December 15, 1990: Off-Shore, Subject: 13, The Grease Megamix, Doug Lazy, Frank “K”/Wiston Office


REVIEWED THREE weeks ago as ‘Love Odyssey’ by Where — and since charted variously as ‘Where’ by Love Odyssey and ‘Love Odyssey’ by Icehouse! — the above uninformatively labelled mystery track turns out to be the Rockhouse Love Odyssey Mix of Maureen’s now properly promoed ‘Where Has All The Love Gone’ (122¾-122½bpm), out on Urban at the very end of the year, which merely adds attractive nasal wailing to become the A-side’s main vocal Rockhouse Mecca Mix . . . Graeme Park’s much speeded up (and how, from its original 89bpm!) although still unhurried steadily clonking 110bpm Twilight Mix of Less Stress (featuring Katherine Wood)’s ‘Don’t Dream Its Over’ (Boy’s Own Productions BOIXR 4) has been so much in demand that it has apparently been bootlegged before ffrr could get their official pressing out . . . PKA ‘Let Me Hear You (Say Yeah) (Bass Bins At Dawn Mix)‘ (119¾bpm), reviewed off white label last week, is now out properly on Stress (SST 1) — which more “hardcore” logo is paired with the pop aimed fbi as the Disco Mix Club’s two new commercial outlets — flipped by the cheekily titled ‘Blipsync‘ (129¾bpm), a silly little bleep adaptation of (geddit?) Lipps, Inc.’s ‘Funkytown’! . . . M.C. Hammer’s unremixed much more ‘When Doves Cry’-like Radio Edit (121¼bpm) is flipped on seven inch by a Junior Vasquez & Shep Pettibone remixed wrigglier Jam The Hammer Mix (119¾bpm) that isn’t on the UK 12 inch, making the smaller format to my mind the better buy . . . York based Thomas Taylor’s “musician friendly” Lendaneer Music label, to be launched in January, optimistically promises that it will be a major chart force and proposes to charge a £40 registration fee (“to cut out the time wasters”) for its DJ mailing list, reckoning on servicing records and videos by brand new acts every week — send a stamped self-addressed envelope for details to Graham Cambridge at Lendaneer Music, 48 Linton Street, York YO2 4SA . . . Rushden based Full Effect Promotions, recently mentioned as building a DJ mailing list, have no connection with the London based business of the same name (new address PO Box 1823, London W10 4NA; ‘phone 081-969 1814, fax 081-9684184), already well established having done dance promotion for the likes of RePublic Records, WARP/Outer Rhythm and Bassic . . . Nomad featuring Sharon Dee Clarke give you devotion at Brixton’s The Fridge this Saturday (15) . . . Botany 5 should be PA-ing at a Space allniter on Boxing Day (December 26) in Glasgow’s The Champion Club (Oswald Street), with top local DJs Toni Scott, Stewart & Orde, Haul, Lars and Richard . . . Colin Hudd, Markie Mark, DJ Lix and Anton Yule bug out with live percussion, singers, dancers and visuals at an in2dance special in Brighton’s Zap Club on Thursday, December 27 . . . DJs Dick Tracy and Gordon meanwhile host Grooveyard Fridays at Brighton’s Escape Club . . . Leland did it, if you believe in dreams . . . DAMN’ FINE!

Reviewed by James Hamilton and Paul Gotel

HEAVY SHIFT ‘Come Alive (Reanimating Remix)’
THE TYRREL CORPORATION ‘6 O’Clock’ (Philadelphia Mix/Anthem Mix)
BAD GROOVE ‘Bad Groove’
RHYTHM DOCTOR ‘Phuture’ / ‘Mister
BEVERLEE ‘Set Me Free’ (The Tribe Mix/Rollin Rap)
MARIAH CAREY ‘Someday’ (New House Mix)
BOULEVARD MOSSE ‘U Can’t Escape The Hypeness
RHYTHM FACTORY ‘Gotta Have Your Own Style
EVOLUTION ‘Came Outa Nowhere
RED NINJA (white label)
U2 ‘Night And Day’ (Twilight Remix/Steely String Mix)
GAIL ‘N’ JAMES ‘I Don’t Care’

OFF-SHORE ‘I Can’t Take The Power’ (CBS 656570 6)
Created by top German club jocks Jens ‘Jelly’ Lissat & Peter Harder, this simple friskily pounding piano plonked Italo house-meets-Snap type instrumental thumper (hinting at, without actually quoting, the female title line from ‘The Power’) is finally out here in Riva (123¼bpm), Aronow and Dub (123¾bpm) Mixes, having been around for ages as a bootleg — possibly several times over, certainly one illegal version being coupled by “Action” AJ’s ‘The Action’ (see below).

