Seventies soul freaks while sounding sufficiently garage-ish for today’s tastes too (with a totally instrumental 115¼bpm God Bless The Money Mix and, just to be contrary, girls chorused 115bpm Instrumental).
JAZZ & THE BROTHERS GRIMM ‘Casanova (Passion Hero)’ (Production House Records PNT 008, via Pacific)
Established as a warehouse hit on advance promo already, this friskily wriggling and leaping 124bpm acidic hip house revival with wailing girls and rapping guys of Coffee’s “it’s all over, Casanova” oldie (rather than Levert’s more recent hit) seems set to be huge when out fully next week, flipped by more anxiously urgent tighter 124bpm Passion and 123⅘bpm Passion Rap Mixes. Now they’re independently distributed, the group have forgotten about plugging silly pop dance steps and have gained immensely from it!
DOUG LAZY ‘Let It Roll’ (Atlantic A8866T)
Doug Finley actually penned, produced and performed this drily rapped unhurriedly subdued hip house-ish hit himself, Raze’s Vaughan Mason merely helping mix it — but, to give it more prominence on his own Grove St. label, Vaughan credited it as being by “Raze presents: Doug Lazy”, which suggested to Champion here that as they owned Raze for the UK it was something that they should put out, which they did. Months of legal wrangles later, it’s still in The Club Chart’s upper reaches, and is finally out officially on its properly licensed new worldwide label. By now, though, most of its obvious audience must already have a copy in some form or other, so that the here 127⅘bpm jerky simple burbler (in four mixes) will not necessarily break out “overground” as easily as its long standing underground support might suggest.
KELLY CHARLES & JAMES BRATTON ‘Keep On Reachin’’ (Champion CHAMP X 12-214)
Produced by James Bratton with Phil Harding & Ian Curnow (who created the mix), this lovely slinkily jogging 96bpm swayer is so ludicrously like Soul II Soul that it might just as well be called ‘Keep On Moving’, with a sultrier slightly harder London Bridge Mix as AA side, but largely thanks to the similarity it’s far too hot to hold until the official August 7 release date!
TEN CITY ‘Where Do We Go?’ (Atlantic A8864T)
Unlike on the import, Steve ‘Silk’ Hurley is responsible for all three 114½bpm mixes here, with a swingbeat-ish A-side (featuring some girl answered dialogue two-thirds through) that is possibly the strongest version of this soaringly whinneyed if repetitive anxious jiggler, flipped by the import’s jittery stark vocal House Of Trix Piano Remix and a new throbbingly striding unhurried UK Remix that is totally different yet again.
TONE LOC ‘I Got It Goin’ On (Remix)’ (Delicious Vinyl/Fourth & Broadway 12BRW 140)
Based on Tom Browne’s ‘Funkin’ For Jamaica’, this Soul II Soul-ishly tempoed 106½-106⅔bpm jiggly sometimes go go-style typically gruff rap is far more hardcore than usual, with a percussive Go Go Instrumental, flipped by the lugubriously jolly foulmouthed short 91bpm ‘The Homies (On The Tilt Mix)‘ and dated electro-style vocodered 0-119⅔bpm ‘The Fine Line Between Hyper & Stupid‘.
THE BLOW MONKEYS featuring Sylvia Tella ‘Choice?’ (RCA PT 42886)
Dr Robert and Sylvia duetted funky drummer driven (0-)116⅕bpm chunkily burbling jerky tense staccato quite garage-ish shuffler with brassy accents and rippling piano helping the groove, which is stronger than the song in the A-side’s Long mix while the flip’s 116⅕bpm version unexpectedly adds Lyn Collins’ “wooh yeah” hip house break beat behind its much fuller vocal, the sparsely tapping Bones Breaks-style house instrumental 117⅖bpm ‘Oh Yeah!‘ sampling Muddy Waters’ “everything gonn’ be all right”.
BANG – THE PARTY ‘Bang – Bang – You’re Mine (Remix)’ (Warriors Dance WAFT 10, via Spartan)
London club jock Kid Batchelor mutters and moans through repetitively rambling and percolating beats to create a sexy tense strong deep house mood without saying anything particularly sexual, in 119⅗-119⅘-0bpm Original/Radio, 119⅘-120-0bpm Instrumental, 120-120⅕-0bpm Full Vocal Remix and 120⅕-120bpm Kid’s Bumpin’s Dub Break versions.
