December 23, 1989: Year End Chart, J.T. and the Big Family, Big Daddy Kane, The Homeboy, Olimax & DJ Shapps

BEATS & PIECES

Capital Radio House Party 1989: Part 1 / Part 2 / Part 3 / Part 4 / Part 5 / Part 6

LES ADAMS and I have once again put together the five hour continuously mixed party music show that will be broadcast only in the London area by Capital FM (95.8fm) on new year’s eve, between 9pm-2am Dec 31/Jan 1, and, although there isn’t room this year to print the full playlist as in the past to help the many DJs who normally relay it at their gigs, the all important midnight segment features some Scottish stuff leading up to the Big Ben Chimes, after which the next hour has John Anderson Band ‘Auld Lang Syne’/Technotronic featuring Felly ‘Pump Up The Jam (The Punani Mix)’/The Mix Master ‘Grand Piano’/Black Box ‘Ride On Time (The Original)’/The Rebel MC & Double Trouble ‘Street Tuff (Club/Scar Mixes)’/The Beatmasters featuring MC Betty Boo ‘Hey DJ I Can’t Dance To That Music You’re Playing’/Jive Bunny & The Mastermixers ‘That’s What I Like’/’Swing The Mood’/Dave Clark Five ‘Glad All Over’/The Beatles ‘She Loves You’/’A Hard Day’s Night’/Rolling Stones ‘Honky Tonk Women’/Tone Loc ‘Funky Cold Medina’/Free ‘All Right Now’/Bryan Ferry ‘Let’s Stick Together (Westside ’88 Remix)’/James Brown ‘Living In America’/Prince ‘Partyman (Video Mix)’/Miami Sound Machine ‘Dr Beat’/Gloria Estefan ‘Oye Mi Canto (12” Pablo Mix)’/Matt Bianco ‘Wap Bam Boogie (Latin Remix)’, many of them re-edited and with sampled overdubs – happy new year! … D Mob’s ‘Put Your Hands Together’, of course, is based confusingly on the O’Jays ‘Put Your Heads Together’ from 1983, rather than their 1974 ‘Put Your Hands Together’ oldie … Old Gold are now releasing their dance classics compiling Best Of 12 Inch Gold series on CD, each of the volumes containing eight separate various artists tracks in original 12” mixes … The London Powerplay next Friday, December 29, at Stonebridge Park’s The Complex (in Brent Field off the Harrow Road near the North Circular) features live on stage Chubb Rock, Hitman Howie Tee, Toni Scott, TDP, Rat Pack and “Superman In Control” from New York’s WBLS, DJ Klark Kent, plus other major names to be confirmed – get there early for the 9pm start (box office 01-961 5353) … CBS are promoting the ‘Lambada’ dance steps by circulating a large paper mat printed with numbered footprints, and a furry dice to give the dancing and contorting couples the random numbers they have to try and tread on! … The Hammy Awards will appear in the first Record Mirror of the new decade, there being too many outstanding reviews still to fit this issue, so until then, with thanks for all your cards and kind wishes, have a Merry Christmas … IT’S SUCH A GOOD VIBRATION!


HOT VINYL

J.T. AND THE BIG FAMILY ‘Moments In Soul’ (Italian BHF Production 8620927-2)
Instantly massive, this Max Art of D.J. Co mixed chunkily jogging swayer is woven from the Soul II Soul ‘Back To Life’ beat, Art Of Noise ‘Moments In Love’ melody, O’Jays ‘For The Love Of Money’ bass, and some Led Zeppelin drums amongst other elements, the ways and order in which they’re combined varying between the (0-)102⅓-102⅝-0bpm side A and 102⅓-102½-0bpm side AA versions, a particularly wide stereo image causing the tapping percussion to come at you from all angles with disconcerting realism (especially from the far left of the left channel!). Duck!

BIG DADDY KANE ‘Ain’t No Stoppin’ Us Now’ (Cold Chillin’/Warner Bros W2635T)
Due on January 2, this McFadden & Whitehead soul anthem based 113bpm wriggly trotting rap is now enveloped by familiar old jazz-funk era synth sounds in its grumbling bass burbled new Brixton Bass Mix, the flip’s LP Version staying closer to the 1979 original with more of its chorus cutting through, while the actual rap dominates the percussively thumping ‘hip hop’ style UPSO Mix.

THE HOMEBOY ‘Control Yourself Cousin’ (Cheque This Records CTT6, via 01-229 7329)
‘Funky Drummer’ and other similarly percussive beats and riffs driven, ‘Street Life’ brass stabbed, cartoon characters punctuated, Eddie Harris-type sax squealed, excellent simple clean 112¼-0bpm white labelled mixer, flipped by an also funky drummered 108…0bpm untitled variation that spurts up briefly in tempo early on and then accelerates steadily into its guffawing finish.

OLIMAX & DJ SHAPPS ‘Saturday Love’ (SOX 033)
Spiked by burst of Pigbag ‘Papa’s Got A Brand New Pigbag’ and Spandau Ballet ‘Chant No 1’ percussion, the Cherrelle & Alexander O’Neal duetted song is brilliantly synched on mysterious white label to a glockenspiel tinkled chiming and twittering 122⅝bpm synth track that may well be recognisable to some, flipped intriguingly by an excellent Janis Joplin tribute 0-120-0-120-0bpm ‘Feelin’ Janis’, in which her ‘Oh Lord Won’t You Buy Me A Mercedes Benz’ is married to a fiddle and banjo hoedown-punctuated, cheerfully chugging unidentified country treatment with an amusing “yi ha!” outro, and documentary dialogue.

