BEATS & PIECES
BBC RADIO 1 had a “mass debate” (don’t say that too fast!) at Milton Keynes’ The Point last week, the first of several to bring the topic ‘This Is Your Radio 1’ to different parts of the country, with Simon Bates chairing a panel comprised of zany afternoon jock Steve Wright, music department head Roger Lewis, daytime programmes editor Chris Lycett, and John Peel’s veteran producer (a broadcasting personality in his own right) John Walters — most of the largely young, autograph seeking, audience seemed to be confirmed satisfied listeners, as might be expected, but the panel were made to wriggle a bit by some pointed questions, not least from the representatives of the area’s brand new local legal Horizon Radio (a further subdivision of “The Hot FM”, Chiltern Radio) . . . Chris Lycett, who seems pretty keen on Italo house as programming fodder, was afterwards forced to admit “We missed the boat on that one” when pressed as to why Radio 1 were so late in play-listing Soul II Soul’s chart-topper! . . Total Contrast report lots of chequebook waving major label interest in their Tongue ‘N’ Cheek ‘Encore’ creation, but reckon it’s hot enough already on their own aptly titled Big Buzz label to take care of itself until they get the album deal they’re looking for! . . . Quartz ‘Meltdown’ is the creation of Dave Rawlings and Ron Herel from Leytonstone’s In The Mix record shop, on whose iTMix logo it was originally white labelled before being picked up by Mercury for imminent full release as a remix, but sometime rm club chart contributor Mark Summers, resident jock at Sudbury in Suffolk’s newly refurbished Broadway Nightlife, has meanwhile unwittingly slightly confused the issue by recording in his home studio a rival track called ‘Melt Your Body‘ which some people have mistaken as the ‘Meltdown’ remix, although he explains “I adapted part of Raze’s ‘Break 4 Love’, the bass line from a track by Chelmsford indie band Nitzer Ebb and the ‘Rock Your Body’ hook from a Nebular track” . . . Les Adams and DJ Shem (Streets Ahead) have each neatly megamixed two sides of a double album of Champion released material due soon on K-tel, ‘The Champion Legend — “Can You Feel It?”‘ . . . KYZE comes out more logically pronounced as “kay-wize” when it’s written as K-Y-ZE, the way it’s printed now on Cooltempo’s UK promo pressing of ‘Stomp (Move Jump Jack Your Body)’, only here in its Steeltoe and Zanzibar Mixes . . . Ian Dewhirst, remembered for his flamboyant leopard skin shirts as a DJ turned record company man, is rather more sedately employed these days as a senior discographer specialising in dance music (along with, by coincidence, one time rm chart returning DJ from Loughton, Andy Gregory) at the National Discography/MCPS, where every recording ever released is being painstakingly catalogued . . . Domenico Modugno’s much recorded classic ‘Volare’ has been revived in typical ‘flamenco wave’ style by the Gipsy Kings, with a dance mix due on 12 inch, as first single from their imminent new album (which lacks the joyous spontaneity of their last set on side one but luckily has quite a jolly side two, including a lovely bossa nova-ish instrumental and rousing live finale) . . . Nouveau ‘adieu!’, the cryptic promo reviewed last week, turned out to be a cunning scam and was in fact an otherwise unavailable specially sparse Pascal Gabriel mix of the London, rather than French Barclay, recorded Jimmy Somerville featuring June Miles Kingston ‘Comment Te Dire Adieu’! . . . Kaoma presumably sing ‘Lambada’ in Portuguese, if (as Alan Jones revealed) the dance began in Brazil . . . Paul ‘DJ Paolo’ Hitchcock has booked Vanilla Sound Corps to make a personal appearance this Thursday (November 2) at Hull’s Wellington Club, and is looking on 0482-440745 for other suitable dance music acts to PA there in the coming months . . . Claire Livingstone is expanding the club DJ mailing list at Stylus Music associated Pyramid Promotions, 31 Norfolk Place, London W2 1QH, and urgently wants to hear on 01-258 0035 from jocks everywhere but especially in the Midlands, to help promote the label’s ‘The Right Stuff‘ double album dance compilation and Imagination’s imminently reissued ‘Just An Illusion’ . . . Jazzy M is guest jock at Notting Hill’s Sub Club under the Westway off Portobello Road this Thursday (2), when DJ Streets Ahead and ‘Tainted Love’ reviving Impedance join Jon Williams at the weekly ‘Dilly Daily’ in Mayfair’s Wall Street . . . Brixton’s Academy houses spectacular huge constructions and illusions this Saturday (4) when SumoSurf X present ‘Outlands’, jocking amidst the happenings and stunts being Dave Picciuni, Noel Watson, Fabio & Groove Rider, Jumping Jack Frost, Pete Stuart and Brian G . . . Andy Henderson plus Rob & Trish are “Brighton’s No. One Soul Trio” for The Monday Night Soul Connection every week at Champagnes Night Club in Montpelier Road . . . Soho’s Jacqueline’s is probably what’s hiding at 201 Wardour Street, the carefully concealed Wednesday venue for pretentious sounding Underwater, where “top session musicians perform with top underground