SUBJECT: 13 ‘Eternity’ (Vinyl Solution STORM 23, via SRD)
Penned by David ‘D-Boy’ Stewart with production help from Secret Desire’s Danny O’Shea plus J. Saul Kane, this jittery exciting rave instrumental whips bleeps, low frequencies and flying funky drumbeats into frantically phased and scrubbed Spiritual Club (125¾-125½bpm), Spiritual Dub (125¼bpm), and rapping Breakdown (125½-125¼bpm) Mixes, yet another sizzling stormer from the label.

THE GREASE MEGAMIX featuring JOHN TRAVOLTA & OLIVIA NEWTON-JOHN ‘You’re The One That I Want (125-214¼)/Greased Lightning (159¼)/Summer Nights’ (125-46½bpm) (Polydor/PWL Records PZ 114)
Brilliantly blended by Phil Harding & Ian Curnow, this exceptionally smooth segue of the biggest hits from the movie ‘Grease’ is a must for mobiles, and all sorts of other jocks at this time of year!

DOUG LAZY ‘H.O.U.S.E. (Benadef Mix)’ (120¼bpm) (Atlantic A77787)
Due here now but promoed only in its 12 inch A-side mix, this David Morales remixed jiggly shuffling and rumbling hip house thumper jauntily spells out its title to a “makes me move, when you see it you can dance too” answering girl, punctuated by reedy organ chords and useful rhythm breaks, originally on import (US Atlantic 0-86119) in the same fractionally faster Benadef Mix plus cantering instrumental Red Zone and more smoothly bounding vocal Ozone Layer Mixes (120¼bpm), although apparently flipped here by its unremixed scurrying LP Version (121¼bpm) and — another Morales mix from the US CD — the seven inch A-side’s Radio Edit of Def Mix (120bpm).

FRANK “K” featuring WISTON OFFICE ‘Everybody Let’s Somebody Love’ (119¾bpm) (Italian Unknown MCE 20790)
Snapped up from the Unknown label (that’s its name!) by Urban for rush release here, this pop-aimed breezy Italo hip house rap is in piano jangled Club, swirling Chic ‘I Want Your Love’ strings spiked To Michael, and more gently cantering Frank “K” Mixes, with a sparsely tapping Bonus Conga (120bpm) beat too.

ROZALA ‘Born To Love Ya!’ (119½bpm) (Pulse 8 Records 12 LOSE 3, via BMG)
Kicked off by its hypnotically repeated latin piano loop before the bass drum comes thumping in, to be joined by some attractively synthesized orchestral chords, this enthusiastic girl wailed infectiously leaping driver dances naked in the rain to the spacey saxophone, flipped by an alternative “african” vocal version and fractionally faster instrumental, and having been about for a while now deserves surely to be far bigger?

BETTER DAYS ‘Love Is The Message’ (118bpm) (Virgin VST 1293)
With a Martin Luther King quote before Rose Windross sweetly warbles through its sinuously uncluttered striding drive, this excellent Steve Proctor adaptation of Vince Montana’s much recorded Philly classic — an enduring nightlife anthem in New York and seminal house tune in Chicago — was originally promoed at the end of August flipped by its Dr. King introed Instrumental and the Raze ‘Break 4 Love’ rhythm combining ‘Break For Love Is The Message‘, but it seems to have picked up most support only as a newer percolating bleeps overlaid more routinely hip house tempoed Heller/Farley Remix ((120¾bpm) (VSTX 1293), flipped though for good value by Steve’s original and ‘Break For Love Is The Message’ again.

KASH DA MASTA ‘Get Ya Self Together (Jealousy Mix)’ (108½bpm) (Big One VVBIG 26, via Rough Trade)
Infectiously punctuated by “pu-pu-pu-pu-pump me up” and the (remade) “got myself together, yeah, gonna get hi-igh-igh-igh-igh” chorus chant from Brass Construction’s ‘Movin”, this ultra jiggly jaunty go go-ish thudding new jack swing rap is interestingly and intelligently worded (sarcastically criticizing, among other human foibles, the unimaginative overuse by so many acts of the Biz Markie/Soul II Soul beat!), flipped by its Dubitall (108¼bpm) and an alternative less gimmicky Envy Mix (108½bpm).