DAZZLE ‘Dazzle You (The Sound System Mix)’ (Jam Today 12 CHIL 14)
Soul II Soul tempoed sultry soul sisters chanted slinkily jiggling 94⅔bpm groin grinder with some tootling flute and pattering percussion. remixed by Garry Hughes with the very different more mundanely swaying 97⅓bpm original album mix for contrast as flip, plus the previously promoed staccato jerkily lurching 115½bpm ‘I Don’t Want Your Love (Trouble Mix)‘.
INNER CITY ‘Do You Love What You Feel (Wilson’s Hit House Mix)’ (10 Records TENX 273)
Not necessarily an improvement, Mike ‘Hitman’ Wilson’s strange insensitive 123⅔bpm hybrid remix grafts a jerkily edited shifting archetypal hip house rhythm onto their album’s hottest techno track, included in its original wriggly bounding 123½bpm Album Mix on the flip along with creator Kevin Saunderson’s own new explosively shuffling and leaping 123⅘-0bpm Kevin’s Mix, which many prefer.
DEE MAJOR ‘Rock My Rhyme’ (Catt CATT 006)
Huskily rapping Dee’s interestingly different walking bass jiggled sinuous bumpy 0-114⅘bpm light jaunty chugger has an acappella intro and duetting punctuations by an uncredited sweetly wailing girl, with a Jailbreak credited 112bpm ‘Powerhouse’ instrumental version as AA-side, worth hearing.
LAKIM SHABAZZ ‘Black Is Back’ (US Tuff City TUF 128042)
Originally warm on MC La Kim’s album, this DJ Mark The 45 King produced weavingly wordy sombre jiggly 103½-103⅔bpm message rap has a shorter 104⅙bpm instrumental on the same side, the misleadingly labelled 12 inch being flipped by the new fast talking 119-0bpm ‘Your Arm’s Too Short To Box With God‘ and 119⅘bpm instrumental, all doubtless with backings woven from obscure seven inch break beats.
STEADY B ‘Nasty Girls’ (Jive JIVE T 205)
Samantha Fox answering jerky fast rap, jaunty enough in mildly amusing juvenile sexist style, which did nothing on import but is getting DJ attention now it’s been serviced here in its 112bpm Extended Version and differently treated chanting 121½bpm Indoor House Mix (instrumentals too).
B.R.O.T.H.E.R. ‘Beyond The 16th Parallel’ (Fourth & Broadway 12BRW 139)
Controversial Tottenham MP Bernie Grant introduced murkily muddled percussive 0-109⅓bpm angry UK all-star anti-South Africa political rap featuring, in order of appearance, the London Rhyme Syndicate, Overlord X, London Posse, Cookie Crew, Freshki, Demon Boyz, Gatecrash, Ice Pick, She Rockers, Junior San, MC Mello, Standing Ovation, Trouble and Bass, and Hijack, who together make up the initials’ Black Rhyme Organisation To Help Equal Rights (less vocal Sharpville Salute and acappella S.W.A.P.O. Chant versions too), not necessarily for the dancefloors.
FEDERAL STATE ‘Deeper In Love’ (Warrior Records WRR 12 005, via Pinnacle)
Repetitive nasal Lisa Cousins crooned authentic sounding if monotonous 119bpm wriggly latin house, with the wearisomely shrill nagging synth of its Club Mix and Instrumental toned down and augmented by piano in its least shrill, chunkier garage-style NYC Mix and more insistent, actually longer NYC Edit.
HOUSE SYNDICATE ‘Kicking Ass-ids’ (US Breaking Bones Records BBR-300)
In ‘Bones Breaks’ style although created by Kenny ‘Dope’ Gonzalez rather than by Frankie Bones himself, the EP’s monotonous simple instrumental drum tracks are this skylark-like twittering acidic 124bpm racer, the fluid bass and chinking “tambourine” driven (0- )122⅗bpm ‘The Bassline II‘, nervily racing percussive 125⅔bpm ‘Kamikaze‘, beat losingly edited similar 124⅓-124⅗-124⅓-0bpm ‘10:40‘ (not its timing), and thin synth punctuated jiggly driving 123⅘bpm ‘A M.A.D.D. Riot‘.
