BEATS & PIECES
DISCO MIX CLUB has agreed to pay the PPL (Phonographic Performance Limited) a dubbing licence royalty of 17½ per cent, as demanded, on the full retail price of everything the club’s members purchase through their subscriptions, including not only the club’s megamixes (its original reason for existence) but also its magazines, a backdated amount to cover the latter being payable in instalments over the next few years (magazine-only sales, and promotions like the DJ Mixing Championships, are not involved) . . . Jive Bunny’s current ‘The Crazy Conga Mix’, incidentally, uses many of the same oldies and in the same order as a classic Disco Mix Club megamix, the Les Adams created ‘Laugh It Off’ from around five years ago (when it was set to the schlurping “pshta pshta” rhythm of the oddly spelt Harleqiun Fours’s ‘Set It Off’) . . . Phonogram Records have appointed Paul Martin as the new overall head of dance, co-ordinating all promotion of dance product on labels like Mercury, fontana, talkin’ Loud and Global Village, while Wendy K (recently at Sleeping Bag Records) has become the actual club promotions manager and is updating the DJ mailing list (especially for upfront, indie and soul playing jocks outside London) on 081-741 1212, extension 5476 . . . Mariah Carey’s ‘Someday’ appears to be out here too now (CBS 656583 6), although in how many of the import’s Shep Pettibone mixes (110bpm) is unclear . . . DJ’s Rule ‘Serious EP Vol-1’ (Canadian Hi-Bias Records HB-001), the four-tracker created by Nick Anthony Fiorucci (of former Bigshot Records fame) and Michael Ova on their Hamilton, Ontario, based new logo — which announces itself as “The DJ’s Label” — features the repetitive girls chanted jauntily skipping ‘Get Into The Music‘ (122bpm), jumpy Detroit techno style ‘That’s It‘ (122bpm), “you make my body hot” repeating girl moaned though passion lacking ‘Makes Me Feel Sexy‘ (120bpm), and ambient rippling water introed/outroed cantering ‘In Deep‘ (122bpm) . . . Mimmo Mix’s ‘My Way‘ (118bpm), the girl wailed and piano plonked cantering cheeky Italian rewrite of Phase II’s ‘Reachin”, has been creating quite a stir — but will any label dare to pick it up here? . . . Sweet Exorcist’s ‘Clonk‘ had a belated sudden sales surge just before Christmas, following the temporary hiatus caused while its Sheffield based W.A.R.P. label ended a fruitful association with Rhythm King’s logo Outer Rhythm and signed instead now to Pinnacle for independent distribution . . . Birmingham’s Network label has been given the rights to an exclusive Nugroove compilation of underground New York tracks, due soon along with a Retro-Techno series of remixed Detroit classics and other techno rarities . . . Stafford’s last claim to pop chart fame may have been the Climax Blues Band, back in 1976, but during an earlier even more primitive technological era in Techno City UK, as it is now fast becoming known, bleeping Nexus 21 member Mark Archer’s percussionist father played bongos and sang with the Bob Gough Sound! . . . Norman Wisdom isn’t Pete Waterman’s dad by any chance, they look awfully alike? . . . Nexus 21’s next release, by the way, will be called ‘Two Men, A Drum Machine & A Cornet’ — that’s cornet as in soft ice cream cone, Mr Whippy style! . . . DJ EZJ mixes up bleeps, house, hip hop, pop and lots of indie on freaky Dancin’ Fridays at Madchester’s 42nd Street . . . James Brown once sang (more or less, with one word changed to suit the season!), “It’s a brand new year so let a man come in and do the Funky Popcorn” . . . DAMN RIGHT!
Funny what little gems you discover when rummaging through Record Mirror’s long and illustrious history. Take this corker of a pic of DMC’s boss Tony Prince in his lesser known role as editor of the Osmonds magazine and ‘big cheese’ in the Osmonds fan club, caught here scouring Record Mirror for useful titbits. Judging by the similarity of their haircuts, Tony was obviously a big fan of Donnie himself. Those were the days eh? — Donnie, David Bowie and Nazareth all in the magazine at the same time. And just to show there’s no malice involved here, Record Mirror would like to sincerely congratulate DMC for extricating themselves from their dispute with PPL and wish them a prosperous year ahead. Coming soon: more embarrassing pics of DJs from our photo library.
