November 17, 1990: Frances Nero, Johnny Bristol, 808 State, Nomad/M.C. Mikee Freedom, Dimples D


KISS 100 FM broadcasts a non-stop ‘Master-Mix’ show in London every Saturday 9-11 pm, in the New York style, totally megamixed without interruption for the whole of its two hours by a roster of DJs that includes Paul ‘Trouble Those Decks’ Anderson, Kid Batchelor, Judge Jules, Graeme Park, Richie Rich, Danny Rampling, Colin Dale, DJ Pogo, KC, CJ Mackintosh, Mike Pickering, Fabio . . . Brian Mason (081-440 4172), by coincidence, is looking for a mixing DJ to produce regular tapes of continuous upfront soul and dance music for a wine bar he’s opening . . . A Homeboy, A Hippie And A Funki Dredd’s ‘Total Confusion’ apparently was built up from a master tape originally created by Casper for producer Ian Levine . . . Turntable Overload’s ‘T.T.O.’ started out as ‘TTO’ by TTO on a mystery black label reviewed back in August, this “original” actually being a Dave Lee remixed dub of a still unreleased US remake by the Turntable Orchestra of — would you believe? — the Bee Gees’ ‘You Should Be Dancing’, stripped down by Dave around the time that LFO’s ‘LFO’ was breaking and so retitled as a joke, its current completely revamped re-remixes by Dave and, as had become obvious, Mark Ryder being out fully now on the RePublic Records associated Made On Earth label . . . African Business’s four mixes of ‘In Zaire’, promoed across two separate pressings, are all together on the single 33⅓rpm commercial 12 inch (Urban URBX 64) . . . King For A Day’s ‘Kick That Rhythm’, despite being promoed on Crucial Dance, proves to be out commercially on PWL Records (PWLT 67) . . . L.A. Mix’s ‘Mysteries Of Love’, reviewed last week, now looks like not being out commercially until December 8, or even after Christmas . . . Creation’s dazedly galloping Black Box ‘Ride On Time’-type ‘Give It Up’ turns out to be a UK creation by Barry Leng & Duncan Hannant . . . Eve Gallagher, statuesque and tall with a silver streak in her hair like a character from ‘Superman III’, is actually from Sunderland although she does indeed live in Switzerland (“It’s a long story!”, she laughs) . . . Ragga Twins’ ‘Spliffhead‘ appeared to be the track most played by Prestatyn punters at their own chalet parties . . . Andrew Beer is updating the DJ mailing list at Warrior Records, PO Box 775, London EC1A 4LB (‘phone 071-490 5475, fax 071-490 7920) . . . Moz Morris is building a mailing list of DJs who can use Hi-NRG and pop dance (like Lisa’s recent gay hit ‘Stand Up And Sing‘ and German act Ultramatix’s new dance version of Elton John’s ‘Sacrifice‘) at Manic Records, 10 Park Road, Blackpool, Lancashire FY1 4HT (enclose a stamped self-addressed envelope with your application) . . . Emily Leggatt and Ian Gotts’ correct telephone number at Power Promotions is 071-482 0728, and not as misinformed last week, so adjust your files accordingly . . . Kiss 100 fm breakfast show co-presenter Graham Gold has — for obvious reasons like sleep! — had to give up his full time nightclub residency at Soho’s Gullivers (only three months short of 10 years there, possibly a record for an unbroken soul residency in London?), but returns for one night only this Saturday (Nov 17), while he manages to jock with Jon ‘Gummo’ Jules every Wednesday at Ealing’s Broadway Boulevard, and is to be found over the next few Fridays guesting at Kingston upon Thames’s Options (23), Hackney’s Shenolas (30), Grays’ P’Zaz Nightclub (Dec 7) . . . Donna Gardier’s ‘I’ll Be There’ video is the living embodiment of the word “slinky” — phworr! . . . DAMN’ FINE!