DOUBLE TROUBLE’S COLLECTIVE EFFORT ‘Celebrate (Club Mix)’ (119¾bpm) (desire WANTX 39)
Masterminded by Double Trouble’s Leigh Guest and Michael Menson, this jerkily tumbling jumbled ragga remake of Kool & The Gang’s party oldie is rapped in abrupt bursts around the original riff by D. Marcus C. (also heard on LA Mix’s newie) and female Little Michie, flipped by its Instrumental and the bleeping ‘Rave & Celebrate‘.

CHUBB ROCK ‘Treat ‘Em Right’ (116-116¼bpm) (Champion CHAMP 12-272)
The Howie Tee produced title track of the 6 foot 3¼ inch tall chunky rapper’s US EP, a bright “yo!” prodded jerkily chugging hoarse wordy jiggler, is 12-inched here in a new but not much altered Hip Hop Mix plus its previously untitled original version, which latter now confusingly is called the Cribb Mix whereas the more hip house synth swirled differently cantering original Cribb Mix becomes the Mental Mix (116bpm), coupled by the older Raze ‘Break 4 Love’-ishly trotting (and, briefly, ‘Popeye The Sailor Man’ spiked) ‘Ya Bad Chubbs‘ (118¼bpm), also in a now so-called Cribb Mix — Howie’s Crib Studio (one “b”) being where they were all mixed down.

LOOPZILLA ‘Walking On Sunshine (Uptown Mix)’ (112¾bpm) (Noise Records NNR 412R, via Rough Trade)
White labelled some months back but now remixed and out commercially, this quite simply and very effectively finds Manchester brothers Barrington (who hoarsely sings it) and Lawrence Stewart plus Vanilla Sound Corps member Simon Crompton setting Eddy Grant’s lyrics —probably best remembered from 1982’s Rockers Revenge treatment — to a jiggling Stone Roses ‘Fool’s Gold’ rhythm loop (both used with permission), flipped by a more steadily striding ‘True Colour (Compact Mix)’ adaptation of the same track with different less urgent though gently insistent lyrics.

MAUDE ‘Let’s Get On The Move’ (121bpm) (Upfront UPFX 3, via Total/BMG)
Not a single lady despite the artist’s name, this Italy based group consists of club jocks TJ Saunders and Master Freeze (the latter doing the rapping) aided by Jenny and Marsela, their organ chimed routine breezy hip house canterer being effective enough though hardly distinctive, with girls cooed cooler ‘Get On The Move (Club Mix)’, actually more vocal ‘Let’s Get On The Move (Dub Version)‘, and instrumental ‘No Move’ variations.

MICA PARIS ‘South Of The River’ (4th + B’way 12 BRW 199)
Her sultry soul weaver was initially in Blacksmith remixed gently jiggling Soul II Soul-ish Upso Mix (100¼bpm) and more drily pattering Brixton Bass Remix (101¼bpm) versions, flipped by the elsewhere unavailable classy but mawkish ‘Where Are The Children‘ (38¾/77½-78½bpm) and Omar co-created Stevie Wonder-ish doodling ‘I Should’ve Known Better‘ (93¾bpm), while now separately there is also a totally different tapping percussion covered reggae-ish ‘South Of The River (The Blacksmith Lubit Mix)‘ (98¼-98½bpm) (12 BRX 199), coupled with the song’s lushly lurching Original Mix (101½bpm) plus a longer ‘Where Are The Children (Full Length)‘ (38½/77-80bpm).

THE CHIMES ‘Love Comes To Mind (Remix)’ (71¾bpm) (CBS CHIM T4)
Now more beefily jittered than on their album but still drearily downtempo, this tortuous soul swayer is merely pleasant, and indeed is proving less essential for floors than the flip’s exotically wriggling jiggly slinky ‘Stay (Remix)’ (94bpm), originally Timmy Thomas tempoed (as it is still at the end) but now if anything more ‘Jungle Fever’-ish, always to my mind one of the main new standouts from the LP.