DJs specialising in the evolution of European and American house music” (it says here, without then naming names) . . . Dave Thomas in contrast is hopefully “overwater”, presenting as he does Upfront On Ice Fridays at Cardiff’s Wales National Ice Rink, for which he wants PAs and mailing list support on 0446-721013 . . . Andrew ‘Madhatter’ Holmes spins hip hop ‘n’ house around Manchester on Explosion Thursdays at Middleton’s Hippo’s, and with DJ Space Case on Head Fridays at Oldham Road’s Thunderdome, the duo somehow also fitting in M.VITA (Manchester Vibes In The Area) Thursdays and Saturdays at Burton Road’s Midland pub . . . Rumour Records’ November 6 released ‘Warehouse Raves 2‘ compilation album seems to be following rather closely on the heels of the first one, and possibly as a consequence has nothing like so strong a track listing, mainly relying (with the notable exception of Gil Scott-Heron ‘The Bottle’) on either new UK releases that are still proving themselves or lesser recent imports . . . East and South London DJing legend ‘Segue’ Steve Goddard convincingly contradicts Fast Eddie’s claim by pointing out that the term “hip house” was first used on the label of Screaming Rachel ‘Fun With Bad Boys‘ (US Grand Groove Records), a Farley ‘Jackmaster’ Funk creation from way back in 1987 — however, was that a house rap in the way that we understand hip house to mean? . . . Soho’s Trax record shop proprietor ‘Tricky Dicky’ Scanes clarifies that the credit lacking ‘Grand Beat’ remix of ‘Grand Piano’ is indeed Italian rather than British in origin, despite its label copy, as various Italian record companies now print “UK” on their seemingly bootleg style labels (often with a fictitious UK address as well) because Italian and other European jocks snobbishly only ever play British originated product! . . . IT’S SUCH A GOOD VIBRATION!
SHARON DEE CLARKE ‘Keeping My Faith In Love’ (Rumour Records RUMAT 6, via Pacific)
With vocals arranged by Mykaell Riley of the Reggae Philharmonic Orchestra, who did the same for Soul II Soul, the soulfully singing actress’s sultry lush jogger could end up having similar success when it’s out fully next week, in Richie Rich’s subduedly swingbeat-ish 100½bpm jiggly Club and more nervily cramped Kickin’ It Mixes, flipped by co-producer Damon Rochefort’s more subtly slinky 101⅔bpm Mellow and 101½bpm Love Mixes, all equally good.
DOUG LAZY ‘Let The Rhythm Pump’ (Atlantic A8784T)
Letting it roll again, the infectious jiggly rhythm that is, lazily rapping Doug Finley hangs right in there punctuating away all through his latest jauntily “pumping” and “jumping” 121bpm hip house shuffler, but it’s the beat that raises a sweat, with squidgily wheezing organ and chinking cowbell. The promo has Vocal, Long Instrumental, Chop Dub and Acappella Versions, the commercial pressing I believe loses the second to last.
L.A. MIX ‘On The Side’ (Breakout AMLA 9009)
Although I’ve been warning you since April that Les Adams, Emma Freilich and Mike Stevens’ album would be filled with a surprising variety of styles, people are now remarking to me in surprise about its variety! Created using live “real” instruments as well as samplers, totally fresh tracks are the jaw droppingly superb smoothly loping “jazz-house” piano, flute and vibes instrumental 122¼-0bpm ‘Breathe Deep’, Audrey Francois wailed scurrying wriggly “garage” 124¼bpm ‘You Are The One‘, Juliet Roberts gurgled jiggly “swingbeat” 104⅛bpm ‘Just Waiting’, Chyna emoted spine tingling dead slow “deep soul” (very Dramatics ‘In The Rain’!) (0-)40/80-0bpm ‘Don’t Turn Away‘, and Sweet Pea rapped Lowrell reviving jogging 96⅓bpm ‘Mellow Mellow (Right On)‘, while already familiar although in some cases much remixed are the Kevin Henry chanted “Philly” style 120¼bpm ‘Love Together’, Jazzi P rapped “hip house” 127¼bpm ‘Get Loose’, Vince Montana-ish jazzily tumbling 0-114⅛bpm ‘Don’t Stop (’89)’, and last year’s Top 6 smash 117⅔-0bpm ‘Check This Out’.
MR LEE ‘Get Busy’ (Jive JIVE T 231)
Already massive on import, this extremely simple infectiously bounding hip house flier may not be an innovator but does everything so well and so happily that it’s one of the very best, here 123¾bpm in its Club, Chicago, and Hit Man’s House Mixes. You will not stay still!
LUTHER VANDROSS ‘Never Too Much (Extended Remix ’89 by Justin Strauss)’ (Epic LUTH T12)
Perhaps his all time favourite amongst the soul dance crowd, this sweetly wailed swaying and lurching trotter has been given a more modern tightly tapping but still unsteadily tempoed 109¼-110⅔-110⅓-110⅔-111bpm overlay by Justin, coupled with Michael H. Brauer’s Original Remix ’81 (a pig to bpm, which I’ve had to do thoroughly several times in the past and don’t intend to do again, this tops and tails at around 108⅔…109⅔bpm), plus the originally Change credited superb sinuously rolling (steady though older!) 117¾bpm ‘The Glow Of Love’. If there’s anyone left who still needs them, all his oldies have been repackaged again for Christmas on the LP ‘The Best Of Luther Vandross The Best Of Love’ (EPC 465801), which this obviously is intended to promote.