RO-VIS & GA-L ‘Edie Circle’ (Italian Habitat HABIT-07)
Edie Brickell And New Bohemians’ springtime hit ‘What I Am’ given a terrific 88½-0bpm remix that synchs her plaintively quavering vocal to a jingly grand piano grabbed jiggling Soul II Soul-ish beat and some sexually healing “get up, get up” whispering (instrumental Piano Version flip, oddly without much piano), the mix being credited to the above named duo although there’s no actual artist listed.

BCN ORCHESTRA ‘Quien Tu Te Crees?’ (BCM Records BCM 368)
Raul Orellana created ‘Ride On Time’-like piano pounding frantic flurrying flier inspired by the use of this Spanish title line (meaning “who do you think you are?”) by Liz Torres in ‘Payback Is A Bitch’, with a sparsely percussive intro to the 123¾-0bpm Part I that includes some indistinct James Brown-type shouts (repeated through the 123¾bpm Part II and 124½-0bpm Part III) which might just be dodgy for airplay – what is he saying?! BCN, incidentally, is doubtless an abbreviation of Barcelona and definitely not a misprint of BCM!

THE BEATMASTERS featuring Claudia Fontaine ‘Warm Love (SoulSonic Mix)’ (Rhythm King LEFT 37T)
Claudia mutters (not unlike the intro of Michael Jackson’s ‘Don’t Stop ‘Til You Get Enough’) then worries this somewhat cramped sharply snicking ‘Break 4 Love’-ish (0-)122½bpm jerky loper, coupled (on promo at any rate) by a totally different breezily galloping (0-)122¾bpm Latin Vibes Mix that’s totally unfettered and wailing right from the start.

JUNGLE BROTHERS ‘Beyond This World (LP Version)’ (US Warner Bros 0-21390)
‘White Lines’ introed (and other riffs quoting as it progresses), drily rapped now rather De La Soul-ish seeming self consciously goofy and jaunty 115bpm P’funkily chugging jiggler (jerkily pausing Instrumental, brief Bone-a-Baby Bam Beat and A Capella Versions too), strongly coupled by the rolling Booker T funk backed even jauntier (0-)107¾bpm ‘Promo No 2 (Mind Review ’89)’.

HIJACK ‘The Badman Is Robbin’’ ($yndicate Records/Epic 655517 6)
A wordplay on Batman and Robin (with effects and dialogue from the TV series), this apparently Ice-T produced bumpily lurching 0-114-0bpm good angry rap (acappellas too) is flipped by the frantically spitting and scratching 0-126⅓bpm ‘Hold No Hostage’, and Incredible Bongo Band and other scratches woven even more fiercely frenetic 0-122⅔-0bpm ‘Doomsday Of Rap’.

JO ANN JONES ‘I Don’t Need Your Love’ (Champion CHAMP X 12-220)
About on promo since August and hanging around under The Club Chart for the following two months without ever hitting, largely because (as is so often the case with this label) it was never clear when it was actually released, this James Bratton produced soulfully wailed powerful wriggly striding 120⅓bpm chunky clomper (with a nice vibes break in the longer of its four mixes) is distinguished just in its Townhouse Mix by a beat backed terrific conversational girls’ talk intro that really cuts through. However, this is missing from the brand new 121bpm American pressing (US Next Plateau Records Inc NP50112) that, ironically, is, of course, getting far more attention now it’s on import! Adapting elements of the UK-only Dub and 3.44 Mixes as the basis of respectively its new vocal Club and Radio versions, this also has a Fade MC overdubbed Rap Mix, and duplicates verbatim just the UK’s Club Mix as its now 120¾bpm Original UK Mix. Good those these are, the Townhouse Mix for my money is still the one to find.

UBIK ‘Techno Prisoners’ (Zoom Records ZOOM 001, via 01-267 4479)
“Hurt me, love me, squeeze me baby” girl repeating, good jiggly churning, scurrying and bubbling 122½bpm UK techno galloper from Camden Town, unusually coupled on the same 12-inch by the unrelated and, in fact, apparently Italian MR K ‘The Mix Max Style’, an almost rock ‘n’ roll-ish piano jangled 104⅔bpm ponderous shuffler, breaking loose a bit as it builds through funkier samples towards the end.

JILLIAN MENDEZ ‘Don’t Know What You’re Missin’’ (US Bigshot Records VS 138)
Nick Anthony Fiorucci produced, this sweetly cooing frisky canterer is treated five different ways, in the thumpingly bounding smooth techno-ish 123¼-122⅛bpm Vogue Mix, percussively snapping and spurting (with a delicately picked jazzy guitar ending) (0-)123¼-123-122¾bpm Nu Disco Mix, squeakily cooed jittery house 122-123¼bpm Mona Tech Mix, piano jabbed stark twittery striding (with a ‘French Kiss’ slowing finish) 123-0bpm “Sin” Club Dub, rototom-ed and pshta pshta-ed acidically skittering bright 122-0bpm Maddhouse Mix (sic).