Reviewed by James Hamilton and Paul Gotel
ICE CUBE ‘Kill At Will’ (US Priority Records EVL7230)
AmeriKKKa’s most wanted, the angry N.W.A. rapper’s latest instantly big selling solo album is only a six (‘n’ a bit) tracker this time (so presumably a mini-LP?), with the “Los Angeles, gang capital of the nation” documentary quote introed, violently churning Chuck D guesting ‘Endangered Species (Tales From The Darkside) (Remix)’ (108bpm), similarly churning ‘The Product‘ (110½bpm), street confrontation introed then sampled breaks weaving ‘Jackin’ For Beats‘ (104¼bpm), languidly but chillingly narrated ‘Dead Homiez‘ (84¼bpm), jolting romantic ‘Get Off My Dick And Tell Yo Bitch To Come Here (Remix)‘ (97¼bpm), and respects due namechecking ‘I Gotta Say What Up!!!‘ (88¼bpm). Radio jocks will need to be good tape reversing splicers before they can air any of it, as usual!
2ND AVENEW ‘It’s The New’ (US Alleviated Records ML-2211)
Yet another exceptionally classy Larry Heard creation, this gruffly drawling rap duo’s cooing Kriss Coleman supported friskily leaping but gentle joyous jazzy skipper is in vocal Club Mix and Short Versions (120bpm), and Mr Fingers’ breezily keyboarded Dub (120¼bpm), deserving to be big by now. Don’t miss it!
RISING HIGH COLLECTIVE ‘Magic Roundabout’ (128bpm) (Tam Tam Records TTT 038)
The Hippie from A Homeboy, A Hippie & A Funki Dredd goes it alone to produce this slow organ and ragga comments punctuated but mainly “come on” shouts exhorted, frantic thrumming and bleeping low frequency oscillated bounder, selling fast just before Christmas, flipped by the similarly tempoed but different drums throbbed bassily booming ‘Guess Who’s Back Jack‘ (125bpm), punctuated by some title answering “Jack The Ripper” stutters.
EVE GALLAGHER ‘Love Come Down (Remix)’ (More Protein PROTX 612, via Virgin)
The Switzerland based sultry Sunderland siren’s fabulous subtle jiggling slinker has been selling all over again in Phil Chill’s piano plonked even slinkier stripped down sinewy Full 12 inch Mix (100bpm), flipped for contrast by Bruce Forest’s lushly arranged almost swingbeat-ish jauntier soulful Subwoofer Mix (100½bpm).
TRILOGY ‘Love Me Forever Or Love Me Not’ (US Atco 0-96400)
Ever busy Robert Clivilles & David Cole’s latest creation (ignoring their surprisingly disappointing C&C Music Factory album), this sax squealed, fatback drums and cowbell tapped ultra jiggly pure funk groove eventually erupts with some loosely rambling rap, in bragging “the sounds you are about to hear will be devastating to your ear” introed Clivilles & Cole Club and sparser jittery instrumental Clivilles & Cole Dub Dub Mixes (109bpm), tighter vocal R&B Radio and fully sung rather than rapped Club Vocal Mixes (109¼bpm).
ESSENCE ‘Just A Touch’ (US Strictly Rhythm SR 1224)
Wayne Gardiner’s hot double-sider is getting most attention both here and in the States for this trickily time signatured but otherwise lushly ambient jazzy keyboards instrumental, in bumpily clicking and leaping Jazz Element (122½bpm) and blander more easily thumping washing machine style Smooth (122¼bpm) Mixes, coupled by the stark ‘Set It Off’ meets ‘Disco Connection’-ish jerky ‘Moments In House’, in Full Effect and Dub Mixes (121¼bpm).
MADONNA ‘Justify My Love’ (US Sire 0-21820)
This, the US pressing of her controversial smash, includes two additional alternative remixes, Andre Betts’ percussive break beats rumbled sensuous slinky Hip Hop Mix (96bpm) — with a useful, non-broadcastable, outro! — and writers Lenny Kravitz & Madonna’s own Indian orchestrated, satanic verses reciting The Beast Within Mix (96bpm), as well as William Orbit’s UK issued sexily juddering Orbit 12 inch Mix (99½bpm) and Shep Pettibone’s twittery lurching ‘Express Yourself (1990) (Shep’s ‘Spressin’ Himself Re-remix)‘ (116bpm).
JIVE BUNNY AND THE MASTERMIXERS ‘The Crazy Party Mixes’ (Music Factory Dance MFDT 010, via BMG)
On a two tracker given the above generic title, the A-side’s smoothly sequenced thumping The Crazy Conga Mix’ (123½-123¼bpm) weaves ‘I Came, I Saw, I Conga’d’ around Lonnie Donegan’s ‘My Old Man’s A Dustman’, George Formby’s ‘When I’m Cleaning Windows’, Peter Sellers’ ‘Any Old Iron’, Scaffold’s ‘Gin Gan Goolie’, Donegan’s ‘Does Your Chewing Gum Lose Its Flavour (On The Bedpost Over Night)?’ and Formby’s ‘I’m Leaning On A Lampost’, usefully strong, while the AA-side’s less punchy and more self indulgent ‘The Crazy Party Mix (Extended Mix)‘ (134½bpm) runs together ‘Oh Susannah/The Yellow Rose Of Texas/William Tell Overture/Flight Of The Bumble Bee/Yankee Doodle Dandy/Scotland The Brave/When The Saints Come Marching In/Blue Tailed Fly/Entry Of The Gladiators/Shortnin’ Bread/Chopsticks/The Sailor’s Hornpipe’ through silly cartoon sound effects, both sides fluctuating fractionally.