THE CLUB CHART – July 15, 1989
01 01 BACK TO LIFE (CLUB MIX/JAM ON THE GROOVE) Soul II Soul, 10 Records 12in
02 02 LET IT ROLL Doug Lazy, Atlantic 12in/Champion promo
03 04 FIGHT THE POWER (EXTENDED VERSION) Public Enemy, Motown 12in
04 05 GET LOOSE (MIXES) L.A. Mix featuring Jazzi P, Breakout 12in
05 03 SAY NO GO (SAY NO DOPE MIX) De La Soul, Big Life 12in
06 07 FOREVER TOGETHER (MIXES) Raven Maize, US Quark 12in
07 16 GRANDPA’S PARTY (12” MUSIC/BEAT MIXES) Monie Love, Cooltempo 12in
08 21 FRENCH KISS Lil Louis, US Diamond Records 12in
09 10 HEY BOY (12” CLUB/HOUSE/G-MAN MIXES) Tammy Lucas, RePublic Records 12in
10 06 DO IT TO THE CROWD Twin Hype, Profile 12in
11 14 JUST KEEP ROCKIN’ (SK’OUSE/HIP HOUSE) Double Trouble & The Rebel MC, Desire 12in
12 17 HEAVEN (CELESTIAL CLUB MIX) Miles Jaye, Fourth & Broadway 12in
13 08 WE GOT OUR OWN THANG (CLUB VERSION) Heavy D & The Boyz, MCA Records 12in
14 13 DO THE RIGHT THING (MIXES) Redhead Kingpin & The FBI, 10 Records 12in
15 25 ON OUR OWN (EXTENDED CLUB VERSION) Bobby Brown, MCA Records 12in
16 12 LET ME LOVE YOU FOR TONIGHT (THE “PUMPED UP MIX”/ORIGINAL VERSION) Kariya, Sleeping Bag Records 12in
17 09 TEARS (CLASSIC VOCAL/INSTRUMENTAL) Frankie Knuckles presents Satoshi Tomiie, ffrr 12in
18 11 IT IS TIME TO GET FUNKY D Mob featuring LRS, ffrr 12in
19 15 AIN’T NOBODY (FRANKIE KNUCKLES’ LP REMIX/HALLUCINOGENIC VERSIONS) Rufus & Chaka Khan, Warner Bros 12in
20 18 LOOKING FOR A LOVE (CLUB MIX) Joyce Sims, ffrr 12in
21 55 UH-UH OOH-OOH LOOK OUT (HERE IT COMES) (STEVE HURLEY’S HOUSE MIX) Roberta Flack, Atlantic 12in
22 31 I’M GLAD YOU CAME TO ME (CLUB MIX/DUB MIX) Bäs Noir, US Nugroove 12in
23 28 VOODOO RAY (ORIGINAL MIX) A Guy Called Gerald, Rham! 12in
24 33 FORGET THE GIRL (EXTENDED REMIX/MIDTOWN MIX) Tony Terry, Epic 12in
25 — RIDE ON TIME (VERSIONS) Black Box, Italian Dee Jay Lelewel 12in
26 26 BUST A MOVE/GOT MORE RHYMES Young MC, Delicious Vinyl 12in
27 19 JOY AND PAIN (REMIXES) Donna Allen, BCM Records 12in
28 32 BLAME IT ON THE BASSLINE Norman Cook featuring MC Wildski, Go Beat 12in
29 — NUMERO UNO (MIXES) Starlight Invention Group, Italian Dee Jay Lelewel 12in
30 34 SALSA PARTY (SUNBURST/CARNIVAL MIXES)/HEARTBREAKER (I CAN’T UNDERSTAND) (TOTAL RAGE/DEFINED MIXES) Mystique featuring Tina Gomez/Kid Valdez, RePublic Records 12in
31 36 BLAZIN’ Stardust/BEST PART OF ME Cynthia ‘Cookie’ Abrams/PLAY TO WIN Sharone/I AM SOMEBODY Jerry Edwards (‘Paradise Regained’), RePublic Records LP
32 20 MENTAL Manic MC’s, RCA 12in white label
33 — DO YOU LOVE WHAT YOU FEEL (WILSON’S HIP HOUSE/ALBUM/KEVIN’S MIXES) Inner City, 10 Records 12in pre-release
34 22 SALSA HOUSE (THE REMIX)/I CAN MAKE YOU DANCE/COMING FROM LONDON/SET YOURSELF FREE Richie Rich, Gee Street 12in mailing list promo
35 53 GRANDPA’S PARTY (THE LOVE II LOVE REMIX) Monie Love, Cooltempo 12in
36 41 101 (THE REMIX/UPTOWN VERSION) Sheena Easton, MCA Records 12in