MORENAS ‘Hazme Sonar’ (Italian Dance Floor Corporation DFC 018)
Rather good rattling and tapping driven, sighing girl gasped, moodily building and surging bright canterer with lots of currently trendy ingredients in the 121⅝bpm Massimino & Cutmaster-G Club Mix and Pianopella Version, flipped by the different lightly electro twittered instrumental 119-0bpm Cutmaster Techno Trip Mix and its similar but more attractively whispered and percolated bubbly flowing 121¾bpm Angelino Vocal Dub Mix.

49ERS ‘Touch Me (Sexual Version)’ (Fourth & Broadway 12BRW 157)
Familiar sounding girl wailed (though she’s apparently a newcomer called Josy) good if by now thoroughly typical beefily galloping 122¾bpm Italo house, with a not very noticeably Instrumental flip.

APRIL WAYNE ‘The Bigger They Come, The Harder They Fall’ (US Enigma 7 75531-0)
Sweetly muttered and girl cooed, this unhurriedly pulsing cool Kraftwerk/Donna Summer-ishly backed pattering and twittering lightweight loper is best in its 120-119¾bpm Passion Mix and gently throbbing electro instrumental 119¾-119½bpm The Invasion Of The Hippie Zombie Guys (as the remixers are called!), its plaintively sung 119¾-119½bpm The Big Shot Mix and jerky pop 119¾bpm Original Mix (both with yowling guitar) being more mundanely in the Madonna inspired prevailing US teen queen pop style.

JOMANDA ‘Don’t You Want My Love’ (US Big Beat BB-0010)
Created by the Backroom Music Productions team as usual, this girls wailed tight, friskily wriggling 121bpm New York disco canterer (in five mixes, plus the more smoothly striding 120bpm ‘Someone To Love Me – Workout Style’) sold well instantly on reputation but isn’t really that special, merely being efficient rather than exciting or inspired.

LARREE’ LEE ‘You Don’t Know Me’ (US 4th + B’way BWAY 491)
Yvonne Turner remixed rather good, in a quiet sort of way, soulfully nagging plaintive girl wailed and scolded silkily slithering sparse 120¼bpm garage/house canterer (120bpm burbling Dub, Instrumental, and tighter Radio Mix).

LEE MARROW ‘Pain’ (Champion CHAMP 12-233)
Charted on reaction to its original DiscoMagic pressing from Italy but promoed here now (though who’s to know when it will be out?), this “grip my hips and move me, everybody get down on me” introed then Led Zeppelin guitar yowl punctuated flurryingly chugging 123bpm simple phonetically intoned pop rap thumper rather pointedly has its Instrumental labelled as the AA side, and would doubtless have been a Hi-NRG chart contender in days of yore.

K ALEXI SHELBY AND MCD-TA of The K.A. POSSE ‘Dig This (K.A. After Hours Mix)’ (US Underground UN 131)
Eddie Murphy quote (not for airplay!) introed, continuously scratching ‘Champ’ punctuated, drily rapped jittery acidic 0-120⅓-0bpm hip house leaper, coupled by intro-less more tightly wriggling 126½bpm Tyree, jiggly dub-ish 120¼bpm Bar, and sparsely chugging 120⅓-0bpm Smooth Club Mixes, about now for a couple of months and finally charted by the circulation of a UK promo (credited to just K.A. Posse) on D.J. International Records, with an intro-less here 121¼-0bpm K.A. After Hours Mix and, confusingly, a totally different slower more mellow 121bpm Tyree Mix.

SKELETOR ‘Do You Want Me’ (US Easy Street EZS-7559)
Still included in its Strictly Underground issued breathily sighing Sueno Latino-ishly tinged 0-119½-119bpm Disco Latino Mix and even more heavy breathing 0-119½bpm Lustful Mix, the Masters Of The Universe EP’s separately renamed girls sung jaunty disco canterer is now also in synthetic strings accented more rumblingly wriggling 119¼bpm Greyskulls Rockin’ and 0-119⅓bpm Greyskulls Dubbin’ Mixes, out in the States before full release here despite being the UK creation of M-D-Emm.

ESTER B. ‘The Pleasure Of The Music’ (Italian Pleasure St. CT 007)
Little Esther Phillips impersonating 124¼bpm loose limbed flurrying breezy smacker building through typically jangling grand piano (good, if not better, instrumental flip), about for several months without ever doing as well as it still deserves.

PRECINCT 13 ‘Listen To Your Heartbeat (Club Mix)’ (Italian Lombardoni LBDN 0089)
Robotically intoned title line repeating jittery cantering 122½bpm thumper (with some background ‘Ride On Time’. amongst other quotes), best in this mix but with scurrying (0-)121⅓bpm Matrix, more Sueno Latino-ish 114bpm Univers (sic), and plodding 117¼bpm House Mix instrumentals too, due here on Living Beat Records sometime next month.

MANUEL “CHICO” Soul Brother ‘Disco Dinamyte’ (Italian Easy Dance ESD 8811)
On a label that apes the Easy Street look and makes out it’s British, this shuffling jiggly 107bpm chugger scratching and quoting bits of ‘Going Back To My Roots’, ‘Axel F’, ‘Car Wash’, ‘Heavy Vibes’ plus vocal prods by the likes of Terence Trent D’Arby, Ofra Haza, Boney M and more, was previously briefly charted as a less complete 106⅔-106⅓bpm white label (with an unrelated piano clanged 109bpm instrumental flip), the proper release also having an oddly ‘Heavy Vibes’ lacking Heavy Vibes Version and ‘Car Wash’ kicked off different Bad Version.