MAUREEN ‘Where Has All The Love Gone’ (122¾-122½bpm) (Urban URBX 65)
Originally promoed with a deliberately uninformative label that could be (and was!) interpreted as ‘Love Odyssey’ by Where, ‘Where’ by Love Odyssey, or indeed either title by Icehouse, the throbbing instrumental electro strider with bleeps, stuttery effects and familiar sounding samples that was initially circulated in fact has turned out to be the B-side Rockhouse Love Odyssey Mix of this, Maureen Walsh’s Rockhouse produced newie, which is fleshed out with plonking Italo house-type piano, stabbing shrill synthetic strings and some attractive nasal wailing to become the A-side’s Rockhouse Mecca Mix, and shorter fully vocal Rockhouse Radio Mix (122¾bpm), out this week.
EPMD ‘Gold Digger’ (US Def Jam recordings 44 73633)
Erick & Parrish Makin’ Dollars return with an ‘Atomic Dog’-ish murkily rolling, James Brown introed and punctuated, wordily muttering bitter rap that dis’s the gold digging dames they’ve fallen for and ended up paying alimony to, in E&P Remix (104¾bpm) and Vocal (105¼bpm) versions plus respective Instrumentals, and the lethargically tugging ‘Rap Is Outta Control‘ (88¾bpm).
CASH CREW ‘Green Grass (The Predictor’s Mix)’ (95bpm) (From A Whisper To A SCREAM WTST 1, via Virgin)
Previously signed to Vinyl Solution but now on a new label (divided into two halves, logo emphasis on Scream denoting dance music while emphasis on Whisper would denote more mellow blues, latin and stuff), the Notting Hill rappers get lyrically ecological while Amare provides bursts of sweet lovers rock style female chorus on this attractive jazz-funk jogged slinky jiggler, flipped by the judge introed frantic word spitting ‘Ghetto Circumstances (12 inch Mix)‘ (120bpm), and Spanish girl chattered and groaned twittery disjointed beat losing techno type ‘Hump‘ (124bpm).
PICK-4 featuring M.C. DUKE ‘Think (Just A Little Bit)’ (105¼bpm) (Global Village NORDJ 3)
As originally promoed by Phonogram, this title repeating girls chanted and MC Duke rapped lazily lurching jogger was flipped by the ‘Think Wicked’ and ‘Last Night (Original Mix)’ slower dubwise variations (104bpm) of the same track, but since then the A-side has been added on a different label to the now “MC”-less rapper’s Simon Harris partnered, wailing girl duetted,
DUKE & D.J. LEADER ONE ‘Sweet Power’ (118¼bpm) (Music Of Life NOTE 42, via Pinnacle Recuts),
a JB funk churning jittery frenetic word spitter in just its Hip Hop Version and sparser Alternative Hip Hop Mix, these in turn on another separate promo having originally been B-side to a more bossily wriggling R’n’B Version (118bpm).
TEKNO TOO ‘Feeel The Power’ (122¼bpm) (D-Zone Records DANCE 006, via SRD)
Due to launch Romford based André Jacobs’ rapidly rising eccentric label’s new distribution deal when fully released on January 21, this thrumming and spurting jerky bleeper is not necessarily quite as compulsive as the logo’s earlier Bassix or Hypersonic singles but will obviously attract attention, flipped by perhaps livelier more consistently wriggling ‘Feeel The Clonk‘ and short ‘Feeel The Dub‘ variations (122bpm), the tracks’ titles as usual being etched into the actual vinyl between the grooves!
GREED ‘Give Me’ (122½bpm) (D-Zone Records DANCE 004, via 0831-472804)
More Italo house than bleep in style, this cheeky samples woven jauntily thudding bounder is stuffed full of familiar riffs, with some “you gotta give it all to me, gotta give it all today” vocals added to the AA side’s mix.