FAST EDDIE featuring Sundance ‘Git On Up (Fast Eddie Mix)’ (D.J. International Records 655366 6, via CBS)
Still as promoed in some hybrid 124¾bpm remix that doesn’t tally with any on the import pressing, this plaintively rapping Roxanne Shanté-ish girl duetted effective though routine hip house bounder is flipped here by what really is the now also 124¾bpm Rocky Jones Mix plus a thumping 125¼bpm LP Mix that seems to be the import’s Fast Eddie Mix!
GO-NOGO ‘Pacific State (Paradise Remix)’ (Italian bhf Production 8620927-1)
808 State’s current club smash in a strong cool (0-)120¼bpm Italo house remake, totally keyboard created (rather than saxed), with some beefy new licks to boot plus that Sueno Latino-type burbling bird as in the original, flipped by the also 0-120¼-0bpm urgently pounding ‘Astray‘ — that’s ‘Astray’, not ‘Ashtray’! — related only in one of the above mentioned beefy new keyboard licks (which if anything owes something to ‘Do It Properly’ and ‘The Girl Can’t Help It’).
MARK SUMMERS ‘Melt Your Body (Techno Style)’ (smr House SMR 001X, via 0702-335444)
A brightly jiggling and clinking 0-121¼-0bpm electro skipper washed by various female phrases and flipped by the “I ain’t gonna wait no more” quoting jingly jangly but smoothly synthed 119¾-0bpm ‘Your Love Is Mixed (Taggey Mix)‘, both home produced and slightly raw sounding. I’m afraid for once I’ve run out of time to bpm all The Club Chart’s new entries, as I have to head North for my aged and not very fit old dad’s birthday, which can’t wait — full service returns next week!
PATTI DAY ‘Right Before My Eyes’ (D.Trax CH 003)
This old US Stairway recording is currently getting much attention largely through being bootlegged, popular at warehouse-type gigs being the more soulfully striding though trickily fragmented 115¼-115⅔bpm vocal version that, together with a throbbingly rolling (0-)115⅔bpm instrumental, is hidden on a flip misleadingly labelled as containing Ellis “D” ‘My Loleatta’ and Riuchi Sakamoto ‘Riot In Lagos’ (which it doesn’t!), while the correctly labelled A-side’s 115½bpm Vocal and (0-)115¼bpm Power Radio Mixes are in none too special juddery thudding Latin hip hop style.
WILL DOWNING ‘Come Together As One’ (US Island 91286-1)
A pleasant stop gap before the next all new Luther Vandross album, this lush and largely orchestral listening soul set is exciting most initial interest in its “standard”- style slow meandering 0-35-35/70-0bpm treatment of ‘Wishing On A Star’ (very different from the Fresh 4’s version!), but also has the cooing jiggly swaying 0-111½bpm ‘Love Call‘, huskily hopeful cantering (0-)115bpm ‘Come Together As One‘, mournfully rolling 109½bpm ‘Sake Of Love‘, gorgeous acappella harmonies introed weaving 0-97⅞bpm ‘I’ll Wait‘, abruptly snapping 114bpm ‘Rules Of Love‘, throatily smooching 0-84⅔bpm ‘Sometimes I Cry’, Nat ‘King’ Cole-ish 7-59⅓-0bpm ‘Too Soon’, drifting 79½bpm ‘The Love We Share’, crawling 0-20/40-41 bpm ‘Closer To You’, and a 0-104⅔bpm mix of his current UK single:
‘Test Of Time’ (Fourth & Broadway 12BRW 146)
David Morales & Frankie Knuckles remixed go go beats driven starkly jittering though romantically croaked jiggly syncopated swingbeat style swayer, in here 0-104½bpm Club and Radio, 104½bpm Timeless Piano Instrumental and Dub Versions.
MAURIZIO PAVESI ‘Love System’ (A1 Records 12A1 314, via BMG)
Still on white label so it’s impossible to tell what the different mixes are called, this by now fairly routine though effective “it’s too late, baby, for your love”/”don’t want to” girls chanted cantering nervy Italo house is 121⅝bpm on the A-side with two differently treated more urgent 119⅔bpm and 121⅓bpm B-side mixes, out here even ahead of Italy.