THE LATIN AGE ‘Push In The Bush’ (Italian Easy Dance ESZ 3955)
Unhurried bass pushed striding (0-)126⅓bpm instrumental adaptation of Musique’s 1978 hit ‘In The Bush’, flipped by the unrelated skittery wriggling electro (0-)118¾-120⅓-118¾-120⅓-118bpm ‘El Ritmo Party’.

ELLIS “D” ‘Just Like A Queen’ (XL Recordings XLT-6)
Familiar sampled elements prodded Junior Vasquez created thudding strider, OK but not that special, in 0-119⅔-120bpm Vogue Like A Queen, 0-120bpm Dub Like A Queen, conversation introed 0-120¼-120-0bpm Share The Throne Mix, washing machine-style quavering 119¾-120-0bpm Acid Queen and brief 120-0bpm Queen Beats versions, some with wailing female vocal, others with whispering or electro effects.

NIGHTMARES ON WAX ‘Dextrous’ (W.A.R.P. Records/Outer Rhythm WAP 2, via Rhythm King)
Very sparse synthetically tapping and percolating 123¾bpm instrumental bubbler, possibly from Leeds rather than Sheffield (as the label would suggest), really empty though jaunty, flipped by a more continuously nagged bassier 124bpm Downbeat Mix.

OTHER NEWIES in brief include, on LP, the airily bounding UK house (with one Jenni Evans sung superb sultry soul jogger, ‘Summer Reprise‘) THE SHE PROJECT ‘Technofusion’ (She Records SHE 001, via IMP/G+M); lispingly chatted California rap YOUNG MC ‘Stone Cold Rhymin” (Delicious Vinyl/Fourth & Broadway BRLP 540).

12-inchers include the nasal Prince B rapped rolling snaredrum driven 100½bpm slinky De La Soul-ish PM DAWN ‘Ode To A Forgetful Mind (It’s A Shame) (Ultimatum Mix)‘ (Gee Street GEET 24); Asian girl squawked painful latin hip hop, getting some central London action for its more house-ish 118¼bpm David Morales mixes, INDIA ‘Right From The Start‘ (US Reprise 0-21280); reissued and still 108⅔bpm, but with its totally unrelated 122⅓bpm flip changing titles from the previously confusing ‘Instrumental’ to ‘Freestyle’, TONGUE ‘N’ CHEEK ‘Encore’ (Syncopate 12SY 33); relatively unsuccessful here when first out in July, although yet another number one in the States, (0-)97⅓bpm reissued MILLI VANILLI ‘Blame It On The Rain (Club Mix)‘ (Cooltempo COOLX 180); S.L.F. remixed and revived beefily racing house CRYSTAL VORTEX ‘Money You Are My Slave‘ (B/Ware! Records/I.M.W UM 007); obviously hit-bound (though only just promoed) post-acid electro throbbed jittery swirling episodic BABY FORD ‘Beach Bump‘ (Rhythm King BFORD 6P); sort of Italo house/sk’acid fusing SHARADA HOUSE GANG featuring Magic Max ‘House Legend‘ (Music Man MMPT 012); reissued old Ben Liebrand remixed Dutch Bananarama-ish girls crooned CEEJAY ‘A Little Love (What’s Going On)‘ (French Noir Records CHALK P5); Manchester girl squawked jiggly swirling CHAPTER AND THE VERSE ‘If I Knew Then (What I Know Now)‘ (Rham! RS8907); Mirage-like corny remade Italo house hits medleying ROCOCO ‘Italo House Mix‘ (Mercury MERX 314); “it’s such a good vibration” introed speedily churning old SYBIL ‘All Through The Night‘ (Champion CHAMP 12-225); Chic-type guitar chinked over-busily churning jittery staccato JODY WATLEY ‘What’cha Gonna Do For Me‘ (MCA Records MCAT 1382).


POP DANCE

JIVE BUNNY AND THE MASTERMIXERS ‘Let’s Party’ (Music Factory Dance MFDT 003), jolly enough fun in a clodhopping sort of way, dictated by the choice of material, this 0-140-133-140-141-140-159-148-0bpm medley of the John Anderson Band’s ‘March Of The Mods’, Slade’s ‘Merry Xmas Everybody’, Roy Wood’s remade ‘I Wish It Could Be Christmas Everyday’, and Gary Glitter’s ‘Another Rock & Roll Christmas’ (with some customised cheerleading by Chubby Checker and Noddy Holder), sounds as if it was slung together in a hurry with tempo jarring edits instead of their previous cleverly panned synchs, but is usefully flipped by John Anderson’s 125½bpm instrumental ‘Auld Lang Syne’ (interpolating, maybe a bit confusingly, a brief medley of Scottish themes) that DJs are likely to be playing for many (new) years to come;

ANDY STEWART ‘Donald Where’s Your Troosers?’ (Stone SONL 2353, via Spartan), an enduring children’s fave from Christmas 1960, this 105-0-107-0-109-0-107-0bpm saucy Scots ditty about a kilt wearer’s adventures has spoken pauses before breaking into the way Elvis Presley might back then have given it “more international appeal”, joined on 12 inch now by a bizarrely updated (0-)113-0-116-0-113-116-0-113-0bpm Highland Fling Mix which synchs it to the Lyn Collins “yeah – wooh” break beat (with scratching and “check this out”-type prompts) as an internationally appealing modern equivalent of rock ‘n’ roll, the Elvis impersonation being retained near the end but not on the flip’s much tighter – and, for dancefloors, probably preferable – (0-)113-0-113-0-111-0bpm edited remix;