Dr. TIMOTHY LEARY meets THE GRID ‘Origins Of Dance’ (123½bpm) (evolution EV 01, via Rhythm King)
The Sixties’ “tune in, turn on, drop out” acid guru, Dr. Leary has some of his psychedelic pronouncements — in particular, “Think for yourself, and question authority” — sampled spasmodically through Richard Norris & David Ball’s twittered and synthed calmly though briskly throbbing atmospheric electro track, in Electronic Future and Hi-Tec Pagan Mixes, too classy to be dismissed as a mere bleeper.
JAMES INGRAM ‘I Don’t Have The Heart‘ (22¼/44½-89bpm) (Warner Bros W9911T)
His US hit schmaltzy radio ballad (with a rock guitar backed big finish) is here much more hotly coupled by the Shep Pettibone remixed thumping smooth soulfully anguished ‘It’s Real’ (115¼bpm) in 12″ Vocal and more bossily jolting Real Dubbed Vocal versions, building infectious power.
Malcolm McLaren presents the WORLD FAMOUS SUPREME TEAM SHOW!! ‘Operaa House’ (117¾bpm) (Virgin VST 1273)
Originated as an award winning but subsequently little shown British Airways TV commercial’s operatically warbled ‘Aria On Air’ tune (also 117¾bpm, available just on the seven inch flip), this still soaringly operatic but more beefily chugging, chanting and at times fiercely rapping (by its versatile diva Mona Lisa Young as well as MC Hamlet) dancefloor adaptation is flipped on 12 inch by starker dubwise variations, ‘Diva Loves Operaa House‘ retaining the operatic bits and ‘Die For Love’ giving the rap a chunkier setting — while, sturdiest of all now, the remixed separate new vigorously lurching and smacking ‘Operaa House (Rap?)’ (118bpm) (VSTX 1273) is filled with Mona Lisa and Hamlet’s rap interplay, and flipped by a good jauntily driving ‘House Of Operaa’ (118bpm) instrumental house style treatment.
TWENTY 4 SEVEN featuring Captain Hollywood ‘Are You Dreaming?’ (123¾bpm) (BCM Records BCM 12505, via Pinnacle)
Another breezy pop rap galloper that may be a big chart hit but has meant little at club level outside the most commercial venues, released in Nightmare Mix, Radio Edit, sparsely pounding percussive Dream Dub and Acappella versions, although rather oddly promoed just to clubs as a much more sturdily wriggling hip house style Bruce Forest Club Mix (123¼bpm) (BCM 12504), flipped by his bassily chugging instrumental (123½bpm) and the Nightmare Mix again.
PENETRATION ‘Forced Entry’ (124bpm) (Dutch Go Bang! Records BANG 009)
Its name and titles reveal the thinking behind Lenny Dee, Eddie de Clercq & Nico Vorkapich’s New York recorded instrumental four-tracker, with this beefy bass throbbed and hip house drums driven speedy jiggler, the sparse then fiercely throbbing ‘Flash‘ (126bpm), bleepier frantically churning ‘Basic Penetration‘ (124bpm) and even more frantic simple bleepy rumbling ‘Rear Entry‘ (126bpm), get the picture?
BASSHEADS ‘The Defhouse E.P. Vol 1’ (Defhouse DESA 1, via 051-647 2208)
White labelled by DJ Desa from Birkenhead’s Defhouse club, this (long) 33⅓rpm four-tracker has the electro bubbled and “keep your body movin'” girls stuttered gradually developing ‘Do You Like Bass’ (120½bpm), thunderstorm introed/outroed tinnily jangled and anguished “oh yeah” punctuated dubwise sparse jittery then (following further lengthy thunderstorm interruption) more smoothly thumping ‘Trip Along With Me‘ (100¼bpm), mellow soulful guys mumbled attractive bouncily striding ‘What Is Love‘ (110¼bpm), and concert crowd reaction overdubbed thrashing and plonking ‘Everybody In The House Make Some Noize‘ (115¼-115bpm), some of the tape edits losing the beat. Spot the sources for yourselves!
DI-MAGNIFY ‘Manifestation’ (124bpm) (Tam Tam Records TTT 037)
Starting with looped wordless ethereal vocal tones and a calmly thrumming bass beat before fiercer more frenetic drum and organ breaks cut in, this rave aimed repetitive instrumental wriggler is prodded by its ragga enunciated title line and some oddly mirthless guffaws, missing from the bleepier B-side mix (124½bpm) which is fiercely thrashed from the start, with really speaker shaking bass resonances.
LIQUID EMPIRE ‘Cold Sensation’ (123bpm) (Tam Tam Records TTT 034, via Pacific)
With an atmospheric intro to its lead A-side mix that suggests Australian aboriginal influences, this then pounding and booming, bleeping and leaping, percussively clanking galloper has a few tribal type “koom ba yay” chants too, with three further variations on info lacking white label, two being in less exotic straightforward speedy electro house style.