STEX ‘Still Feel The Rain’ (109¼bpm) (Some Bizarre SBZ 12 002, via Rough Trade)
With chicken scratching African juju-type guitar by Johnny Marr before 17 years old Andrea Mendez starts her plaintive keening, supported by more huskily harmonising Steven Spacek, this The Grid mixed jiggly loping swayer builds distinctively haunting pop appeal (gentler Instrumental too).

DADDY FREDDY ‘Respect’ (114¾-87¾bpm) (Music Of Life NOTE 45)
The Guinness Book Of Records’ still undefeated world’s fastest raggamuffin rapper jumps around a jittery adaptation of Otis Redding’s classic, based on Aretha Franklin’s version (with punctuations by Wolfman Jack) before suddenly dropping to a judderingly jolting slow real ragga last half, good fun, flipped by the dry percussion jiggled ‘Go Freddy Go (Remix)‘ (111bpm) and frantic tongue twistingly fierce ‘Rough Neck Nuh Ramp‘ (95¾bpm).

DR. ALBAN featuring Leila K. ‘Hello Afrika (Ahhh Frika Mix)’ (101¾bpm) (Arista 613 821)
Inspired at the start by Prince Buster & Teddy King’s ‘Shepperd Beng, Beng (Gipsy, My Woman)’, a 1968 rock steady classic, this Denniz PoP (of SweMix) produced tuggingly rolling multi-tracked ragga rap from Stockholm is simplistically dedicated to the motherland Africa before hitting a repetitively chugging last half, flipped by a much more jittery African drums throbbed Denniz PoP Mix and its similar slightly slower 7″ Edit (101½bpm) — these latter two with a brief though fierce vocal contribution from co-writer Leila K.

“ACTION” AJ ‘The Action (let’s moooovah!!)’ (107¾bpm) (Mafia Records MMX 2, via Downbeat)
Originally pressed as a limited 1,000 run back in June and then almost immediately bootlegged, but out properly now, Nottingham mixing jock AJ’s Portsmouth recorded rhythmically Chimes ‘Heaven’-type tugging slinky jiggler is washed by rave effects and other samples behind a “let’s move on, ‘cos it’s time to groove” rap (some of it his own), flipped by a jaggedly stripped down jolting stark Dub Action (let’s groooovah!!)’ variation.

Y.B.U. featuring Anneli Marian Drecker ‘Keep It Up! (Steve Proctor Remix)’ (102¼bpm) (Belgian SSR Records 12SSR 109)
Remixed in London at Orinoco, this bleeping and pulsing introed then purposefully thudding, sweetly warbled Belgian hard beat jiggler is flipped at 33⅓rpm by its previously promoed more angrily buzzing and bleeping less smooth Chillin’ Remake, and a funky drum dominated Bwana Mpuku mix (102bpm), an episodically bleeping, shuffling and capping Instru-mental having originally flipped Hans Grottheim’s Chillin’ Remake (102¼bpm) (Sampler & Sans Reproche 12 SSR 103).

T.D.C. ‘Keep Groovin (The Remixes)’ (Big One VVBIGN 23, via Rough Trade)
The ‘Oh Oh’ Omar Santana created nervy New York hip house jumper now in a bleeps overlaid frantically chugging Oh Oh Mix (125½-126bpm), plus an also new but bleepless friskily churning Funky Mix (124¼-123¾bpm) and Funky Dub (123¾bpm).

FIRECRACKER ‘Firecracker’ (125bpm) (Optimism Records OPT 12007, via Pinnacle)
Friskily woven from familiar old electro samples and a stutteringly repeated “wait for the funky beat” refrain, this galloping jittery burbling flier is flipped by two sparser alternative less urgent Versions (124½bpm).

TEN CITY ‘Superficial People (Superficiality Remix)’ (104¾bpm) (Atlantic A77807)
Remixed by Simon ‘The Funky Ginger’ Law & Dr. Ross, this rather boring lurchingly loping harmonised falsetto jogger in old fashioned EWF-ish style is flipped by a much better smoothly attractive vocal version of their current album’s Brazilian jazz-funk flavoured ‘Nothing’s Changed’ (117¾bpm) plus the revamped older typically whinneyed steadily clonking ‘Where Do We Go? (Dance Remix Alternative 1)’ (114½bpm), while still creating interest is their more compulsively danceable last single’s ‘Whatever Makes You Nappy (Limited Edition Remix)’ (Atlantic A7819TX), David Morales’ piano plonked thumping Red Zone Mix (119¼bpm) in fact rather oddly being B-side to the unremixed more loosely zestful LP Version (119¾bpm), along with Steve ‘Silk’ Hurley’s twittery ‘That’s The Way Love Is (Acieed Mix/Extended Version)’ (119¾bpm).