BROOKLYN FUNK ESSENTIALS ‘We Got To Come Together’ (XL Recordings XXL-003, via CityBeat)
Something of a “sleeper” on import a while back, this Arthur Baker-produced jerkily stuttered, chanted and rumbled funky drums thrasher, with whistle blasts and weaving samples, is in 0-123¼-123bpm Vocal Version, 122¾-122⅔bpm Wham Bam Dub, 122¾-123¼bpm Track Attack Rough Mix, (0-)122¾bpm Drum A Dub Dub, and 122¾-123 bpm Cum Together Again variations, and is the first of the label’s good value 12-inch twin-packs (when the catalogue number is XLT 3) along with the also separately available
ELLIS “D” ‘Took My Love Away’ (XL Recordings XXL-004)
Junior Vasquez’s stuttery Loleatta Holloway sampling current LP track in its Todd Terry-ishly synthed 0-119-0bpm Album Version, rambling new bassily lurching 118¾-0bpm Serious and 0-118¾-118⅝-0bpm Factory Mixes, plus the Holloway oldies quoting instrumental bounding 120½-0bpm ‘My Loleatta (Whatta Bitch Mix)‘ tribute.
MISTER B ‘Let’s Get Horny’ (Rumour Records RUMAT 7, via Pacific)
A lively strong 124½-124⅞bpm South London remake of High Voltage’s old percussively cantering instrumental — which was an early example of a “quoter” if not an actual “sampler”, being built up from, obviously now vintage, disco breaks — leaping along largely to a T-Connection groove and flipped by a janglier 124⅝-125bpm Big T’s Mix.
SAM DEES ‘After All’ (RCA PT 43140)
Widely and rightly regarded since the early Seventies as a living soul legend, Sam seems to do more writing/producing (for the likes of Gladys Knight) than solo singing but rectifies that with this exquisite searingly expressive gentle tenderly weaving 97½-97⅓bpm smoochy swayer, coupled (97⅓bpm Edited Version too) by the more ponderously crawling 29-58-0bpm ‘True Believer In Love‘ and — surely some mistake? — a snappily jolting instrumental 115¾bpm ‘Always Something’.
CHUCK JACKSON ‘Relight My Fire’ (Motorcity MOTC 26, via Pacific)
Dan Hartman’s ‘Vertigo/Relight My Fire’ vigorously revived in an exciting throatily wailing, surging and charging (0-)123¾-0bpm remake by Ian Levine, flipped by an occasionally girls cooed 118¼-0bpm instrumental of Chuck’s previous Philly-styled ‘All Over The World’. This is just one in a massive series of Levine produced releases by ex-Motown artistes, many of whom will be touring.
PERRI ‘Feel So Good (Extended Version)’ (Motown ZT 43084)
One of the Anita Baker backing (and not dissimilar) gospel reared sisters’ two songs from the ‘Do The Right Thing’ soundtrack, a plummily sultry 94¾-94½-96-0bpm tranquil soulful swayer, also included in its US 12-inched now less good seeming 94⅔-94¾bpm Single Version and 94⅔-94¾bpm Instrumental.
The Lil’ DJ ANTHONY ACID ‘Rock And Boogie Down’ (US Breaking Bones Records BBR-500)
Created by Anthony Caputo but generally mixed by Frankie “Bones”, Lenny “Dee”, Tommy Musto and the other Bonebreakers, this samples studded (no, surely not?!) repeated “oh yeah” groaned lurchingly shuffling 120bpm instrumental house five-tracker is not particularly acidic at all, in Anthony Goes Acid Mix, Frankie’s Seduction Groove, Jammix Summer Revenge, Lenny Does London Mix, and Electric Warehouse Mix versions.
NEXUS 21 ‘(Still) Life Keeps Moving’ (Blue Chip Recording BLUE C34T, via The Cartel)
Painfully pitched girl warbled Inner City-style very derivative and clichéd light “techno” bounder in 127bpm Club, 126¾bpm Instrumental and Instru”MENTAL” Dub Mixes.
THE GAP BAND ‘All Of My Love’ (US Capitol V-15493)
Wilson Bros & Jon Gass produced pleasant enough jauntily jiggling soulful swingbeat, disrupted by Greg ‘Ski’ Royal’s stuttery abrupt edits in the 106½bpm Extended Mix but not the gentler 106½bpm Just Coolin’ and 108bpm Radio Mixes (106½bpm Instrumental, 107½bpm Bonus Beats and 105½bpm Percussappela too).
THE D.O.C. ‘The D.O.C. & The Doctor’ (US Ruthless Records/Atlantic 0.96523)
From the US black chart topping album, ‘No One Can Do It Better’ (now out here, 791 308-1), the NWA associated rapper aggressively rants through a Public Enemy-ish slow dense grinder in 81bpm Noisy Mix, Somethingtabumpinyacar (ie: dub!), and (0-)81⅝bpm LP Versions, but most initial reaction has been for the frantically fast talking hip house-ish 122⅓bpm ‘Portrait Of A Master Piece (LP Version)‘.
TOT ‘What U R’ (DFM DFM-006)
Sounding like a dated leftover from last year, this vocodered thin fast froth is in its girls whispered twittery 131⅓-0bpm Original Mix, twittered and urgently scuffled 128-0bpm Rhythm Mix, Mark Kamins’ throbbed and chinked 0-128-0bpm NYC Dub, plus Mike Pickering & Graeme Park’s drily thudding acidic instrumental (0-)129-0bpm Nude Mix.