PRESTATYN 8 had a noticeably lower turnout than usual, mainly because of counter attraction weekenders like its promoter LiveWire’s own recent Kaos rave, and suffered from the last minute cancellation of En Vogue’s concert, but seemed to be retrenching its tradition with an increased emphasis by the DJs on slower soul amidst the house and rap. Innocence featuring Gee Morris (pictured below) were perhaps the most popular of the PAs, while a long live set by the specially reformed Light Of The World rivalled Public Enemy’s live show for many. To my mind the best PAs were by the dominatrix-like Eve Gallagher, oozing sensuality, and the excellent Master Ace, who was accompanied by scratching DJ Steady Pace and two tubby dancers, dressed and acting like winos to begin their act. Al B. Sure! (with a complete dance troupe) didn’t realise his US hit material was unknown here, other appearances being by pluckily swooping acappella Tammy Payne, tightly choreographed Alison Limerick, disappointing Diana Brown & Barrie K. Sharpe, Kenny Thomas, Bass-O-Matic, Unique 3, Sindecut, Ashley & Jackson, New Life, and Carlton. Not a classic maybe, but not bad. Prestatyn 9 next Easter is rumoured to be the last of this type of weekender at the present site, the soul event possibly moving elsewhere with a rave replacing it there.


FRANCES NERO ‘Footsteps Following Me’ (104¾bpm) (Motorcity MOTC 24, via Pacific)
About for some time but now building support, this Sister Sledge ‘Thinking Of You’ inspired beefily pushing slinky soul roller, by an obscure ex-Motown artiste (she had one single on the associated Soul label) who was tracked down in Detroit by producer Ian Levine, could yet end up absolutely massive given the chance (Instrumental flip).

JOHNNY BRISTOL ‘Man Up In The Sky’ (102½bpm) (Motorcity MOTC 21, via Pacific)
Dating from last year but easily the anthem in the “chillout” real soul/jazz room at Prestatyn, this Ian Levine produced lovely late Seventies-style soulful swayer always was a soul boy fave and really proved itself, causing massed formation dancing and crowd demanded repeat plays (Instrumental flip).

808 STATE ‘Cübik’ (ZTT ZANG 5T)
Finally checked on 12 inch, this distinctive fruity fart tones and ‘Dr Who’-type spacey synth prodded instrumental hit is in its previously UK B-sided Jimi Hendrix-like guitar introed and freaky effects outroed jerky Original Mix (123¾bpm) plus a much more smoothly shuffling Pan Am Mix (123½bpm), as its hotter import’s Pan American Excursion becomes, flipped by the friskily flowing synthed and bleeped melodic house ‘Olympic’ (as the previously promoed ‘Olympic State’ is now called) in its jumpily driving Euro Bass Mix (122¼bpm), as the promo’s Heavy Bass Euromix becomes, plus a new attractive bell tinkling Flutey Mix (122½bpm).

NOMAD featuring M.C. MIKEE FREEDOM ‘(I Wanna Give You) Devotion’ (116bpm) (Rumour Records RUMAT 25)
So naggingly infectious that it has screamed out “smash hit!” every time I’ve heard it on Kiss 100 fm and at Prestatyn, this Damon Rochefort produced shuffling and surging jaunty lurcher is tongue twistingly ragga rapped by Bristol’s 18 years old Mikee Freedom over the deadly catchy repetition of Sharon Dee Clarke’s soulful title line (which starts the side off backed only by crowd effects) and ‘Sympathy For The Devil’-type “woop wooh”s, flipped by its still Sharon wailed Instrumental and unadorned ‘Sang-Froid’ rhythm track. Watch it fly!

DIMPLES D ‘Sucker DJ’ (107¾bpm) (fbi FBI 12, via Spartan)
Now 12-inched here and already shaping up as a crossover smash on radio, this girl rapper’s newly Ben Liebrand remixed ultra jaunty ‘I Dream Of Jeannie’ TV theme backed bouncily lurching leaper brags about its original co-creator Marley Marl (I can remember reviewing its plainer original import version but not exactly when, around five years ago), flipped by a Radio Edit (108bpm) plus Ben’s bare thumping ‘Sucker Drums’ (107¾bpm). Like the intro asks, are you ready to kick some ass?