M.C. TUNES presents ‘Primary Rhyming (Extended Mix)’ (106¾bpm) (ZTT ZANG 10T)
Fast talkingly nagged also by the Microphoness and young Dewiz, this juddery rolling but messily unconvincing ragga rap (Extended Instrumental flip) was promoed by Clubnet as a special limited twinpack with a separate coupling of the old Cream ‘Sunshine Of Your Love’ chords based jittery throbbing ‘Tunes Splits The Atom (Creamatomic Mix)‘ (120bpm) (ZTT SAM 728) and ‘Theme From The Big Country’ punctuated frantically wordy ‘The Only Rhyme That Bites‘ (125¼bpm), plus the only slightly less frenetic ‘This Ain’t No Fantasy‘ (120¼bpm) and ‘Mancunian Blues‘ (120½bpm).

THE CLUB CHART – December 15, 1990

COMPILED BY ALAN JONES FROM A SAMPLE OF OVER 500 DJ RETURNS AND SHOP SALES. THIS WEEK’S SHOPS: Crash (Leeds), Groove (London), Replay (Bristol), 23rd Precinct (Glasgow), Trax (London) and Vinyl Zone (London).

01 01 DOWN TO EARTH (TOUCH DOWN MIX) Monie Love, Cooltempo 12in
02 06 WHERE LOVE LIES (RED ZONE MIX) Alison Limerick, Arista 12in
03 03 FOUND LOVE (CAIPIRINA REMIX) Double Dee featuring Dany, Epic 12in
04 02 MISSING YOU (THUMPIN’ BASS MIX) Soul II Soul (Vocals: Kym Mazelle), Ten 12in
05 12 A MATTER OF FACT (CLASSIC MIX) Innocence, Cooltempo 12in
06 07 GONNA MAKE YOU SWEAT (SLAMMIN’ VOCAL CLUB MIX) C&C Music Factory (featuring Freedom Williams), CBS 12in
07 08 LOVE COME DOWN (NORMAN NORMAL MIX) Eve Gallagher, More Protein 12in
08 04 WHAT’S IT ALL ABOUT Run DMC, Profile 12in
09 10 POWER OF LOVE Deee-Lite, Elektra 12in
10 05 LOVE’S GOT ME (EXTENDED VERSION) Loose Ends, Ten 12in
11 09 FEEL THE GROOVE Catouche, Brothers Organisation 12in
13 13 ICE ICE BABY (MIAMI DROP MIX) Vanilla Ice, SBK 12in
14 15 UK BLAK Caron Wheeler, RCA 12in
15 33 MARY HAD A LITTLE BOY Snap, Arista 12in
18 14 FANTASY Black Box, de/Construction 12in
19 26 THE TOTAL MIX/I DON’T KNOW ANYBODY ELSE (STEVE HURLEY MIX) Black Box, de/Construction 12in
21 23 THE GONZO Lost, Perfecto 12in
22 34 H.O.U.S.E. (BENADEF MIX) Doug Lazy, East West 12in
23 32 ALL TOGETHER NOW (ORIGINAL MIX) The Farm, Produce 12in
26 19 (I WANNA GIVE YOU) DEVOTION Nomad featuring MC Mikee Freedom, Rumour 12in
28 25 A PLACE CALLED BLISS (LAST THURSDAY MIX) Cyclone, Network 12in
30 29 SUCKER DJ Dimples D, FBI 12in
31 24 SOUTH OF THE RIVER (UPSO MIX) Mica Paris, 4+B’ 12in
32 94 SPICE Eon, Vinyl Solution 12in
33 30 I CAN’T TAKE THE POWER (RIVA-MIX) Off-shore, CBS 12in
34 39 SOLID GOLD (VERSION) Ashley & Jackson, DFM/Big Life 12in
35 — 3 A.M. ETERNAL (LIVE AT THE S.S.L)/(GUNS OF MU MU) The KLF, KLF 12in promo
36 — HELPING HAND (INCISIVE REMIX) Arthur Miles, ffrr 12in promo
37 27 TREAT ‘EM RIGHT (CRIBB MIX) Chubb Rock, Champion 12in promo
38 31 IN ZAIRE African Business, Urban 12in
39 71 CRAZY (MIXES) Seal, ZTT 12in
40 49 LOVE IS THE MESSAGE (HELLER/FARLEY REMIX) Better Days, Virgin 12in promo
41 62 CLOSE ENCOUNTERS (CLUB MIX) Bassix, Champion 12in
42 99 RELEASE ME (STEVE ANDERSON REMIX) Fatman featuring Stella Mae, Cue/ffrr 12in promo
43 16 ANTHEM N-Joi, de/Construction 12in