D – M – S ‘A Brand New World’ (127bpm) (Production House PNT 018)
Kicked off by a “here we go again” comment, here we go again indeed with another cash-in bleeper, at least using an imaginative fluidly strutting bassline that’s different enough as it speedily chugs and flutters through the Dub Plate, A New Dawning, and A Brighter Day Mixes.
JU-JU ‘The Happy Dance’ (123bpm) (Oh’Zone Records ZONE 004, via 071-384 2320)
Created by Ju-Ju (for Mfufu’s Big Elephant Productions!) on Jazzy M and Jasper VJ’s label (J & J = Ju-Ju?), based at their Vinyl Zone record shop in London’s New Kings Road, this jerky low frequency oscillation clonked tapping and droning bleeper starts so disjointedly that its beats may be easier to mix a bit further in, the flip’s washing machine tone clonking ‘Daybreak‘ (123½bpm) being breezier and possibly better.
DEE GEE featuring ATTLEE & M.C. BWOSS ‘Young Free & Single’ (106¼bpm) (Upfront UPFX 4, via BMG)
Originally promoed on a private pressing back in July, Medway DJ ‘Disco Gary’ VanDenBussche’s pleasant juddery swaying revival of Sunfire’s 1982 classic is sung in attractively dated Phil Fearon-ish style by tremulously quavering ‘Starlight Express’ dancer Attlee Baptiste, with some opening and closing comments from young ragga rapper M.C. Bwoss, flipped by the Paro Jay rapped ‘Popcorn’/ ‘Tom’s Diner’/’Dance To The Music’ and other elements woven, rave artists namechecking ‘Rave It Up (This Way)’ (123½bpm), and murkily bumping ‘Jump To It’/’Hear The Drummer Get Wicked’ title lines weaving ‘Have Some Fun’ (108¾bpm), none quite as determinedly trendy as other recent DJ offerings.
ORCHESTRA ON THE HALF SHELL ‘Turtle Rhapsody (Extended Mix)’ (121¾bpm) (SBK 12SBK 17)
As exclusively revealed some time ago, Music Factory’s Dave Roarty remixed this house piano plonked stuttery juddering jerkily chanted latest paean to those Teenage Mutant Ninja Turtles, flipped by the soundtrack’s also juddery and brassily shrill but more rollingly thudding instrumental Album Version (122bpm), plus the previously chart topping lugubriously rapped PARTNERS IN KRYME ‘Turtle Power (Album Version)’ (105bpm).
TECHNOTRONIC featuring Melissa & Einstein ‘Turn It Up (International 3)’ (111½bpm) (Swanyard Discs Ltd SYDT 9)
The first single featuring the act’s new South London rappers is sadly far from street cred, a dreadful jerkily lurching judderer with all the charm of a three legged hippo (Everlasting Loop Version and Dub Mix too). Can even 13 year olds like this?
PAVESI SOUND ‘I’ll Never Lose’ (113bpm) (Italian Inside IN 6071)
Produced by Maurizio Pavesi, this pleasant enough quite soulful girl wailed jiggly loper has interesting electronically stuttered ‘Din Daa Daa’-ish chipmunk pitched vocal support that is almost scat like in effect, echoing the brass breaks in both the Club Mix and (not very) Instrumental, or totally dominating the Trend Mix.
SUBLIMINAL AURRA ‘(The Next Phase)’ (US Fourth Floor Records F-1119)
Whipped together by Lenny Dee, Victor Simonelli and Tommy Musto, this five-tracker has the mumblingly echoed Rob Smalls rapped, electronically droned and shuffled ‘It Puts Me In The Mood’ (122¾bpm) and main rap lacking ‘It Puts Me In The Instrumental’ (122bpm), flipped by the rave aimed ecstasy promoting Yazoo ‘Don’t Go’ quoting ‘Try Yazz On E (Feel The Difference)‘ (124bpm), girl moaned mystically swirling ‘The Mist (Fallout Mix)‘ (120bpm) and its largely sound effects backed ‘Mist Is In My Mind‘ version.
SYNERGY ‘One Way Only’ (119¾bpm) (Dedicated ZT 44034, via BMG)
Possibly preferable in its less vocal ‘One Dub Only’ instrumental, this quite jauntily percolating and pounding bouncy bleeper has a flat female vocal weaving through it in pop-aimed rave style, with a bleepless alternative more urgent but monotonously vocal B-side mix (123bpm).
MICHELLE VII ‘You Can Have It All’ (From A Whisper To A SCREAM WTST3, via Virgin)
This Wapping warbler’s Jolley/Harris/Jolley created rumbling jiggly Soul II Soul-ish breakbeat backed judderer meanders through a “you got it” male punctuated bass bin shaking His Mix (100¾bpm) as 12 inch A-side, flipped by a quite different girls chorussed more slinkily fluid My Mix (101bpm) and its similar 7″ Mix edit.