LEE LEWIS ‘Atmosphere’ (Italian B.C.R. BCR 89001)
Arranged by Italy’s champion mixing jock Cutmaster G, this resonantly thrumming and tinkling useful 122⅝-0-110-122⅝-0bpm alternative adaptation of ‘French Kiss’ is actually coupled by a yet another belated cover version of just that, using the same bpm backing track.
SENSI ‘Rap Race’ (Tam Tam Records TTT 011)
British female MC rapping in the usual aggressively plaintive shrill style to frantically bumping and scratching 120bpm beats (Instrumental too), the rare groove samples woven backing of the AA-side’s 115¾bpm ‘I Am What I Am‘ being rather better, with useful Bonus Beats.
808 STATE ‘Pacific State (The Remixes)’ (ZTT ZANG 1T, via WEA), white labelled on a 33⅓rpm four-tracker with no further details at the moment, although there’s a possibility that when out fully next week (as a single for the first time instead of “mini album”, so sure to smash) there will be some new ‘707’ element in its title, this A Guy Called Gerald featuring hauntingly saxed and Sueno Latino-like twittering Nightjar (or whatever that pesky bird is!) burbled superb jazzy deep house instrumental now leaps along in a lively (0-)128⅓-0bpm more electronic treatment, followed by what I take to be its original (0-)124⅓-0bpm more tinkly mix, flipped by an also faster (0-)127¾-127⅓-0bpm more wriggly remix (with exotic female chanting), plus some brief thumping (0-)120bpm bonus beats;
RHYTHIM IS RHYTHIM ‘Strings Of Life ’89 (Juan’s Magic Mix)’ (Kool Kat/Big Life RHYTHIM 1), the most enduring theme tune of the whole “acid house” era, still going strong (and down a storm), this jerkily bounding frisky instrumental, now it’s been remixed, keeps to a steady 127½bpm tempo for the first time ever, with flute and vibes effects at times, flipped by its old more fragmented 122-121¾-121⅔-121⅓-121bpm Piano Mix (here called Original Version) plus the even older hollow “drain” twittered 123⅓-123¼bpm ‘Nude Photo’ (also a classic in its day);
FRESH 4 (Children Of The Ghetto) featuring LIZZ E. ‘Wishing On A Star (“Dancin” Danny D Remix)‘ (10 Records TENR 287), switching most of the sales from the original now, Danny Poku’s still hauntingly dissonant chunkily rumbling 92½-92⅓bpm remix replaces the funky drummer, while the flip’s 92½-92⅓bpm dub is called No JB Beats and has the same dry drum as the earlier also included 92½bpm Smoke Filled Thoughts instrumental;
KARIYA ‘Let Me Love You For Tonight (Nastie Mastie Mix)‘ (Sleeping Bag Records SBUKR 4), refusing to die, the ‘Tubular Bells’-ishly started girl wailed garage classic is now (on 33⅓rpm white label at any rate) in this boomingly throbbing and chugging 111⅜bpm remix flipped by an instrumentally lurching 111½bpm Up All Night Dub;
KAOS ‘Definition Of Love (Def-Ignition Of Love)‘ (Kool Kat/Big Life KAOS 3), apparently sung by producer Kevin Saunderson’s West Midlands wife, this enduring 123bpm house galloper (a big influence in its original version on The Mix Master’s ‘Grand Piano’) has been remixed by Dave Dorrell & CJ Mackintosh with urgently throbbing electronic percussion and chuggingly building excitement, flipped less intensely by a piano jangled Extended Vocal Mix and Mick Talbot of Style Council keyboarded Mick’s Mix;
THE REBEL MC & DOUBLE TROUBLE ‘Street Tuff (Remixes)’ (Desire WANTX 18R), the huge sk’ouse smash given a more hip house-style rapping (0-)117¼-117⅜bpm Ruff Mix and similarly scrubbing 117⅜bpm Time To Rock — The Trouble Dub, flipped by the more jauntily skanking 118½bpm Norman Cook Mix and Instrumental, underpinned by the clanking cowbell from Booker T & The MGs’ ‘Soul Limbo’.