37 56 ALL OVER THE WORLD Chuck Jackson, Nightmare 12in
38 30 DEFINITION OF A TRACK/DEFINITION OF A RAP/THE RAP’S IN MOTION Precious, US Big Beat 12in
39 64 TWO WRONGS (DON’T MAKE IT RIGHT) (MIXES) David Peaston, US Geffen Records 12in
40 23 LET’S WORK (CLUB VERSION)/I CAN’T TAKE IT (CHEP’S DOWN) Casanovas Revenge, de/Construction Records 12in
41 37 TEARS (THE CLASSIC REMIXES) Frankie Knuckles presents Satoshi Tomiie, ffrr 12in
42 40 REFLECTIONS (STYLE 1 & 2/R & R INSTRUMENTAL) Dorothy, Cooltempo 12in
43 100 DEFINITION OF LOVE (ORIGINAL MIX) Kevin Saunderson presents KAOS, Kool Kat 12in
44 69 MY FANTASY (EXTENDED VERSION/RAP VERSION) Teddy Riley featuring Guy, US Motown 12in
45 27 I NEED A RHYTHM/PUMP IT UP (LET’S GROOVE)/INCH BY INCH The 28th St. Crew, US Vendetta Records LP
46 38 IN MOTION (MIXES) Precious, MCA Records 12in pre-release
47 43 SKA TRAIN The Beatmasters, Rhythm King 12in promo
48 46 DOOWUTCHYALIKE (PLAYHOWYALIKE MIX) Digital Underground, US Tommy Boy 12in
49 — JUST ROCK (RAP HOUSE ANTHEM) (MIXES) Smokin’ Gang featuring DJ Jack Boy, Rapper, US Hot Mix 5 Inc Records 12in
50 29 WOMEN BEAT THEIR MEN (MIXES) Voodoo Doll, Champion 12in
51 — GET BACK TO LOVE (SWING BEAT CLUB/DUB MIXES) Blacksmith, ffrr 12in
52 — I NEED A RHYTHM (VOCAL CLUB MIX/DUB 1/DUB 2) The 28th St. Crew, US Vendetta Records 12in
53 42 I DON’T MIND THE WAITING Omar, Kongo 12in
54 35 LIVIN’ IN THE GHETTO Down By Law, CityBeat 12in
55 — EARTHLY POWERS (IS IT REAL?)/TECHNO POWER A Man Called Adam, Acid Jazz 12in
56 58 CHOICE? (MIXES) Blow Monkeys featuring Sylvia Tella, RCA 12in
57 71 WHY (EXTENDED VERSION/INSTRUMENTAL) Carly Simon/Chic, WEA 12in
58 72 FRIENDS (EXTENDED VERSION) Jody Watley with Eric B & Rakim, US MCA Records 12in
59 re JAZZIE’S GROOVE/HAPPINESS (DUB)/KEEP ON MOVIN’/FAIRPLAY/HOLDIN’ ON (BAMBELELA)/DANCE/BACK TO LIFE (ACAPPELLA) Soul II Soul, 10 Records LP
60 84 DON’T MAKE ME OVER Sybil, Champion 12in promo
61 52 STRINGS OF LIFE (MIXES) Rhythim Is Rhythim, Jack Trax 12in
62 — LIES (REMIX/INSTRUMENTAL) Sha Sha, Niteshift Records 12in mailing list promo
63 24 STOMP (MOVE, JUMP, JACK YOUR BODY) K-Y-ZE/TIMES ARE CHANGIN’ (EXTENDED MIX) Fred Fowler, Cooltempo 12in promo
64 — IT’S ALRIGHT (THE TYREE MIX) Pet Shop Boys, Parlophone 12in
65 re ONE NIGHT IN MY LIFE (IT’S TIME) Akasa, WEA 12in pre-release
66 54 SOMEBODY SOMEWHERE (BLACK COUNTRY MIX) Johnson Dean featuring Lina Law, W.A.U./Mr Modo Recordings 12in
67 79 I GIT MINZE (EXTENDED DANCE REMIX) Too Nice, US Arista 12in
68 50 TELL IT AS IT IS (PL MIX) Company 2, Tam Tam 12in white label pre-release
69 44 IT GETS NO ROUGHER/I’M THAT TYPE OF GUY LL Cool J, Def Jam 12in
70 45 KEEP ON TRYING (MIXES) Kicking Back, Submission 12in
71 97 WHERE DO WE GO? (US REMIXES) Ten City, US Atlantic 12in
72 80 THINK (FARLEY’S MIXES) Farley Jackmaster presents Precious Red, Champion 12in mailing list promo
73 59 I’M IN LOVE (REMIX/CLASSIC/HARMONIC MIX) Sha-Lor, de/Construction Records 12in pre-release