44 56 CELEBRATE (CLUB MIX) Double Trouble’s Collective Effort, Desire 12in
45 76 CAN YOU FEEL ME Incognito, Talkin Loud 12in
46 — JAZZ IT UP (JAZZ MIX) CFM Band, US Underworld 12in
47 75 HELLO AFRIKA (AHHH FRKA MIX) Dr. Alban, Arista 12in
49 — THE EXORCIST (REMIX) The Scientist, Kickin 12in
50 — PSYCHE-OUT (SEX SHANK STRIP DOWN)/RADIO BABYLON Meat Beat Manifesto, Play It Again Sam 12in
51 64 DANCE tones (miXEs) Hypersonic, D-Zone 12in promo
52 52 STILL FEEL THE RAIN Stex, Some Bizzare 12in
53 47 KEEP GROOVIN (OH OH MIX)T.D.C., Big One 12in
54 — GOLD DIGGER E.P.M.D, US Def Jam 12in
55 — GREEN GRASS (THE PREDICTOR’S MIX) Cash Crew, From A Whisper To A Scream 12in
57 re DON’T DREAM IT’S OVER Less Stress featuring Katherine Wood, Boy’s Own Prods. 12in
59 44 BORN TO LOVE YA Rozala, Pulse-8 12in
60 93 THE DEVIL MADE ME DO IT Paris, US Tommy Boy 12in
61 67 ORIGINS OF DANCE (ELECTRIC FUTURE MIX) Dr. Timothy Leary meets The Grid, Rhythm King 12in
63 68 IT’S REAL (1 2-INCH VOCAL) James Ingram, Warner Bros 12in
64 — GIVE ME (CLUB MIX) Greed, D-Zone 12in promo
65 41 AFRICAN REIGN (12-INCH MIX) Deep C, M&G 12in promo
66 61 F*** THE LEGAL STATIONS/I’M NOT IN LOVE Rum & Black, Shut Up And Dance 12in
67 — CAN I KICK IT? (EXTENDED BOILERHOUSE MIX) A Tribe Called Quest, Jive 12in promo
68 43 LET’S GET ON THE MOVE Maude, Upfront 12in promo
69 45 KEEP IT UP! Y.B.U. featuring Anneli Marian Drecker, SSR 12in
70 37 RHYTHM TAKES CONTROL (ORIGINAL STYLE MIX) Unique 3 (featuring Karin), Ten 12in
71 88 SWEET POWER MC Duke/DJ Leader 1, Music Of Life 12in
72 69 KEEP IT UP L.U.P.O., Low Spirit/Yo-bro
73 — EVERYBODY LET’S SOMEBODY LOVE (CLUB MIX) Frank “K” featuring Wiston Office, Italian Unknown 12in
74 — OPERAA HOUSE (RAP) World Famous Supreme Team Show, Virgin 12in
75 83 OOBE 1/OOBE 2/OOBE 3 M.I.C., Planet Pacific 12in
76 51 SAMPLE FREE (EP) Solo, 12in white label
77 42 RESPECT Daddy Freddy, Music Of Life 12in promo
78 53 MAINFESTATION Di-Magnify, Tam Tam 12in
79 59 INSIDE OUT (ANTI-POP MIX) Electribe 101, Mercury 12in
80 re KLONK Sweet Exorcist, W.A.R.P. 12in
81 79 I HATE HATE The Sound Of Shoom featuring Eusebe, Creation 12in
83 92 EVERYBODY (ALL AROUND THE WORLD) FPI Project, Italian Disco Magic 12in
84 re NOW IS TOMORROW (EXPERIMENTS IN SOUND PART 1) Definition Of Sound, Circa 12in
86 — SADNESS Enigma, Virgin 12in
87 84 SPLIFFHEAD The Ragga Twins, Shut Up And Dance 12in
88 91 ONE WAY LOVE Synergy, Dedicated 12in
89 — FREEDOM (PRISONER MIX) A Homeboy, A Hippie & A Funki Dredd, Tam Tam 12in promo
90 re THE BEE The Scientist, Kickin 12in
91 — YOU CAN HAVE IT ALL (HIS MIX) Michelle VII, From A Whisper To A Scream 12in
92 58 COLD SENSATION Liquid Empire, Tam Tam 12in white label
93 20 THUNDER II Renegade Soundwave, Mute 12in
94 66 STAY/LOVE COMES TO MIND The Chimes, CBS 12in
95 38 I CAN’T WAIT Kariya, Sleeping Bag 12in
96 63 WHERE Love Odyssey, Urban 12in promo
97 70 IN A STATE (MIXED EMOTION) 2 For Joy, Mercury 12in
98 46 AFTERMATH Nightmares On Wax, W.A.R.P. 12in
99 48 LET’S PUSH IT (BIG BEAT MIX) Innocence, Cooltempo 12in
100 — LET ME HEAR YOU (SAY YEAH) PKA, Stress 12in