VARIOUS ARTISTS ‘Christmas Bootie’ (white label)
IZIT ‘Make Way For The Originals’ / ‘Make Way For The Solos’
ALANDA ‘Night By Night’ (Club Mix/Late Night Mix/Hurley’s House Mix/M. Doc’s Night)
GEE DOUBLE E ‘Fire When Ready’ / ‘When Does It Hurt’ / ‘Gees Theme’
D SHAKE ‘My Heart, The Beat’ / ‘Dance The Night Away’
ADONTE ‘Feel It’
ATAHUALPA ‘La Furia Y El Condor’
KATHERINE E ‘I’m Alright’
3 TIMES DOPE ‘Mr Sandman’ (Cosmic Remix/Extended Club Mix)
NORTHERN LIGHTS ‘Jet Lag’ (Red Light Club/Central Station Dub)
No Club Chart this week.
1990 YEAR END CLUB CHART
01 GHETTO HEAVEN Family Stand, Atlantic 12in
02 GROOVE IS IN THE HEART Deee-Lite, Elektra 12in
03 GOT TO HAVE YOUR LOVE Mantronix, Capitol, 12in
04 IT’S A SHAME (MY SISTER) Monie Love, Cooltempo 12in
05 NATURAL THING Innocence, Cooltempo 12in
06 DOWN TO EARTH Monie Love, Cooltempo 12in
07 LET’S PUSH IT Innocence, Cooltempo 12in
08 LIVIN’ IN THE LIGHT Caron Wheeler, RCA 12in
09 THE POWER Snap, Arista 12in
10 A DREAM’S A DREAM Soul II Soul, 10 Records 12in
11 THE MASTERPLAN Diana Brown & Barrie K. Sharpe, ffrr 12in
12 EVERYBODY Wendell Williams/Criminal Element Orchestra, de/Construction 12in
13 HOLD ON En Vogue, Atlantic 12in
14 DUB BE GOOD TO ME Beats International/Lindy Layton, Go Beat 12in
15 MOMENTS IN SOUL J.T. & The Big Family, Champion 12in
16 WHAT “U” WAITIN’ “4”? Jungle Brothers, Eternal 12in
17 TRIPPIN’ ON YOUR LOVE A Way Of Life, Eternal 12in
18 LFO LFO, WARP/Outer Rhythm 12in
19 TOM’S DINER DNA featuring Suzanne Vega, A&M 12in
20 MONIE IN THE MIDDLE Monie Love, Cooltempo 12in
21 OOOPS UP Snap, Arista 12in
22 FOUND LOVE Double Dee featuring Dany, Epic 12in
23 TECHNO TRANCE (PARADISE IS NOW)/YAAAAAAAAAAH D-Shake, Cooltempo 12in
24 CHIME Orbital, ffrr 12in
25 WHATEVER MAKES YOU HAPPY Ten City, Atlantic 12in
26 ELEVATION Xpansions, Optimism/Arista 12in
27 WHERE LOVE LIVES Alison Limerick, Arista 12in
28 GET A LIFE Soul II Soul, 10 Records 12in
29 GOING BACK TO MY ROOTS FPI Project, Rumour 12in
30 JOY AND HEARTBREAK Movement .98 featuring Carroll Thompson, Circa 12in
31 FIRST TIME EVER Joanna Law, Citybeat 12in
32 SILENT VOICE Innocence, Cooltempo 12in
33 DON’T BE A FOOL Loose Ends, 10 Records 12in
34 TOUCH ME 49ers, Fourth & Broadway 12in
35 DIRTY CASH (MONEY TALKS) The Adventures Of Stevie V, Mercury 12in
36 MISSING YOU Soul II Soul (vocals: Kym Mazelle), Ten 12in
37 UK BLAK Caron Wheeler, RCA 12in
38 MOTHERLAND A-FRI-CA Tribal House, Cooltempo 12in
39 LIVE TOGETHER Lisa Stansfield, Arista 12in
40 BACK TO REALITY The Intelligent Hoodlum, A&M PM 12in
41 AFTERMATH/I’M FOR REAL Nightmares On Wax, WARP 12in
42 GONNA MAKE YOU SWEAT C&C Music Factory featuring Freedom Williams, CBS 12in
43 GET UP (BEFORE THE NIGHT IS OVER) Technotronic featuring Ya Kid K, Swanyard 12in
44 DER ERDBEERMUND Culture Beat featuring Jo Van Nelsen, Epic 12in
45 NRG Adamski, MCA 12in
46 I’M STILL WAITING (PHIL CHILL REMIX) Diana Ross, Motown 12in
47 THINKING OF YOU Maureen Walsh, Urban 12in
48 WHAT TIME IS LOVE? (LIVE AT TRANCENTRAL) The KLF, KLF Comms. 12in
49 TRICKY DISCO Tricky Disco, WARP/Outer Rhythm 12in
50 HEAVEN The Chimes, CBS 12in
51 LOVE COME DOWN Eve Gallagher, More Protein 12in
52 HEAR THE DRUMMER (GET WICKED) Chad Jackson, Big Wave 12in
53 FREE Tammy Payne, WEA 12in
54 LOVING YOU Massivo featuring Tracy, Debut 12in
55 PURE G.T.O., Cooltempo 12in