74 re TALK IT OVER (PAUL SIMPSON’S US UNDERGROUND MIX) Arthur Baker and the Backbeat Disciples, Breakout 12in pre-release
75 — CASANOVA (PASSION HERO) Jazz & The Brothers Grimm, Production House Records 12in white label pre-release
76 — I SURRENDER (LONDON’S MOODY MIX/ORIGINAL US VERSION/BONUS BEATS) Funk Deluxe, Tam Tam 12in
77 96 ROCK THE HOUSE (CLUB MIX) Nicole, US Oceana 12in
78 82 REAL LIFE (HOUSE MIX aka HOUSE DUB PART 1) Corporation Of One, Desire 12in
79 66 PARADHOUSE REMIX (MIXES) Koxo Club Band, CityBeat 12in
80 60 EXPRESS YOURSELF (EXTENDED MIX)/A BITCH IZ A BITCH N.W.A., US Ruthless Records 12in
81 — WHAT I DO (CLUB MIX/INSTRUMENTAL/RADIO MIX) Jere McAllister, US DJ International Records 12in
82 re IT IS TIME TO GET FUNKY (CASUALTY MIX/INSTRUMENTAL) D Mob featuring LRS, ffrr 12in
83 — SO WAT CHA SAYIN’ (CLUB/DUB/RADIO) EPMD, US Fresh Records 12in
84 — (WALKIN’ ON…) SUNSHINE ‘89/PSYKO BEAT/PSYKO DREAM Fax Yourself, German BCM Records 12in
85 re SOMEBODY IN THE HOUSE SAY YEAH! (MIXES) 2 In A Room, US Cutting Records 12in
86 — RAINDROPS (BLAZE’S UK 12” CLUB MIX/SWING MIX) Kool & The Gang, Mercury 12in pre-release
87 — WHITE LINES ’89 – PART II (DON’T DO IT) Grandmaster Melle Mel & The Furious Five, US new Day Records Inc 12in
88 49 IT’S REAL (12” EXTENDED VERSION) James Ingram, Warner Bros 12in
89 re READY 4 LOVE (MIXES) Razette featuring Lamya, Champion 12in
90 89 ILLUSION/R-THEME (MIXES) R. Tyme, Kool Kat 12in
91 — BABY DON’T GO (CLUB VERSION/AWESOME DUB/INSTANT MIX/BASS DON’T GO MIX) FFWD (Fast Forward), Breakout 12in
92 67 GUITARRA (ORIGINAL MIX) Raul featuring J. Bonell, Rhyme ‘n’ Reason Records 12in
93 — YA BAD CHUBBS (CHUBB CLUB MIX) Chubb Rock with Howie Tee, Champion 12in promo
94 74 LET THE RAIN COME DOWN/DOG A BASELINE/(CAN’T MESS AROUND) YOU’VE GOT TO LOVE ME Intense, US Ace Beat 12in EP
95 re DON’T FIGHT THE MUSIC (MIXES) Maureen, The Dance Yard Recording Corporation 12in
96 51 PAYBACK IS A BITCH (WHAT GOES AROUND COMES AROUND) (MIXES) Liz Torres, US Jive 12in
97 — THE RIGHT STUFF (NORMAN COOK REMIX/BONUS BEATS/ORIGINAL 12” MIX) Vanessa Williams, Wing Records 12in pre-release
98 78 MORE BOUNCE/MOOD FOR LOVE/WE GOT OUR OWN THANG Heavy D & The Boyz, US Uptown Records LP
99 86 DAZZLE YOU (THE SOUND SYSTEM MIX) Dazzle, Jam Today 12in
100 75 DREAMS OF SANTA ANNA/THE TEXICAN (CLUB MIXES) Orange Lemon, Champion 12in
5 thoughts on “July 15, 1989: Pet Shop Boys, Starlight, Koxo Club Band, Black Box, Skipworth & Turner”
A couple of significant new trends emerge this week. Firstly, we have the first sightings of Italo House, with reviews for Starlight, Black Box and Koxo Club Band. The first two of these are also the highest new entries on the Club Chart. They’re the only Italian imports on the chart this week, but over the months to come, the proportion of Italian chart entries will rise significantly.