BASSIX ‘Close Encounters’ (D-Zone Records DANCE 005, via 0831-472804)
Ilford’s Dance Zone Records step up the releases on their associated label (still featuring messages to A&R men etched in the vinyl!) with this fast selling bassily resonant shuffling bleeper, repeating “the five tones” from ‘Close Encounters Of The Third Kind’, in Club Mix (123½-124bpm), more twittery Bassix Mix and thundering wriggly Acid Dub (123¾bpm) versions, the first two again with continuously repeating run-out grooves.

PRINCE ‘New Power Generation (LP Version)’ (110½-111¾bpm) (Paisley Park Records W9525T)
The latest single from his ‘Grafitti Bridge’ album is a good chunkily lurching chant-along purple funk stomper, fluctuating constantly in tempo, as do the flip’s separate shorter raucous Mavis Staples, Tevin Campbell, T.C. Ellis and Robin Power featuring Pt II conclusion (111¾-113½bpm, with a ragged slow finish), oddly not continuous even on 12-inch, and Mavis Staples sung wriggly burbling ‘Melody Cool (Extended Remix)’ (113¾-113¼bpm).

SECRET DESIRE ‘White Light’ (124¾bpm) (Vinyl Solution STORM 21, via SRD)
Created by Danny O’Shea, this ambient effects started then jauntily jiggling catchy bleeper is washed by resonant wordless choirboy, snarling synth and buzzing low frequency tones in richly atmospheric style, an instant seller, flipped by the also instrumental frantically thundering ‘Anna Lies‘ (127½bpm).

RENEGADE SOUNDWAVE ‘Thunder II’ (119¼bpm) (Mute Records 12MUTE 124, via Rough Trade)
Kicking off a 33⅓rpm four-tracker, this familiar samples punctuated rumbling and churning percussive instrumental lurcher is a remix of the ‘R.S.W In Dub’ promo EP’s already much played and also included more beefily thundering ‘Thunder (Original Version)‘ (119¼bpm), flipped by the rhythmically related but emptier more monotonously throbbing ‘Man Phibian‘ (119¼bpm), and funky fatback drum jolted ‘Mash Up‘ (112½bpm).

QUAZAR ‘Day-Glo’ (126bpm) (Dutch Go Bang! Records BANG 007)
Tucked away on the B-side, this Amsterdam recorded brightly percolating, plopping and tapping bleeper seems to be selling around South Yorkshire better than the violent synth snarled frantically thrashing ‘The Seven Stars‘ (126bpm), exciting though that is, and unrelated more twittery ‘Moon Turns The Tide‘ (126bpm).

MAIN SOURCE ‘Looking At The Front Door’ (105½bpm) (US Wild Pitch Records WP 1020)
Last week’s number one rap seller here, this subtle languid swaying bassy bumper is unhurriedly rapped by the Large Professor with DJs Sir Scratch and K. Cut manning the decks, flipped by the possibly even better, jazzy organ and bass backed slinky narrative ‘Watch Roger Do His Thing‘ (100bpm), both with instrumentals too.

CYBERSONIK ‘The Future Sound Of Detroit’ (US Plus-8 Records PLUS8003)
About for a couple of months as, unusually, a white label promo pressing from the States, this Daniel Bell, Richie ‘Rich’ Hawtin & J. Acquaviva created EP has the above named act’s bleeping, buzzing, thrumming and charging simple techno ‘Technarchy’ (126bpm), flipped (at a slower 33⅓rpm) by their more gently percolating ‘Melody 928‘ (123½bpm) and washing machine style ‘Carousel‘ (124bpm), plus the wriggly cantering techno ‘Altair IV.1‘ (125bpm) by States Of Mind, while now out in the UK is the above CYBERSONIK ‘Technarchy’ (125½bpm) (Champion CHAMP 12-264), flipped by the slightly retitled ‘Melody’ (123bpm) and jerkily bounding and bleeping new ‘Algorhythm‘ (122¾bpm).