THE CLUB CHART – November 4, 1989
01 09 ALL AROUND THE WORLD (LONG VERSION) Lisa Stansfield, Arista 12in
02 03 PACIFIC STATE 808 State, Creed Records 12in EP
03 08 GRAND PIANO/PIANO GROOVE The Mix Master, BCM Records 12in
04 02 EYE KNOW (KNOW IT ALL/THE KISS MIXES) De La Soul, Big Life 12in
05 07 I THANK YOU (PHILADELPHIA/PHILLY DUB MIXES) Adeva, Cooltempo 12in
06 05 STREET TUFF (SCAR/CLUB MIXES) The Rebel MC & Double Trouble, Desire 12in
07 09 AIRPORT ’89 (MIXES) Wood Allen, German BCM Records/Italian Dee Jay Lelewel 12in
08 06 WISHING ON A STAR Fresh 4 (Children Of The Ghetto) featuring Lizz E., 10 Records 12in
09 04 THE REAL WILD HOUSE (WILD MIX) Raul Orellana, BCM Records 12in
10 12 YOUR LOVE Frankie Knuckles Presents, Trax Records 12in
11 26 WATCHA GONNA DO WITH MY LOVIN’ (DEF MIX/MASTER REESE MELTDOWN MIX) Inner City, 10 Records 12in pre-release
12 11 GET BUSY (MIXES) Mr Lee, US Jive 12in
13 10 THE THEME (MIXES) Unique 3, 10 Records 12in
14 57 RICH IN PARADISE/GOING BACK TO MY ROOTS Rich In Paradise, Italian FPI Project 12in
15 14 PUMP UP THE JAM (PUNANI MIX) Technotronic featuring Felly, Swanyard Records Limited 12in
16 32 TRACK WITH NO NAME Forgemasters, Outer Rhythm/W.A.R.P. Records 12in
17 31 ALL I WANT FROM YOU (12” REMIX) The Temptations, Motown 12in
18 33 TELL ME WHEN THE FEVER ENDED (AFTER DARK/YANKEE MIXES) Electribe 101, Mercury 12in
19 17 THE MESSAGE IS LOVE (CUPID MIX) featuring Al Green/THE MESSAGE IS CLUB Arthur Baker and the Backbeat Disciples, Breakout 12in
20 63 STRINGS OF LIFE ’89 (JUAN’S MAGIC MIX) Rhythim Is Rhythim, Kool Kat/Big Life 12in promo
21 — LET THE RHYTHM PUMP (MIXES) Doug Lazy, Atlantic 12in
22 29 IT’S OVER NOW (MIXES) Ultra Naté, WEA 12in pre-release
23 16 ENCORE Tongue ‘N’ Cheek, Big Buzz 12in
24 21 WE RAP MORE MELLOW/RAPPING ALL OVER Younger Generation, RePublic Records 12in white label
25 15 RIDE ON TIME (MIXES) Black Box, de/Construction 12in
26 30 C’MON AND GET MY LOVE (KEYS II MY LOVE/LOVE AND KISSES MIXES) D Mob introducing Cathy Dennis, ffrr 12in
27 36 GIT ON IT (UK FAST EDDIE MIX) Fast Eddie featuring Sundance, DJ International Records 12in
28 13 SUENO LATINO (LATIN DREAM MIX) Sueno Latino, BCM Records 12in
29 28 DON’T MAKE ME OVER Sybil, Champion 12in
30 47 JUST WANNA TOUCH ME Fidelfatti with Ronnette, Italian Magic Service 12in
31 39 MELTDOWN (CLUB MIX) Qaurtz, iT Music 12in
32 18 SUMMER MADNESS (REMIXES) kc Flightt, RCA/Popular 12in
33 94 YOU ARE ON MY MIND (MIXES) Roqui, RePublic Records 12in pre-release
34 37 WELCOME/YO (VERSIONS) Gino Latino, US Harbor Light Records 12in
35 34 PUMP UP THE JAM Technotronic featuring Felly, Swanyard Records Limited 12in
36 52 LET ME LOVE YOU FOR TONIGHT (“PUMPED UP”/ORIGINAL) Kariya, Sleeping Bag Records 12in
37 60 CHECK IT OUT (HIT ‘N’ RUN MIX)/SPACE TALK (OUTERSPACE MIX)/DO YOU WANT ME (DISCO LATINO MIX/LUSTFUL MIX) Masters Of The Universe, Strictly Underground/Strictly Limited 12in
38 25 STORIES (THE STORIE MIX) Izit, Italian New Music 12in
39 42 STOMP (MOVE JUMP JACK YOUR BODY) (MIXES) KYZE, US Warner Bros 12in/Cooltempo promo
40 27 I’LL DO ANYTHING (CLUB/DUB) Crown Heights Affair, SBK.One 12in
41 75 THE EVE OF THE WAR (DEEPSPACE MIX) Ben Liebrand Remix, German CBS 12in
42 40 LIVE ON STAGE (MIXES) Roxanne Shanté, Breakout 12in
43 — NEVER TOO MUCH (JUSTIN STRAUSS EXTENDED REMIX ’89) Luther Vandross, Epic 12in
44 — MELT YOUR BODY (TECHNO STYLE) Mark Summers, smr House 12in
45 61 WISHING ON A STAR (“DANCIN” DANNY D REMIX) Fresh 4 (Children Of The Ghetto) featuring Lizz E., 10 Records 12in
46 19 IF ONLY I COULD (EXTENDED/PACHA GARDEN) Sydney Youngblood, Circa Records 12in
47 81 PIECES (MIXES) Revoked, US Hot Mix 5 Inc Records 12in
48 56 RESCUE ME (DANCE/DUB/CLUB/12” MIXES) Debbie Malone, Krunch Records 12in
49 23 SOMEBODY FOR ME (VERSIONS) Heavy D And The Boyz, US Uptown Records 12in
50 66 LET THERE BE HOUSE (MIXES) Deskee, German Black Out 12in/1st Bass promo
51 22 AIN’T NO STOPPIN’ US NOW/I GET THE JOB DONE/ANOTHER VICTORY/IT’S A BIG DADDY THING Big Daddy Kane, Cold Chillin’ LP
52 43 PACIFIC STATE (PARADISE REMIX) Go-Nogo, Italian bhf Production 12in