GIPSY KINGS ‘Volare’ (A.1. Records 12A 1317, via The Total Record Company/BMG), a typically rousing 0-115¾/231½-0 “flamengo wave” (sic) treatment of Domenico Modugno’s Italian classic, ideal MoR party fare full of flurrying guitars, strongly flipped by the equally vigorous but classier (and perhaps more club orientated, with latin piano and percussion breaks) 121¾-122½bpm ‘Vamos A Bailar (Remix)’, of which an exciting 121¾-123½bpm live version is included too;

CARIOCA ‘Lambada (Dance Remix)’ (Polydor 889 835-1), authentically Brazilian 116pm version of the accordion backed sinuously slinky dance craze hit, usefully slipped by the similar 116¼-0bpm ‘Balanda’ to make a good alternative or adjunct to the Kaoma smash (which, incidentally, is among the 14 authentic lambada and merengue tracks on the compilation VARIOUS ARTISTS ‘Lambada’ (CBS 466055 1), worth ‘world music’ fans checking);

THE CHRISTIANS ‘Words’ (Island 12 IS 450), tenderly sung gorgeous haunting 0-48⅓-48¼-0bpm slow drifter based on the traditional Irish air that was called ‘Women Of Ireland’ (I think) when played by the Chieftains as one of the themes from the old film ‘Barry Lyndon’, now sounding like a smash;

BELINDA CARLISLE ‘La Luna (Extended Dance Mix)’ (Virgin VST 1230), Steve Beltran remixed, totally different from the more sombrely surging LP Version, percussively bounding Spanish guitars and castanets accented hauntingly attractive 124¼-124-0bpm breezy canterer, with doubtless Madonna to thank for its Hispanic content;

CARRIE ANN featuring FAX YOURSELF ‘I Feel Love (The Ultimate Remix)’ (Sound Of Belgium/AVM 12SOB 10, via Spartan), first released on France’s Public label despite its Belgian origin, this not very different though useful enough twittery electronic 125⅔-125¾bpm Donna Summer revival is here coupled by the Humphrey Bogart dialogue punctuated, GQ ‘Rock-Freak’ prodded, Frantique ‘Strut Your Funky Stuff’ quoting, paraphrased familiar electro riffs woven 0-120⅓bpm ‘Strut Your Techno Stuff’, as well as the more ponderously ‘new beat’ 116⅔bpm ‘Another House Story’ (not for airplay) and the original import’s joltingly chugging 122bpm electro instrumental ‘For The Same Price, Vincent’;

THE STONE ROSES ‘Fools Gold’ (Silvertone ORE T 13), a bassline vaguely like the O’Jays’ ‘For The Love Of Money’, bongos augmented jiggly 112⅔bpm ‘Funky Drummer’ beats, burbling wah wah guitar and huskily whispered lyrics weave together to make a modish Manchester group’s excellent marathon groove;

BIG FUN ‘Can’t Shake The Feeling’ (Jive JIVE T 234), Stock Aitken Waterman created typically facile frisky 124⅛bpm Hi-NRG galloper, prodded by a “wooh”-less “yeah”;

ALEXANDER O’NEAL ‘Hitmix (The Official Bootleg Megamix)’ (Tabu 655504 6), neatly chugging 114⅔-115-113⅔-116-0bpm megamix of ‘What Can I Say (To Make You Love Me)/Never Knew Love Like This/Fake/Hearsay/Criticize/Innocent’, created for a change by Ben’s DJ sister, Rita Leibrand, with last year’s tightly thudding 111⅓bpm ‘Sleigh Ride’ and Nat ‘King’ Cole styled lush slow orchestral ‘The Christmas Song’ as seasonal flip;

BOBBY BROWN ‘Roni (Extended Version)’ (MCA Records MCAT 1384), his old US hit 73½bpm crawling tender slowie finally out here, flipped by an easy enough to megamix 102⅛-102-110⅓-0bpm ‘The “Every Little Hit” Mix’ combining ‘Every Little Step/On Our Own/Don’t Be Cruel My Prerogative’;

LATINO RAVE ‘Deep Heat ’89 (Latino Mix)’ (Deep Heat 12 DEEP 10), extraordinarily untidy jerkily sequenced 123¼-122¾-124-122¾- 116½-124¾-118½-119-125bpm megamix of Italo, acid and even rap hits, with more of the same on the 118½-122-119-123-124½-117-121¼bpm flip;

JASON DONOVAN ‘When You Come Back To Me (Extended)’ (PWL Records PWLT 46), Stock Aitken Waterman created seasonally chiming innocuous mushy 0-119¼bpm canterer primarily for fans;

IMPEDANCE ‘Tainted Love (Steve Anderson Remix)’ (Jumpin’ & Pumpin’ 12RTOT4, via Pacific), much more easily flowing electro throbbed (0-)121⅔-0bpm dance mix of the muttering Soft Cell adaptation, flipped by a more tightly tripping 123-0bpm Dizzie Dee Remix and trickily empty (0-)121½-0bpm X Rated Dub;

SONIA ‘Listen To Your Heart’ (Chrysalis CHS 12 3465), SAW created mundane plaintive 124bpm trotter that not even some grafted on hip house trappings can toughen up;

GLORIA ESTEFAN ‘Get On Your Feet (Pop Vocal)’ (Epic 655450 6), cheerful enough 123⅝bpm Miami canterer eventually reaching a catchy “whoa-oh” chant but lacking a killer punch (sparsely percussive 123¾bpm Special Mix too);

ERASURE ‘You Surround Me’ (Mute 12MUTE 99), electronically throbbing (0-)169⅓-0bpm twist tempoed nervily spacey tapper, coupled by a bleeping and twittering 0-119¾-120¼bpm revival of Cerrone’s ‘Supernature‘.