HI-RYZE ‘Cyberia’ (Brainiak Records BRAINK 02, via Pacific)
Created by Ubik’s Dave Campbell & Vyv Beaton, this bright blippy washing machine type jerky techno skipper is in Midi Edit (125bpm) and longer Lo-Pass Mix (124¾bpm) versions, flipped by the drain gurgling breezy ‘After The Flood’ in Optimistic (129¼bpm) and run-out groove continued Harmo Bass (129bpm) Mixes.

F-X-U ‘The Scheme’ (124½bpm) (Made On Earth/Rough Trade Records MADE 004)
Currently white labelled ahead of full release, this presumably Dave Lee & Mark Ryder created low frequency oscillation thrummed perky bleeper is flipped by a bleepier less bossy ‘The Chase‘ (124½bpm) variation on the same rhythm.

TECHNICAL ONSLAUGHT ‘Eyes Of The Mind’ (123bpm) (US Allabi Records AL-002)
Inspired by the UK (and Belgium), this Joey Beltram created bassily burbled bounding atmospheric bleeper is flipped on 45rpm 12 inch just by the similarly simple, and similar but jerkier, ‘The Calling‘ (122bpm).

BELTRAM ‘Vol. 1’ (BeIgian R & S Records RS 926)
Recorded by New York’s Joey Beltram mainly in Ghent, Belgium, this attention attracting instrumental techno four tracker has the droning and throbbing, “ecstasy” whispering ‘Energy Flash’ (122½bpm), fluidly bounding ‘Subsonic Trance‘ (123¼bpm), slowed down ‘Dr Who’-ish ‘Psycho Bass‘ (105½bpm), and monotonous jittery twittering ‘Jazz 3033‘ (121¼bpm).

NAYOBE ‘I’ll Be Around’ (US WTG Records 41 73614)
Reviving the Detroit Spinners’ 1972 classic, this Teddy Riley produced soulful girl’s timelessly attractive treatment is remixed by Mike ‘Hitman’ Wilson in pleasantly loping Extended Club, lean bass thrummed Alternative Power, and slightly swingbeat-ish chugging After Dark Mixes (109½bpm), with its original more cluttered LP Version (109¾bpm) too. Although apparently not due as a commercial UK single it has been promoed here by Epic, in its After Dark Mix flipped by the mis-titled Album Version (Alternative Power Mix) and Twilight Mix (Extended Club Mix), but at least you can buy the import.

ROQUI ‘I’ve Just Begun To Luv You (Day By Day)’ (116¾bpm) (US Nugroove NG 062)
Rheji Burrell’s latest creation is a sweetly anguished (slightly Lisa Stansfield-ish?) girl cooed attractive jerky soul strider in Radio, Club/Dub and Voca-pella versions, B-side to but hotter than the more squeakily wailed disjointedly surging ‘Set Me Free‘ (118¾bpm) in Radio, Club/Dub and Dub/Vox versions.

RHYTHM MASTERS ‘Virgin Eyes’ (US Nugroove NG 064)
Possibly inspired by Culture Beat’s ‘Das Erdbeermund (Cherry Lips)’, this Barry Oh! Goldstein & Gary Clugston created breezily trotting ambient house chugger is doodled through its bouncy bassline by bursts of softly whining guitar, some tinkling vibes and husky sax, with a gruff guy muttering the Virgin Mary Vocals (122bpm) and Just Another Virgin (121½bpm), not the Safe Sax Instrumental (122bpm), Virgins In Paradise and Rhythm Method (121½bpm) versions.