56 FANTASY Black Box, de/Construction 12in
57 PORTRAIT OF A MASTERPIECE The D.O.C., East West 12in
58 FACTS OF LIFE Danny Madden, Eternal 12in
59 I’LL BE GOOD TO YOU Quincy Jones featuring Ray Charles & Chaka Khan, Qwest 12in
60 DON’T MISS THE PARTYLINE Bizz Nizz, Cooltempo 12in
61 POWER OF LOVE Deee-Lite, Elektra 13in
62 WHAT’S IT ALL ABOUT Run DMC, Profile 12in
63 IT’S HAPPENIN’ Plus One featuring Sirron, MCA 12in
64 SUN WORSHIPPERS Diana Brown & Barrie K. Sharpe, ffrr 12in
65 FASCINATING RHYTHM Bass-O-Matic, Guerilla 12in
66 IT’S OVER NOW Ultra Naté, WEA 12in
67 THE MAGIC NUMBER De La Soul, Big Life 12in
68 REACH UP TO MARS Earth People, Champion 12in
69 LOVE’S GOT ME Loose Ends, Ten 12in
70 FEEL THE GROOVE Cartouche, Brothers Organisation 12in
71 A MATTER OF FACT Innocence, Cooltempo 12in
72 BONITA APPLEBUM A Tribe Called Quest, Jive 12in
73 TAKE YOUR TIME Mantronix, Capitol 12in
74 STRAWBERRY FIELDS FOREVER Candy Flip, Debut 12in
75 KILLER Adamski, MCA 12in
76 HARD UP Awesome 3, A&M PM 12in
77 IN ZAIRE African Business, Urban 12in
78 20 SECONDS TO COMPLY Silver Bullet, Tam Tam 12in
79 LOVE DON’T LIVE HERE ANYMORE Double Trouble, Desire 12in
80 LIES En Vogue, Atlantic 12in
81 ANTHEM N. Joi, de/Construction 12in
82 PUT YOUR HANDS TOGETHER D. Mob, ffrr 12in
83 WELCOME Gino Latino, ffrr 12in
84 ALL NIGHT LONG Jay Mondi And The Livin’ Bass, 10 Records 12in
85 WON’T TALK ABOUT IT Beats International, Go Beat 12in
86 WASH YOUR FACE IN MY SINK Dream Warriors, Fourth & Broadway 12in
87 DO YOU DREAM Carlton, 3 Stripe/ffrr 12in
88 COME TOGETHER AS ONE Will Downing, Fourth & Broadway 12in
89 PACIFIC 202 808 State, ZTT 12in
90 TOTAL CONTROL A Homeboy, A Hippie & A Funki Dredd, Tam Tam 12in
91 COMING BACK FOR MORE LA Mix, A&M PM 12in
92 OUTSTANDING Kenny Thomas, Cooltempo 12in
93 THE CULT OF SNAP! Snap!, Arista 12in
94 SINCE DAY ONE Teena Marie, Epic 12in
95 AIN’T NO STOPPIN’ US NOW Big Daddy Kane, Cold Chillin’ 12in
96 WALK ON THE WILD SIDE Beat System, Fourth & Broadway 12in
97 INFINITY (1990’S: TIME FOR THE GURU) Guru Josh, de/Construction 12in
98 WEIGHT FOR THE BASS Unique 3, 10 Records 12in
99 (I WANNA GIVE YOU) DEVOTION Nomad featuring MC Mikee Freedom, Rumour 12in
100 THAT MAN (HE’S ALL MINE) Inner City, Ten 12in
1990 CLUB CHART TOPPERS
Jan 6 – GET A LIFE (CLUB MIX)/JAZZIE’S GROOVE (NEW VERSION) Soul II Soul (10 Records) – 1 wk
Jan 13 – GOT TO HAVE YOUR LOVE (MIXES) Mantronix (featuring Wondress) – 6 wks
Feb 24 – DUB BE GOOD TO ME Beats International – 1 wk
March 3 – NATURAL THING (ELEVATION/SUNSET) Innocence – 1 wk
March 10 – MOMENTS IN SOUL (MIXES) J.T. And The Big Family – 1 wk
March 17 – NATURAL THING (ELEVATION/SUNSET) Innocence – 2 wks
March 31 – GHETTO HEAVEN (THE JAZZIE B MIX) The Family Stand – 4 wks
April 28 – A DREAMS A DREAM (A NIGHT AT THE OPERA MIX/CLUB DUB)/COURTNEY BLOWS Soul II Soul – 5 wks
June 9 – THE MASTERPLAN Diana Brown & Barrie K. Sharpe – 4 wks
July 7 – FIRST TIME EVER (MELLOW GROOVE/BUMPY) Joanna Law – 1 wk
July 14 – OOOPS UP/(THE OTHER MIX/INSTRUMENTAL) Snap – 1 wk
July 21 – FIRST TIME EVER (MELLOW GROOVE) Joanna Law – 1 wk
July 28 – LFO (THE LEEDS WAREHOUSE MIX) LFO – 2 wks
August 11 – TOM’S DINER DNA featuring Suzanne Vega – 1 wk
August 18 – GROOVE IS IN THE HEART (MEETING OF THE MINDS MIX)/WHAT IS LOVE (HOLOGRAPHIC GOATEE MIX) Deee-Lite – 5 wks