53 24 RIGHT BEFORE MY EYES (MIXES) Patti Day, D, Trax 12in bootleg
54 65 SNOWBOY’S HOUSE OF LATIN (MIXES) Snowboy featuring Victor Hugo, Urban 12in
55 51 THE CHASE (MIXES) Model 500, Kool Kat/Big Life 12in
56 35 THE SUN RISING (IL SOLE SORGE/INTENSITA/DANNY RAMPLING’S “LOVE IS…” REMIX) Beloved, WEA 12in
57 45 THIS WAY, THAT WAY (REMIXES) Pandella, US Easy Street 12in
58 79 MAGIC ATTO II° (THE DEEP) D.J. Lelewel, Italian Groove Groove Melody 12in
59 — JUST AS LONG AS I GOT YOU (REMIXES) Frankie “Bones” & Lenny “Dee”, XL Recordings 12in
60 77 DEFINITION OF LOVE (DAVE DORRELL & CJ MACKINTOSH REMIXES) KAOS, Kool Kat/Big Life 12in pre-release
61 44 OUR LOVE (IT’S OVER) (MIXES) Dee Holloway, US Active Records 12in
62 re KORO-KORO/BLACK IS BLACK No Smoke, Warriors Dance 12in
63 38 SOMEBODY IN THE HOUSE SAY YEAH! (CLUB HOUSE MIX)/SWING TO THE MUSIC 2 In A Room, Big Life 12in
64 48 DREAMS (MIXES) Adonte, GTi Records 12in
65 — JUST AS LONG AS I GOT YOU/I GOT ROCK ‘N ROLL 101, Belgian Speed 12in
66 64 STREET TUFF (REMIXES) The Rebel MC & Double Trouble, Desire 12in
67 68 FEEL THE BASSLINE/THE TOXICANT/ALL RIGHT, ALL READY The Rhythm Masters, US UnderWorld Records 12in EP
68 69 DON’T TELL ME (GARAGE MIXES) Freestyle Orchestra feat. Little Louie Vega, SBK.One 12in
69 41 HOUSE MUSIC LOVERS (MIXES) El Chico, German BCM Records 12in
70 88 BREATHE DEEP/YOU ARE THE ONE/JUST WAITING/DON’T TURN AWAY/MELLOW MELLOW (RIGHT ON) L.A. Mix, Breakout LP
71 90 OH WELL (UK/EXTENDED/88 DANCE MIXES) Oh Well, US 8ighty.8ight Records/Parlophone 12in
72 99 I’M LARGE/NO DJ LIKE CHUCK (YUH UNNERSTAN’!) Chuck Chillout & MC Kool Chip, Mercury 12in
73 — GOT TO GET (MIXES) Rob ‘n’ Raz featuring Leila K, Arista 12in
74 76 DON’T MAKE ME OVER/WALK ON BY Sybil, US Next Plateau Records Inc LP
75 — WISHING ON A STAR/LOVE CALL/COME TOGETHER AS ONE Will Downing, US Island LP
76 re YA BAD CHUBBS (MIXES) Chubb Rock with Howie Tee, Champion 12in
77 49 HOUSE OF CALYPSO/CALYPSO OF HOUSE K. Tronics Ensemble featuring Double J. Flash, Italian IRMA casadiprimordine 12in
78 — LADIES FIRST (MIXES) Queen Latifah & Monie Love, Gee Street 12in pre-release
79 71 LET’S GET HORNY Mister B, Rumour Records 12in
80 re DO-DO-DON’T STOP/NEVER GONNA GIVE YOU UP Rosso Barocco, Italian Groove Groove Melody 12in
81 — LET’S GET JAZZY (DOPE MIX)/PLANET E (REMIX/HIP HOP MIX) kc Flightt, RCA/Popular 12in pre-release
82 58 (YOU’RE MY ONE AND ONLY) TRUE LOVE (MIXES) Seduction, Breakout 12in
83 — MI CORAZON ES NEGRO (MIXES) Flamenco Massive, Big World Records 12in white label
84 re IT’S TOO LATE (MIXES) Kelli Saé, US Easy Street 12in
85 86 LOVE ON TOP OF LOVE-KILLER KISS (MIXES) Grace Jones, US Capitol 12in
86 — CHANGING UP (MIXES) Debbi Blackwell-Cook, Avenue X Records 12in
87 83 THE SUN RISING/(EUROVISIONARY/DEEPLY SATISFYING) Beloved, WEA 12in
88 87 DEPTH CHARGE (HAN DO JIN/DRUM DEATH/BASS IT) Depth Charge, Vinyl Solution 12in
89 78 FEEL SO GOOD (UK EXTENDED VERSION) Perri, Motown 12in
90 — CAN’T TAKE IT (MIXES) Keith Thompson, Syncopate 12in pre-release
91 70 GRAND BEAT The Mixmaster, Demo Motor 12in
92 — DIG THIS (MIXES) K. Alexi Shelby and MCD-TA of The K.A. Posse, US Underground 12in
93 98 LOVE SYSTEM (MIXES) Maurizio Pavesi, A1 Records 12in white label
94 53 C’MON AND GET MY LOVE (SPAGHETTI WESTERN/DANCE HALL MIXES) D Mob introducing Cathy Dennis, ffrr 12in
95 67 TURN IT OUT (MIXES) Home Boys Only, US Atlantic 12in
96 — DAY TO DAY (MIXES) Evelyn ‘Champagne’ King, US EMI 12in
97 re THE SEQUEL/HOW SLEEP THE BRAVE (MIXES) MC Buzz B, Play Hard Records 12in
98 55 SUENO LATINO (WINTER VERSION) (featuring Manuel Gottsching)/(ANGELINO/AGUA VERSIONS) Sueno Latino featuring Carolina Damas, Italian Dance Floor Corporation 12in
99 59 RAPPERS DELIGHT (BEN LIEBRAND HIP HOP MIX) Sugarhill Gang, Dutch 4 Jocks Only/German SugarHill 12in
100 — NUMERO UNO (REMIX/ATOMIC VERSION) Starlight, Italian Groove Groove Melody 12in
6 thoughts on “November 4, 1989: Sharon Dee Clarke, Doug Lazy, L.A. Mix, Mr. Lee, Luther Vandross”
It’s a first mention this week for future drum & bass pioneers Fabio & Grooverider.