One thought on “December 15, 1990: Off-Shore, Subject: 13, The Grease Megamix, Doug Lazy, Frank “K”/Wiston Office”

  1. I find it quite interesting that JH seems to have no problem with the new harder rave sounds that are starting to appear now and that would become the dominant form of dance music in 1991/92 in contrast to his often scathing remarks about acid house an little time for a lot of it in 1988/89. I suppose that fits in with JH’s sympathy/like for what he sees as British and especially London (where something like 95% of British blacks live anyway) street music.

    I should imagine he’ll like jungle when it happens in 2 or3 years time and would have particularly loved speed garage/uk garage if he lived to see he get big – being an extremely straight from the streets scene.

    Now he is revered by anyone who knows anything about the British underground dance scene as THE godfather of it all I wonder if he had lived how long it would have been until he took up this position as the eminence gris of the whole scene. I think it would have happened sometime early in the new millennium. And that amazing autobiography cum history of the British dance scene from it’s mod beginnings in 1962/63 through reggae/northern soul/funk/jazz-funk/electro and into the house revolution which I’m sure he would have written, and would have been such a interesting definitive book which I’m sure would have gained exposure far outside just the underground dance scene. The fact that you can tell he’s a good writer and obviously very intelligent just from his columns would have helped it no end.

    And I like the idea of him now at 79 years old still pontificating from a website every few days. Although surely he couldn’t have kept up wit the latest developments in dance music all the way through till now. I myself haven’t a clue what happens after trance, hard house and uk garage lost their dominant position by about 2003/4. Except that I know that white America finally fell to rave in a big way sometime in that first decade of the millennium. Always abut 20 years late to the party as white American youth always seem to have been since the late 60s and getting things completely wrong when they do arrive! From what little I have seen the scene there it consists of thousands of pretty un-rave-like people standing rater than raving in big stadiums listening to dJ’s playing really ugly music.And I admit I have no interest in personally finding out what happened to the underground dance scene nationally and globally after those first few years of the millennium. Even trance had that detour into the sheer ugliness of technology and ultra-compression over everything else that was hardstyle, while hard house gradually became the most most boring, unimaginative music-by-numbers once Tony De Vit was no longer around to keep it on the straight and narrow and offer it at least a modicum or creativity. I just felt the new developments in popular music were no longer meant for people of my age nearing their 40s, although that hadn’t seem to have bothered JH and he was was decades older than me!

    I have in the months since the end of lockdown returned to the thriving 1980s and 90s revival scene basically full of 40 and 50 somethings whose kids have now grown up and who want to relive the music of their younger days which usually consists of all-dayers of the 12 noon to midnight variety. Far more civilised hours for people of our age than all night events. And the number of facebook pages devoted to these events and generally looking back to the electronic music we loved in the 1980s and 90s seems to grows exponentially every month. But as for new developments in popular music I have no knowledge of any of it for the last 20 plus years and no desire to know about it. But who knows what James would have done. After all after his possible wobble in 1988/89 (although I got the impression he knew far more than he told us in his column about acid house but just wasn’t very interested in it) he was still bang up to date with the scene in his mid 50s!


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