GALLIFRÉ featuring Jimmie Lee ‘Set Your Mind To It’ (US Gherkin Records GKE 1061)
Co-created by Kevin Dixon, this classy jazz-funk floater is in Larry Heard’s tinkling and tapping Mr. Fingers Jazzy Instrumental (121½bpm) with pleasantly doodling soprano sax, Larry and Kevin’s similar but Jimmy Lee moaned Radio Vocal (121¼bpm), Kevin’s rattling break beat started then fluttering and moaning Gallifré Drums & Club (121½bpm) and tricky short Winelight Instrumental (121¼bpm) mixes, the labels being stuck on the wrong sides of my copy at least.

NITRO DELUXE featuring Silk ‘Hypno House’ (120¼bpm) (US Cutting Records CR-241)
Having pioneered ‘The Brutal House’ four years ago, Nitro Deluxe return in less distinctive hip (or “hypno”) house style with a mewingly bleeped jittery cantering jiggler, rapped and chanted in its “too bad” prodded Nubian Mix and more acidic Nitro Mix, but basically instrumental in its better (though still “too bad”!) Deep and Hypno Dubs on the flip, the side to check.

GALLIANO ‘Welcome To The Story’ (talkin Loud TLKX 3, via Phonogram)
South London rapper/poet Rob Galliano, of ‘Freddie’s Dead’ seven inch “import” scam fame, is joined by Crispin and Constantine to become a group called Galliano for this Seventies rare groove flavoured mumbling and burbling gently jogged swayer, in Bangs Beats 12″ Mix (93¼bpm), Peace Go With You Brother Mix (90¾bpm), and Headcorn’s Burial Dub (90½-90¾bpm) treatments.

MASSONIX ‘Just A little Bit More’ (Northern Noise Records NNR 112, via 061-228 3072)
Promoed since at least June but only now just starting to show up (which seems to be becoming a common pattern), this Graham ‘808 State’ Massey produced slinkily jogging remake of Barry White’s 1973 debut hit ‘I’m Gonna Love You Just A Little Bit More Baby’ is in oriental flavoured huskily sultry Deniece Johnson vocal and percussively tapping Y.T.S. Mixes (93½bpm), flipped by Bazza-style languidly groaning Barrington Stuart vocal (93¾bpm) and twittery rumbling Electro Instrumental (93¼bpm) Mixes.

JIVE BUNNY and the MASTERMIXERS ‘Let’s Swing Again (12″ Extended Mix)’ (174¾-174bpm) (Music Factory Dance MFDT 009)
Andy Pickles and Ian Morgan’s latest party mix-up is a ‘Chattanooga Choo Choo’ sandwiched megamix of Carl Perkins ‘Blue Suede Shoes’/Jerry Lee Lewis ‘Whole Lotta Shakin’ Goin’ On’/Barry Mann ‘Who Put The Bomp’/Larry Williams ‘Bony Moronie’/Ritchie Valens ‘Come On Let’s Go’/ Everly Brothers ‘Bye Bye Love’/Little Richard ‘The Girl Can’t Help It’, very slightly fluctuating in tempo, not their best but perfectly useable and in nice time for Christmas.