No Club Chart this week


1989 CLUB CHART TOPPERS

Jan 7 – RESPECT Adeva (Cooltempo) – 4 wks
Feb 4 – I CAN DO THIS Monie Love (Cooltempo) – 2 wks
Feb 18 – TURN UP THE BASS (REMIXES) Tyree featuring Kool Rock Steady (ffrr) – 2 wks
Mar 4 – ONE MAN (ONE MIX) Chanelle (Cooltempo) – 2 wks
Mar 18 – KEEP ON MOVIN’ Soul II Soul (10 Records) – 8 wks
May 13 – I’M EVERY WOMAN (DANCIN’ DANNY D REMIX) Chaka Khan (Warner Bros) – 4 wks
Jun 10 – BACK TO LIFE (CLUB MIX) Soul II Soul (10 Records) – 6 wks
Jul 29 – FRENCH KISS Lil Louis (ffrr) – 4 wks
Aug 26 – RIDE ON TIME (MASSIVE MIX) Black Box (de/Construction) – 6 wks
Oct 7 – PUMP UP THE JAM Technotronic featuring Felly (Swanyard Records) – 2 wks
Oct 21 – EYE KNOW (KNOW IT ALL/LAZY DAISY MIXES) De La Soul (Big Life) – 1 wks
Oct 28 – ALL AROUND THE WORLD Lisa Stansfield (Arista) – 6 wks
Dec 9 – GET A LIFE (CLUB MIX) Soul II Soul (10 Records) – 2 wks