Secondly, we have the first imitators of the Soul II Soul sound, with their influence noted in three reviews (Kelly Charles & James Bratton, the Tone Loc remix, Dazzle’s Sound System Mix). The new entry from Sha Sha (“Lies”) is a further example. This trickle will eventually turn into a flood!
There’s also a first mention this week for the legendary techno DJ Jeff Mills, making his debut as a member of Final Cut.
> ffrr’s UK pressing of Lil Louis ‘French Kiss’ will include two new local versions
Presumably that should say “vocal versions”
I’ve checked this out, and while “local” was indeed printed, it must have been a typo; two vocal versions were indeed released in the UK, on a separate “remixes” release: https://www.discogs.com/release/81490-Lil-Louis-French-Kiss-Remixes
Sybil’s surname was Lynch, not ‘Lunch’ as JH says.
What do you think of JH’s complete ignoring of the big Sunrise, Energy, Genesis, Biology and the rest raves. Undeniably part of the underground dance scene of London ad the South east – deejayed by underground dance DJ’s he knew (some going back years Colin Hudd for instance was old school funk mafia as was Froggy who didn’t play at the parties AFAIK but hired out his big sound system to them) The ‘acid house parties were in the news enough by now that your granny even knew about them.
It is like you say it may be one of the early signs that he is stepping back from actually being part of things and now just recording inner London street developments (street soul, he liked hardcore/jungle I believe and I believe would have loved speed garage/uk garage – the first things he missed when he passed).
But as you say in mid 1989 he may be stepping back. He’d have been at some of those acid parties even a year or so before , checking them out. and reporting back even if in a scathing way. But no sign of any of the orbital parties. And it wasn’t all massive raves organised by people like Tony Colston-Hayter and the Biology bloke a(whose nameI I forget) hundreds of people at Heston or South Mimms services and then as the money making opportunities looked tempting football hooligans like the Inter City Firm (West Ham) moving in.
There were a lot of tiny raves every week in 1989 – in disused football grounds, hired sports clubs (not closing at 12 like they were supposed to but at 6 knowing it’d be a one off!), in tunnels , caves, and the usual disused industrial premises-I went to all those type of things this year sometimes with non-raving drinking friends they were that ubiquitous.and in your face in 1989 in London and the he south east although many were busted sometimes before they been started and someone would be left with a generator bill and no satisfied punters..You’d just get to a local boozer on Saturday night and someone would start talking about a rave (tI’m not sure they would have actually said rave this early but you know what I mean) in some obscure place and that’d be it for the Saturday night even if you never actually got to anywhere worth going to. A great summer although for me it was all over by the end of the year until about 1995 because of serious substance misuse problems – alcohol (despite this being 1989 when we were all supposed to be drinking water in that ridiculous myth – as if the average raver was taking pills in the week or even every week) back then) doing the most damage..
I somehow kept up with the underground sounds though – on the pirates CentreForce, Green Apple and the rest and the soon to be legalised Kiss FM – even found myself very rarely and by accident in a rave club but the way things were by now it might as well been anywhere – “Dodgy Dave’s Grab A Granny Ritzy Cinderellas “pop disco was more my scenr then – anywhere you could get hammered till late. Anyway I’ll continue to follow this column but I’ll know little about the right clubs/events once we’re into late 1989.