BEATS & PIECES
NETWORK RECORDS, following last week’s lead story, have initially promoed True Faith featuring Final Cut’s ‘Take Me Away’ (NWKT 20) as a single sider in just their own more jerkily spurting remake of the bootleg Pin Up Girl Remix, original singer Bridgett Grace echoingly wailing through its by turns jangling, pounding, bubbling and shuffling amalgamation with Kaos’s ‘Definition Of Love’ piano (123-122bpm), this pressing being a bit of a collectors’ item as the mix on it will not be out commercially . . . Jay Mondi, no longer on Ten Records, is another to add to the growing list of those who have actually covered rather than bootlegged ‘Take Me Away’, her Chris Paul produced piano and organ pounded bounding treatment in Raw, Smooth, and Acappella Mixes (121½bpm) being already out on Raw Bass (12 R BASS 010) . . . Yvonne Elliman’s 1976 UK and US smash slinkily jogging ‘Love Me‘ (75¼-75bpm) has obviously now become a rare groove as its original seven-inch version is bootlegged —credited to Evon Elemen! — on a currently fast selling 12-inch (Midnight Music WCC 116), flipped perhaps more unexpectedly by Rupert Holmes’s lurching 1979 US Christmas number one ‘Escape (The Pina Colada Song)’ (70bpm) — spelt, this side with no artist credit, as ‘Pinacolladar’! . . . Jazzy Jason is launching a “real hardcore dance music” Pure Bhoomie label alongside the more hip hop orientated Blapps! Records, and is building a DJ mailing list for it on 0860 797652 (only apply if you and your crowd are truthfully tuff!) . . . Sony Music Entertainment UK (formerly CBS) has completely stopped manufacturing vinyl records in this country, all its vinyl coming from its Dutch pressing plant. Already in the US it’s almost impossible to find anything new other than dance releases (thankfully) on vinyl . . . Ten Records have packaged Inner City’s ‘Till We Meet Again’ in a limited edition gatefold sleeve, its two pockets however holding only one record (TENG 337), with Kevin ‘Master Reese’ Saunderson’s muted trumpet introed resonant bass bumped but strange very disjointedly surging Reese In Rio Mix (103¼bpm), better bassily loping trumpet rasped instrumental Places And Spaces Mix (102bpm) and self descriptive Almost Acappella Mix, the second pocket being to encourage purchase of the now also due separate stronger Remix (TENR 337), with Kevin’s sitar plinked solid jiggly chugging Reese In London Mix, sparser Reese In Detroit Mix and original far from compulsively danceable Reese In Rio Mix (all 103¼bpm) — the song is whinneyingly duetted by Paris Grey with fellow Chicagoan Byron Stingily from Ten City, except she recorded in Detroit and he recorded in New York two months later, and never the twain did meet! . . . Optimism Records/Arista have reissued Xpansions’ ‘Elevation’, yet another revived club hit from last year with sales then that didn’t reflect its floor support, now retitled as ‘Move Your Body (Elevation)‘ (613 683) . . . The Redmen’s ‘You’re My Way’, reviewed on import last week, is out here on Rumour Records in three weeks . . . DJ Atomico Herbie’s jerkily pounding D.J. H. featuring Stefy ‘Think About… (12″ Mix)‘ (119¾bpm) is here coupled by just its totally different wukka wukked then reedy organ jittered rattling sparse instrumental Crazy Mix (120bpm) . . . Flav-A-Flav-A-Flav presents Son Of Bazerk Featuring No Self Control And The Band (to give them their full name!) “change the style” of ‘Change The Style‘ from its basic James Brown groove (114bpm) with abrupt slow reggae (80bpm), sweet soul (38¼bpm), and heavy metal outro (117bpm) interruptions — these could come as a surprise, so do be warned! . . . March 1/2/3 in fact finds three weekenders at different Butlins camps, The Main Event at PwIlheli’s Starcoast World, the gay CAMP camp at Skegness’s Funcoast World, and the Scottish/North Of England Unity at Ayr’s Wonderwest World, this being apparently the first full scale weekender ever in Scotland, with DJs Carl Cox, Sasha, Fabio, Groove Rider, Nightmares On Wax (yes, dee-jaying), Jackie Morrison, Joe Deacon, Scot Gibson, Zamo and Harri, plus appearances by Caveman, N-Joi, Sindecut, Xpansions, K-Klass and more (£50 booking details on 0382 644003) . . . DJ Tat, DJ Clifton and Martin C have just started free admission weekly Chill Out Tuesdays 7-11pm in Chesterfield’s The Spires (next to the Regal), promising a musical cross section (but no visible Y-fronts!) . . . New York’s Shag club opens in London this Thursday (21) and then weekly at Wall Street in Mayfair’s Bruton Place, with Pulse DJs, Humanoid and Mental Cube supplying split level sounds . . . Ubiquity takes place at the Horizon Club on Kilburn High Road in London this Friday (22) featuring DJs Tim Simenon, Streets Ahead and Morgan with a PA by Chapter & The Verse . . . AS IT GROOVES!