And Mark Summers first release/mention and who early in 1990 recorded the first (and best whereas a lot/most were downright appalling) of all those rave records that included samples from children’s telly programmes when he produced ‘Summer’s Magic’ which used the theme from ‘Magic Roundabout’.
Mark Summers is actually no stranger to these pages – he started DJ-ing at a very young age, and his first mention here was on May 9th 1981. The mentions dropped off for a few years, but he re-appeared in October 1988, with this snippet:
“Mark Summers (Braintree Fantasy, Sudbury Hippodrome) observes that most dancers requesting “acid” cannot actually name any individual artists or titles when asked, answering “I dunno who or what it’s called, just any acid!”
He was involved in creating Quartz’s “Meltdown”, but there was some dispute about ownership and royalties, which led him to go solo and retaliate with the similar “Melt Your Body”.
Interesting Mike – Quartz eventually got big with Dina Carroll for a bit didn’t they.- I seem to remember early (legal) Kiss playing them featuring her. Re Mark Summers he’s one of the numerous artists I’ve ended up exchanging messages with on youtube over the years. or being involved in an exchange in which he was involved I think it as about “Summer’s Magic”.
Again I was thinking how this scene is so different from even mid 1987. The talk of Maze and Sam Dees etc seems positively archaic by now – probably when Showstoppers the long process of negotiating to get Maze to play at their weekender it was before acid hit and would have been the coup of coups but by now a large proportion of the weekenders probably couldn’t have cared less. I remember going crazy to Kleeer live at a weekender about 2 years before this but in the brave new world of acid house I’d have just stayed in the acid room – but actually by now I’d stopped going to weekenders as they seemed a bit ‘yesterday”. I just went to one more when a friend sort of dragged me along to a Southport one in Pontins in late 1990 where all I remember is how freezing cold it was and that the house room by then had gone down a boring US garage route, And there was a northern soul room allnighter which we looked in on after everything else started to close and it was full of 35-45 year olds dancing and then clapping to the beat oat a certain point of certain records which all sounded the same . Obviously we soon got out of there!
Interesting – but from my perspective, Maze hadn’t become archaic at all! Their “best of” compilation was doing well, they were still much played in certain quarters, and they were rapturously received at Brixton Academy in mid-December, where they played two consecutive sold-out nights. I was there for one of them, and it remains one of my most blissful live experiences. The crowd was almost exactly 50% black and 50% white, causing a delighted and amazed Frankie Beverly to remark “look at you all – it’s like salt and pepper out there – that’s the way it should be, right?”
Sounds a great experience and as good as the legendary Maze appearances in about 1982/83 which I never attended myself but half the drinkers in my local pub (one mostly frequented by 16-30 year olds) seemed to wear the t-shirts from.
And of course they still had a massive following as did all the other big R&B or funk names from a few years before like Luther Vandross, Alexander O’Neal, Roy Ayers etc just that as far as the dance underground as shown in the dance charts and what a lot of the pirate shows in London were playing were concerned. 3 years ago there had been a seismic shift since house blew up. Streetsounds were the big compilations 3 years before now it was Deep Heat – although they were always inferior and went for quantity over quality as unlike Streetsounds you never got the full 12″ versions of any of the tunes and loads of other similar compilations.
I suppose I mean that for a lot of the pubs I went in (pubs where they catered for the late teens and 20s and they usually played mostly dance music) and amongst people I knew or knew of the music that people were listening to had changed dramatically. But of course I’m talking about London and the Home Counties because that’s the only area I had any experience of so things might be very difference in other places. But having said that outside Manchester and the North West and Midlands I don’t think there’d ever been much of a mass funk or jazz scene to change from anyway.