1989 YEAR END CHART

01. BACK TO LIFE – Soul II Soul (ft Caron Wheeler)
02. LET IT ROLL – Doug Lazy
03. RIDE ON TIME (MASSIVE MIX) – Black Box
04. KEEP ON MOVIN’ – Soul II Soul (ft Caron Wheeler)
05. JUST KEEP ROCKIN’ (SK’OUSE MIX/HIP HOUSE MIX) – Double Trouble & The Rebel MC
06. TURN UP THE BASS (SCRATCH IT UP MIX/TURN UP THE HOUSE) – Tyree ft Kool Rock Steady
07. SLEEP TALK – Alyson Williams
08. ONE MAN (ONE MIX) – Chanelle
09. GRAND PIANO – The Mixmaster
10. FRENCH KISS – Lil Louis
11. THAT’S THE WAY LOVE IS – Ten City
12. YO YO GET FUNKY (ORIGINAL RADIO MIX) – Fast Eddie
13. PACIFIC STATE – 808 State
14. ALL AROUND THE WORLD – Lisa Stansfield
15. I CAN DO THIS (DOWNTOWN MIX/UPTOWN MIX) – Monie Love
16. THAT’S HOW I’M LIVING / THE CHIEF – Toni Scott
17. MUSICAL FREEDOM (FREE AT LAST) (EXTENDED FREEDOM) – Paul Simpson ft Adeva and introducing Carmen Marie
18. RESPECT – Adeva
19. IT IS TIME TO GET FUNKY – D Mob ft LRS/Gary Haisman
20. RUNAWAY GIRL (PIMP DUB/RUNAWAY RADIO MIX) – Sterling Void / IT’S ALL RIGHT (HOUSE MIX) – Sterling Void & Paris Brightledge
21. THIS IS SKA (SKACID MIX) – Longsy D’s House Sound
22. NUMERO UNO – Starlight
23. WARNING (HIGH ON HOPE MIX/ZANZIBAR MIX) – Adeva
24. SUENO LATINO (LATIN DREAM MIX) – Sueno Latino ft Caroline Dumas
25. TEARS (CLASSIC VOCAL) – Frankie Knuckles presents Satoshi Tomiie ft Robert Owens
26. I’M EVERY WOMAN (DANCIN’ DANNY D REMIX) – Chaka Khan
27. THE REAL WILD HOUSE (WILD MIX) – Raul Orellana
28. PUMP UP THE JAM – Technotronic
29. GET LOOSE (NOT FOR LONG MIX) – L.A. Mix ft Jazzi P
30. EYE KNOW (KNOW IT ALL MIX/LAZY DAISY MIX) – De La Soul
31. STREET TUFF (SCAR MIX/CLUB MIX) – Rebel M.C. & Double Trouble
32. MY PREROGATIVE (EXTENDED REMIX) – Bobby Brown
33. WE GOT OUR OWN THANG (CLUB VERSION) – Heavy D & The Boyz
34. GRANDPA’S PARTY (12″ MUSIC) – Monie Love
35. DO THE RIGHT THING – Redhead Kingpin & The FBI
36. I THANK YOU (PHILADELPHIA MIX) – Adeva
37. GET ON THE DANCE FLOOR (“SKY” KING REMIX) – Rob Base & DJ E-Z Rock
38. PLANET EARTH (MIXES) – kc Flightt
39. WHO’S IN THE HOUSE – The Beatmasters with Merlin
40. IT’S OVER NOW (ORIGINAL CLASSIC/1989 WITH ATTITUDE) – Ultra Nate
41. SAY NO GO (SAY NO DOPE MIX) – De La Soul
42. ME MYSELF AND I / SAY NO GO / THE MAGIC NUMBER – De La Soul
43. PEOPLE HOLD ON (DISCO MIX) – Coldcut ft Lisa Stansfield
44. BORN THIS WAY (LET’S DANCE) – Cookie Crew
45. NEW JACK SWING – Wrecks-N-Effect
46. I NEED YOUR LOVIN’ (JAZZIE B & NELLEE HOOPER REMIX) – Alyson Williams
47. GET BUSY – Mr Lee
48. AIRPORT ’89 – Wood Allen
49. FOREVER TOGETHER – Raven Maize
50. WISHING ON A STAR – Fresh 4 (Children Of The Ghetto) ft Lizz.E
51. AIN’T NOBODY BETTER (DETROIT’S BURNING MIX) – Inner City
52. WAIT (LONG) – Robert Howard + Kym Mazelle
53. LET THE RHYTHM PUMP – Doug Lazy
54. DO IT TO THE CROWD – Twin Hype
55. WHATCHA GONNA DO WITH MY LOVING – Inner City
56. I NEED A RHYTHM – The 28th St Crew
57. TURN UP THE BASS (HIP HOP) – Tyree
58. SUSPICIOUS / SATISFACTION / WHERE DO WE GO? – Ten City
59. YO YO GET FUNKY / HIP HOUSE / I CAN DANCE / JACK 2 THE SOUND / CLAP YOUR HANDS – The DJ Fast Eddie
60. THIS IS THE RIGHT TIME (MILES AHEAD MIX) – Lisa Stansfield
61. LOOKING FOR A LOVE – Joyce Sims
62. GOOD LIFE – Inner City
63. IT’S YOUR TIME (NYC VOCAL) – Arthur Baker & Backbeat Disciples ft Shirley Lewis
64. GOING BACK TO MY ROOTS – FPI Project present Rich In Paradise
65. FIGHT THE POWER – Public Enemy
66. ON OUR OWN – Bobby Brown
67. THE 900 NUMBER – The 45 King
68. GET HIP TO THIS! – M-D-Emm ft Nasih
69. YOU’RE GONNA MISS ME (EXTENDED VERSION) – The Turntable Orchestra
70. FOREVER TOGETHER (FOREVER UNITED MIX) – Raven Maize
71. ENCORE – Tongue ‘n’ Cheek
72. TAKE SOME TIME OUT – Arnold Jarvis
73. JOY AND PAIN – Donna Allen
74. MY LOVE IS MAGIC – Bas Noir
75. PROMISED LAND (LONGER VERSION) – Style Council
76. EXPRESS YOURSELF / STRAIGHT OUTTA COMPTON – N.W.A.
77. LET ME LOVE YOU FOR TONIGHT (THE “PUMPED UP” MIX) – Kariya
78. COME GET MY LOVIN’ (REMIX) – Dionne
79. EVERY LITTLE STEP (EXTENDED/UPTOWN MIXES) – Bobby Brown
80. VOODOO RAY (ORIGINAL MIX/RICKY ROUGE REMIX) – A Guy Called Gerald
81. YOUR LOVE – Frankie Knuckles
82. AIN’T NOBODY (FRANKIE KNUCKLES REMIX) – Chaka Khan
83. ME MYSELF AND I (RICHIE RICH REMIX) / JENIFA (TAUGHT ME) – De La Soul
84. IF ONLY I COULD (EXTENDED/PASHA GARDEN REMIX) – Sydney Youngblood
85. WALK ON… – Smith & Mighty
86. RESPECT (DANCIN’ DANNY D REMIX) – Adeva
87. PACIFIC 202 / PACIFIC 303 – 808 State
88. TOUCH ME – Alisha Warren
89. SMOOTH OPERATOR / WARM IT UP, KANE – Big Daddy Kane
90. AUTUMN LOVE – Electra
91. HEY DJ I CAN’T DANCE TO THAT MUSIC YOU’RE PLAYING / SKA TRAIN – The Beatmasters
92. DO YOU LOVE WHAT YOU FEEL – Inner City
93. STILL WAITING – Kechia Jenkins
94. GET A LIFE – Soul II Soul
95. MAS QUE NADA (JUSTIN STRAUSS REMIX) – Sergio Mendes
96. I’M GLAD YOU CAME TO ME (CLUB MIX) – Bas Noir
97. THE THEME – Unique 3
98. PROMISED LAND – Joe Smooth ft Anthony Thomas
99. FOR THOSE WHO LIKE TO GROOVE (REMIXES) – Twin Hype
100. IT ISN’T, IT WASN’T, IT AIN’T NEVER GONNA BE – Aretha & Whitney

2 thoughts on “December 23, 1989: Year End Chart, J.T. and the Big Family, Big Daddy Kane, The Homeboy, Olimax & DJ Shapps”

  1. The changes in dance music culture during 1989 have been every bit as profound as the changes during 1988, and perhaps even more so. Firstly, there’s what James recently referred to as the “whitening” of the culture, as its roots in black music become ever more obscured. The big boom right now is Italo piano house, but there’s also the post-808 State/Sueno Latino “new age” trend, and the homegrown bleep-and-bass sound that Warp Records have started to popularise – and, of course, there’s also Madchester, happening just off-camera in the context of these pages. The sheer volume of new releases is becoming impossible for James to comprehensively track, and there’s an increasing fragmentation between different scenes, some of which are operating entirely independently of his reach. He’s not keeping a close eye on the warehouse/rave explosion, partly because it’s illegal, but also because it’s perhaps the first generational shift to leave him fully cold.