THE CLUB CHART – November 17, 1990


01 07 DOWN TO EARTH (TOUCH DOWN MIX) Monie Love, Cooltempo 12in promo
02 06 AFTERMATH/I’M FOR REAL Nightmares On Wax, W.A.R.P. 12in
03 02 LET’S PUSH IT (BIG BEAT MIX) Innocence, Cooltempo 12in promo
04 04 U.K. BLAK Caron Wheeler, RCA 12in
06 10 ANTHEM N-Joi, de/Construction 12in
07 03 FANTASY Black Box, de/Construction 12in
08 05 ELEVATION Xpansions, Optimism/Arista 12in
09 09 IN ZAIRE African Business, Urban 12in
10 08 SINCE DAY ONE (REMIX) Teena Marie, Epic 12in promo
12 15 FREQUENCY/DEMONS Rhythmatic, 0742/Network 10in
13 13 I HATE HATE (SOUTHWARK ST. MIX) The Sound Of Shoom featuring Eusebe, Creation 12in
15 16 POWER OF LOVE (SAMPLADELIC REMIX) Deee-Lite, Elektra 12in promo
16 11 DIFFERENCE (STENG MIX) Djum Djum, Outer Rhythm 12in promo
17 28 WHERE LOVE LIVES (RED ZONE MIX) Alison Limerick, Arista 12in promo
18 37 FOUND LOVE Double Dee featuring Dany, Italian Onizom 12in/US Epic 12in
19 14 CULTURE (DANCEHALL MIX) Rebel MC/COMIN’ ON STRONG Rebel MC (featuring Tenor Fly), Desire 12in promo
20 63 MISSING YOU (THUMPIN’ BASS MIX) Soul II Soul (Vocals: Kym Mazelle), Ten 12in promo
21 30 FREE (C’MON) (TO THE POINT MIX) Catch, ffrr 12in
22 24 LOVE WILL NEVER DO (WITHOUT YOU) Janet Jackson, A&M PM 12in
24 19 LITTLE BROTHER Blue Pearl, W.A.U!/Mr. Modo/Big Life 12in
25 32 I’M THE ONE (EXTENDED VERSION) Steve Harvey, A&M PM 12in promo
26 26 TOTAL CONFUSION (LIMO) (CONFUSION MIX) A Homeboy, A Hippie And A Funki Dredd, Tam Tam 12in
27 38 IT’S ALRIGHT NOW (BACK TO BASICS) Beloved, East West 12in promo
28 12 CAN’T DO NUTTIN’ FOR YA MAN (FULL RUB MIX) Public Enemy, Def Jam 12in
29 — A PLACE CALLED BLISS (LAST THURSDAY MIX) Cyclone, Network 12in promo
30 35 RHYTHM TAKES CONTROL (ORIGINAL STYLE MIX) Unique 3 (featuring Karin), Ten 12in
31 43 SUNSHINE ON A RAINY DAY Zoe, W.A.U!/Mr Modo 12in
32 18 CAN’T GIVE YOU UP (FULL CLUB MIX) Life On Earth, RePublic 12in promo
33 17 DANGEROUS ON THE DANCEFLOOR (CLUB REMIX) Musto & Bones, Citybeat 12in
34 48 SEVEN STARS Quazar, Dutch Go Bang 12in
35 23 LOVE’S GOT ME (EXTENDED VERSION) Loose Ends, Ten 12in promo
36 47 LOVE COME DOWN (NORMAN NORMAL MIX) Eve Gallagher, More Protein 12in promo
38 95 SUCKER DJ Dimples D, FBI 12in promo
39 29 MOVE TO THE BIGBAND Ben Liebrand featuring Tony Scott, Epic 12in promo
40 52 BACK TO REALITY (DRUM AND BASS MIX) The Intelligent Hoodlum, A&M PM 12in
41 46 EVERYBODY (RAP) Criminal Element Orchestra featuring Wendell Williams, de/Construction 12in
42 72 HYPNOTIZIN Hibrid, Megablast Recordings 12in
44 — CLONK Sweet Exorcist, W.A.R.P. 12in promo
45 51 THE SCHEME F-X-U, Made On Earth
46 21 IT’S A SHAME (MY SISTER) Monie Love featuring True Image, Cooltempo 12in
47 66 NENA DE IBIZA (VOCAL) Crazy Eddie + Q.Q. Freestyle, Creation 12in