September 22 – LIVIN’ IN THE LIGHT (BRIXTON BASS MIX) Caron Wheeler – 1 wk
September 29 – IT’S A SHAME (MY SISTER) Monie Love featuring True Image – 2 wks
October 13 – EVERYBODY (RAP) Criminal Element Orchestra featuring Wendell Williams – 1wk
October 20 – LET’S PUSH IT (BIG BEAT MIX) Innocence – 3 wks
November 10 – WHATEVER MAKES YOU HAPPY (NEW YORK CITY MIX) Ten City – 1 wk
November 17 – DOWN TO EARTH (TOUCH DOWN MIX) Monie Love – 5 wks
December 22 – GONNA MAKE YOU SWEAT (SLAMMIN’ VOCAL CLUB MIX) C&C Music Factory (featuring Freedom Williams) – 2 wks
One thought on “January 5, 1991: Ice Cube, 2nd Avenew, Rising High Collective, Eve Gallagher, Trilogy, 1990 Year End Chart”
Although James no longer appears to be the pivotal figure that he was a year ago (sharing his space with guest reviewers, leaving the collation of the Club Chart to Alan Jones, generally going out and about less, and not even compiling his Hammy Awards for 1990), he’s still doing a creditable job with keeping up with as broad a spectrum of dance music as he is able, and giving all of it a fair hearing.
As 80snights recently observed, he is giving a particularly fair hearing to the tougher post-acid sounds that were being played at warehouse parties and raves; indeed, he actually seems to be enjoying a lot of it. He might have been scathing about acid just over two years ago, but his ire had been mostly directed at the bandwagon jumpers, reducing an exciting genre to formularised hackwork, and elbowing anything more soulful out of the picture.
That picture is different now. The bandwagon jumpers have moved on, and the new breed of rave acts are continuing to innovate and startle, something which a musically progressive soul like James could easily respect. And as for the more soulful stuff, it is flourishing once again, with more downtempo tracks dominating the upper reaches of the Club Chart throughout the year. The success of Soul II Soul, still going strong in 1990, paved the way for a lot of this, and radio has helped, too: Jeff Young’s Friday night Radio One show championed most of the biggest tunes, and now it’s KISS FM – newly relaunched, and still being run by soul lovers – who are keeping the faith (as well as promoting ravier stuff on their specialist shows).
Looking at the year-end listings, it’s a surprise to find that the act who scored the most hits (4) on the Top 100 are Innocence, now barely remembered. Just behind them, with three apiece, are Monie Love, Snap and Soul II Soul. Meanwhile, the highest placed warehouse/rave/techno track on the year-end 100- and the only such track to top the Club Chart – is LFO’s “LFO”, which places at #18. Plenty of this stuff is charting – indeed, the Club Chart is more volatile than ever – but less of it endures, as the constant churn of new underground releases continues to quicken.
At this point, it is becoming almost impossible to provide a comprehensive weekly guide to all aspects of dance music culture, at least as a subsection within a magazine that has a wider remit (and which is increasingly struggling to fulfil that remit, gradually printing fewer features and more filler). There’s not really a centre any more, just a cluster of scenes that, after the big bang of 1988, are slowly drifting apart. So, where do we go from here?
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