The week’s new club promos and remixes reviewed by James Hamilton and Paul Gotel
TOM TOM ‘Replay’
SPACETRAX (VOL. ONE) ‘Where Are You Now’
CLUBLAND ‘Pump That Sound (Like A Megablast) (Blow Your Mind Mix)’
DIGITAL BOY ‘OK! Alright’
BASS BUMPERS ‘Can’t Stop Dancing’
HERB ALPERT ‘North On South St.’ (US A&M 75021 2356 1)
The delicately tootling trumpeter’s hottest dance hit for years, on a massive seven track 12-inch (if you’re gonna use vinyl you might as well use it!), this starts out as a mumbling and giggling accompanied wriggly little jiggler in its LP Version (117¼bpm), before being remixed in Bobby Konders’s ambient effects backed whompingly striding lean Massive Sound 12″, Massive Sound 7″, and more sparsely smacking Late Night Massive Sound Remix treatments (all 117½bpm), flipped by Greg Smith’s 117.2bpm “c’mon let’s work” punctuated different funkily burbling Hip Housed Out 12″, Black Riot-type organ prodded pshta pshta-ing Deep Dub Version and similarly cantering Deep House Main Mix 12″ treatments (all 117¼bpm), the whole lot adding up to nearly 38 minutes. We’ll be lucky to get just three of these mixes on one piece of vinyl if it comes out here, thanks to UK chart rules.
FRIENDS OF MATTHEW ‘Out There’ (MCN 001, via Slammer)
A huge seller at Vinyl Zone already, this white labelled creation by three well known but, for the time being, anonymous club DJs from south of London is an ethereal choirboy-like “see me, feel me, hear me, love me, touch me” cooed and “is anybody out there” vocoder interspersed through a primarily instrumental thrumming frisky attractive electro shuffler, with some Kraftwerk ‘Autobahn’-type effects but no real bleeps, in Raw (125½bpm), “let’s go back to your childhood” introed Techno (125½bpm) and Garage (124bpm) Mixes, coupled also by the beefier leaping frequency oscillations and ‘TSOP’ brass combining ‘Obey‘ (126bpm), worth finding.
L.A. MIX ‘Coming Back For More’ (A&M/PM 397 089-1)
Not quite as good an album for dancers as their variety-packed ‘On The Side’ debut set from 1989, Les & Emma Adams’ second LP is, however, more mature and designed to flow for consistent home listening, its two infectious floor-filling standouts being the already much mentioned Whispers’ ‘It’s A Love Thing’ title line adapting D. Marcus C. rapped jumpily chugging ‘Love Thang’ (109¼bpm), and the maddeningly catchy Pink Floyd meet Soul II Soul-type jittery swaying Angel C. chorussed ‘Live For Love’ (99bpm), not to be missed, while there are also of course the fruity sax farted and Leslie George souled slinkily rolling ‘Coming Back For More‘ (101¼bpm), Beverley Brown wailed and D. Marcus C. rapped current lovely ‘Mysteries Of Love‘ (101¼bpm), Juliet Roberts cooed pleasant shuffling ‘One Love One Touch‘ (104¼bpm), Juliet & Leslie duetted sinuously attractive (but what silly lyrics!) ‘We Shouldn’t Hold Hands In The Dark‘ (95¼bpm), Mike Stevens saxed jiggly instrumental ‘Slap‘ (105¼bpm), annoying acappella chant started Juliet sung (with a naturally held long note) gospel-ish undulating ‘Miss My Love‘ (103¼bpm), Juliet chanted jazz-funkily bounding deliberately dated ‘All Mine‘ (120¼bpm), and Zee (a strident girl) wailed repetitive slinky pop ‘Discover Reality‘ (111¼bpm). Continue reading “February 23, 1991: Herb Alpert, Friends Of Matthew, L.A. Mix, Asmo, The Born EP”