48 — ONE WAY ONLY Synergy, Dedicated 12in promo
50 62 CAN YOU FEEL ME Incognito, Talkin Loud 12in promo
51 44 RHYTHM OF LIFE (MIXES) Oleta Adams, Fontana 12in
52 25 CAN’T STOP (ONE WORLD 12″) After 7, Virgin America 12in
53 55 RESPECT Daddy Freddy, Music Of Life 12in promo
54 86 FEELS GOOD (BEN LIEBRAND MIX) Tony! Toni! Toné!, Wing/Polydor 12in
57 45 INSIDE OUT (ANTI-POP MIX) Electribe 101, Mercury 12in promo
58 54 HEAVEN (MIXES) The Chimes, CBS 12in
59 64 TRANSFUSION Blood Brothers, Big World 12in white label
61 — IT’S REAL (12″ VOCAL) James Ingram, Warner Bros 12in
62 40 HERE WE GO AGAIN (STAIRWAY TO HEAVEN MIX) Paradiso, Boy’s Own 12in
64 33 GET YOURSELF TOGETHER Young Disciples, Talking Loud 12in
65 — LISTEN TO THE BASSTONE Cut 2 Kill, Tam Tam 12in promo
66 49 MISS MY LOVE (URBAN MIX) Gwen Guthrie, Reprise 12in
67 — STAND STRONG (THE BLACKSMITH REMIXES) Junior, MCA 12in double-pack promo
68 94 SUNDAY’S CHILD GNE (Great Northern Electrics), Polydor 12in
69 59 FRY YOU LIKE FISH (JAZZ REMIX) Caveman, Profile 12in
70 36 PHILLY Fluke, Creation 12in promo
71 34 THE EXORCIST The Scientist. Kickin 12in
72 87 BORN TO LOVE YA Rozala, Pulse-8 12in white label
73 61 KEEP IT UP L.U.P.O., Low Spirit/Yo-bro 12in promo
74 60 IN A STATE (MIXES) 2 For Joy, Mercury 12in promo
75 re GIVE IT UP Creation, deConstruction 12in
76 78 CASCADES (HYPNOTONE MIX) Sheer Taft featuring Ingrid Kudos, Creation 12in promo
77 50 SLOW DOWN 2 Tuff, East West 12in promo
78 — WHAT’S IT ALL ABOUT Run DMC, Profile 12in promo
79 71 MIND OF AN ORDINARY CITIZEN Blade, 691-Influential 12in
80 93 SUPER LOVER Three Generations, US Atlantic 12in
81 57 SHARE (CLUB) Jomanda, Big Beat 12in promo
82 — A BETTER LOVE (EXTENDED) Londonbeat, AnXious/RCA 12in promo
83 99 TECHNARCY Cybersonik, Champion 12in promo
85 — ALONE Part E Unknown, Big World 12in promo
86 85 BACK2BACK Pressure Drop, Big World 12in promo
87 — SPICE Eon, Vinyl Solution 12in
88 — COLD SENSATION Liquid Empire, Tam Tam 12in white label
89 91 H-O-U-S-E Doug Lazy, US Atlantic 12in
90 41 SPLIFFHEAD/ILLEGAL GUNSHOT The Ragga Twins, Shut Up And Dance 12in
91 — STAY/LOVE COMES TO MIND The Chimes, CBS 12in promo
92 — A MATTER OF FACT (CLASSIC MIX) Innocence, Cooltempo 12in white label
93 79 CONTRIBUTION (THE REVOLUTION MIX) Mica Paris featuring Rakim, 4+B 12in
94 90 (I WANNA GIVE YOU) DEVOTION Nomad, Rumour 12in promo
95 81 MUST BEE THE MUSIC King Bee, Dutch Torso Dance 12in
96 — THE BEE The Scientist, Kickin 12in promo
97 — SOLID GOLD (VERSION) Ashley & Jackson, DFM/Big Life 12in promo
98 re CONSCIENCE (100 EFFM MIX) Treble Rock 3, Streetbeat 12in promo
99 58 SOUND CLASH (CHAMPION SOUND) The Kick Squad, Kickin 12in
100 — WALKING ON SUNSHINE (REMIX) Loopzilla, Noise 12in white label