    However, I largely don’t share his regret at the decline of actual “soul” music on UK dance floors, as the music had boxed itself into a creative cul-de-sac during the airlessly glossy Lillo Thomas/Rene & Angela years. RM are still printing the US R&B chart every week, but it feels a million miles from what’s going on the UK, although new jack swing has still made a significant impact. Elsewhere, hip hop is still in a very healthy state, especially with the emergence of the Daisy Age/Native Tongues acts, and hip house has been consistently massive throughout the year, far more so than I had remembered. And then there’s Soul II Soul, whose all-conquering success has ushered in a whole new wave of more downtempo street soul, with Bristol acts in particular twisting it into promising new shapes. Deep house and garage were big news at the start of the year, and they’re still very much around, but the Todd Terry boom of late 1988 has proved more widely influential, and you can hear echoes of his style in many of the big warehouse tunes. Meanwhile, Hi-NRG has gone back underground, and Stock Aitken Waterman are nearing the end of their run.

    At the start of the year, I was still basically into “everything”, and this was reflected in the music I played at my weekly club night. I was also still able to keep track of pretty much everything that was happening, from every corner. But since I stopped DJ-ing in April, there have been developments which, like James, I’ve found somewhat baffling and alienating. I started noticing it with the Frankie Bones “Looney Tunes” productions, and I felt it more strongly with Adamski.

    One Saturday night this month, a friend and I went back to the club where I used to DJ, which had now re-opened under new management. We tried our best to get into the baffling and alienating music they were playing, but none of it truly registered… with one exception, an instrumental track with a simple, nagging melody and a strangely off-kilter rhythmic feel that stood out from everything else I heard. It hasn’t yet been mentioned here, but it will do well during the early months of 1990, and I’m tempted to think of it as the moment when the 1990s truly began.

    Other brief notes:

    Like the Blow Out Dub of Landlord’s “I Like It”, the Sin Club Dub of Jillian Mendez’s “Don’t Know What You’re Missin'” turned out to be the biggest version by far – and what’s more, both were released on the same US label, Bigshot Records.

    Nightmares On Wax’s “Dextrous” passed me by at the time, and so it’s a really great find. Listening to it on YouTube, I wondered if might have been too cerebral to ignite a dance floor – but the amazing footage of it being played at the 1990 Notting Hill Carnival (which I’ve embedded above the review) showed me exactly how it would have worked.

    Finally, I’m not ashamed to admit that I’ve used Jive Bunny/John Anderson’s “Auld Lang Syne” at midnight at my last two New Year’s Eve gigs, and I will almost certainly do so again this year!

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  2. A great summation of what happened throughout the momentous year of 1989 and I can’t thank you enough Mike for taking the time to upload these wonderful social documents that are JH’s column -the nearest we’ll ever get to the true story of he underground UK dance scene. From about 1963 onwards and from 1969 written in his RM column.

    I agree with your belief that the warehouse party (M25 dance scene may be the first time since 1963 that he has said to himself that he could no longer document the whole of the UK dance scene. But to give him due even here he has mentioned the warehouse party a few times in his column. As he will have bumped into the figures behind it on his travels around the record shops of London, Remember Froggy’s sound system was a big part of many of the largest acid house parties and Pete Tong, Colin Hudd and I believe even Sean French were part of this new scene as veterans even though once fully paid up members of the Jazz- Funk mafia that he used to document the activities of in his column so well
    But JH’s seemingly missing out on the massiveness of Landlord’s Blow Out Dub and by the record companies too would never had happened when he reviewed stuff like ‘The Scratch’ before it even hit the charts around 1980/81.

    I managed personally to stay in touch with the emerging new sounds in London by messing with the radio dial to get the new pirates which often even included old school slots amongst the developing acid inspired stuff

    The most momentous development of the lot was the legalisation of Kiss FM for London and the Home Counties in the summer of 1990 this instantly changed everything as it seemed the default station for everyone I knew to have in their car. The early days when it still kept a pirate vibe are still venerated regularly in sites on the internet to this day. And Kiss stickers were as omnipresent in cars as Capital ones had been in the 1970’s.

    Finally is that the Rat Pack’s first mention at that hiphop concert in London that JH mentions he has already mentioned Slipmatt a few times in his column already so there you have the two monoliths and godfathers of the rave scene. The Ratpack have fans all over Eastern Europe imagine the idea of an act like The Ratpack playing at a rave in Moscow (or any rave ever taking place in Soviet Russian in mid 1989!!).

    I’m going to the big Strawberry Sundae reunion all dayer reunion on Saturday in Waterloo and guess who are two of the headliners of the old school part of the event: yes the Ratpack and Slipmatt. I think we have arrived In the future in this column – but of course there will come a time when me and my contempories also finally lose contact with the scene that will be around 2003/03 for me and now I have no idea at all of what represents modern dance music in the years since then.

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