One thought on “November 17, 1990: Frances Nero, Johnny Bristol, 808 State, Nomad/M.C. Mikee Freedom, Dimples D”

  1. So that’s how the Prestatyn (which was the continuation promoter/crowd/DJ’s of the original and legendary Showstoppers’ Caister Weekender) ended one, more in early 1991 and that’s it – and as I would have thought superseded by rave do’s like Kaos. I know that weekenders like the much smaller nothing-to-do-with-the-original Caister and the Southport weekender continued but the original massive “all the underground dance pubs and clubs of London and the South East being empty for the weekender weekends” one is ending. When I was a regular from about 1983-88 some people used to wear all the plastic ID badges you were issued with they had going back over all the years they’d attended – I personally was too young to go until about 1983 – I wonder if any of the attendees (besides some of the the DJ’s etc) were still going at the last in 1991 who’d attended the first in 1979 and had about 22 or 23 ID’s round their necks – they looked a bit ridiculous with about 10!?

    I was reading one of the many articles which have been on the internet over the last 10 or so years about the death of rock music – I myself at my ripe old age don’t follow what’s going on in the pop charts or popular culture per se but the article stated hat no rock band has broken through on a mass level for the best part of 20 years. Which clearly means it’s pretty moribund as a mass movement. And a cursory look at today’s charts shows a chart completely full of rap, r&b, other forms of still often house based dance music, pop (usually dance based) plus a couple of massive pop orientated singer-songwriters. And the album charts are now so farcical that in the UK you can get to number 1 some weeks with a handful of copies bought by the cleverly marketed fanbase of a band who were never big even in their “glory” (moderately successful) days (you’ll be down at about number 99 the next week though!) You just have to avoid the weeks around the Ed Sheeran and Adele release dates! And I believe the American album charts are even more irrelevant sales wise with some big rap acts having stopped releasing albums completely. Who’d have thought that the single would ever go back to its 1950s position of dominance over albums? And in Britain it seems that Queen’s “Greatest Hits” (released 1981) and Fleetwood Mac’s “Rumours” (released 1977) will be in or around the Top 30 until they stop compiling it! -album sales are now that low.

    So in my longwinded way I’m saying I wonder what JH would have said/thought if he’d still been with us now at what is the eventual complete triumph of his type (dance orientated) music over all other forms. He loved hiphop & R&B and more pure dance forms and is often critical of rock music (aside from his old time 1950s rock n roll which he sometimes used to mention probably because like many people they retain a lifelong sympathy for the music from their youth).

    Would he still be biggin’ it all up in a triumphalist way or lamenting the deterioration in hiphop and r&b like you hear from a lot of the aficionados of rap from its ‘golden era’ of the 80s and 90s? Every time I read one of these columns I feel sad that he died a such a young age midway though the 1990s which to me was the last great decade for pop music (although that might just me getting old saying that!). He passed away just as jungle was taking off – I think he’d have loved that being into street music. He just missed UK garage/speed garage again something I think he’d have loved also being as street as things get. And of course he missed the rise to global dominance of trance and on a much smaller and British scale the success of hard house. I don’t think he’d have been so impressed with these although may have given grudging praise to the best of the quality trance produced in its golden age of 1996-2001.

    And most importantly of all he passed away just a year or so from the sudden rise of the internet to a mass medium – imagine all the things he could have done in the age of the internet and eventually social media. And an autobiography which he could have tied in with a history of British underground music from the rise of the Mods in 1963 right up until whenever he wrote it – he’d have had a unique position to observe everything and make it the definitive account, and we know he’s a good writer so it would have been unmissable.

    Anyway all these things we’ll never know but I know after his brief annoyance at acid house in 1988 (although even then I think he still knew what was going on even though he wasn’t over keen on some parts of the scene) he still remained on top of what was going on at the cutting edge of his music as the discussion on the whole scene I heard with him on Kiss with the also late lamented Caspar Pound (who coincidentally gets a mention in this week’s column as being one of those behind ‘Total Confusion’) in about 1994/95 proved.


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