March 2, 1991: Innocence, Dick, Lisa M, Massive Attack, Clive Griffin


GEE STREET has been saved as a label in its own right after being signed to a six year worldwide licensing deal with Island by the latter’s legendary founder, Chris Blackwell, guaranteeing financial backing to further develop its acts like the Outlaw Posse, Queen Latifah, Richie Rich, PM Dawn, plus of course the Stereo MC’s, who are already signed to Island’s 4th & B’way logo (incidentally, the commercial release of their ‘Lost In Music’ is stickered, not with the usual ‘Parental Guidance Advised, Explicit Lyrics’ warning, but with ‘Spiritual Guidance Advised, Explicit Concepts‘ — like it!) . . . Frances Nero’s ‘Footsteps Following Me‘, the Ian Levine produced Sister Sledge-style underground soul ‘sleeper’, huge for months, has been picked up from Ian’s own Motorcity label for reissue on Debut as a harder more contemporary remix by Massivo member Steve McCutcheon . . . ‘What Is This Thing Called Love?‘, the standout from his ‘All True Man’ album, will be Alexander O’Neal’s new single . . . Jazz FM’s actual founder and guiding light, David Lee has now left his job as the station’s musical director (but remains a shareholder and company director) in a revamp of its programming style . . . Kiss 100 fm in London is following its New York inspiration, WKRS (Kiss FM), by recruiting top British dance music remixers-producers to create exclusive ‘master mixes’ of established dance classics for airplay on the station (and, no doubt, possible future commercial release?) — remixers/producers interested in getting involved should contact Lindsay Wesker on 071-700 6100 . . . Mark Kavanagh has launched a sponsorship financed, free news sheet for Irish DJs and dance fans, Remix, billed as “Ireland’s only independent dance update“, distributed by record shops in Dublin and Belfast or by mail, in return for a large (A4 size) stamped self addressed envelope, direct from Mark at 50 Granitefield, Dun Laoghaire, Co. Dublin — with its second edition due this Friday, the first issue datelined February 9 was only a four page folded single sheet, but it was certainly up to (if not well ahead of!) date and future ones are sure to grow . . . MC Jammy Hammy returns to vinyl with a guest appearance, recorded via telephone answering machine, on the next Nexus 21 single, another “instantly massive UK techno rave stomper, in two mixes!” . . . Faith Sundays (9pm to midnight) have started at Bristol’s The Tube in Frogmore Street, with drum and bass selectors Daddy G. Tin Tin, Nick Warren, Deli G, Paul Morrissey, Dr Jam and Steve Aspey spinning funk-soul-house-rap . . . Tricky Disco’s long awaited follow-up, out in April, will be called ‘House Fly‘ — shades of ‘The Bee’? . . . AS IT GROOVES!

Reviewed by James Hamilton and Tim Jeffery

BLACK BOX ‘Strike It Up’ (DJ Lelewel Mix/Sensitive Mix/Original Remix/Hard Core Remix)
JAM JAM ‘Everybody (Watcha Gonna Do)
TERRACE In-Motion EP: ‘In-Motion’ / ‘Seventh City’ / ‘Bewitched’ / ‘Gratiot
WILL DOWNING ‘The World Is A Ghetto’ (Universal Mix/Red Zone Mix/Ghetto Club Mix/Harlem Club Mix/Dreamy Mix)
KENNY LARKIN ‘Integration’ / ‘Colony’ / ‘Metropolis’ / ‘Colonize
THE BINGO BOYS ‘How To Dance’ (Extended Radio Version/Ambient NY Mix)
GARY CLAIL ‘Human Nature’ / ‘Rumours Of War
CANDI & THE BACKBEAT ‘The World Just Keeps On Turning
THE MUNCH BUNCH ‘Chocolate City’

INNOCENCE ‘Remember The Day’ (Cooltempo COOLX 226)
Originally scheduled for mid-February release, but only just promoed, so probably not out fully for a little while yet, this moody slow organ, sax and vibrant electric piano notes-started then funkily jiggling subdued cool sweet Gee Morris-cooed jogger is perhaps even more attractive and atmospheric than usual, in Final (106bpm), percussively clopping bassy Dub (105¼bpm), and rhythmlessly drifting languid Ambient Mixes. Could it be the one to finally give them the crossover hit that their massive dancefloor popularity suggests is now long overdue?

DICK ‘Weekend’ (125½bpm) (Low Spirit/yo-bro 12 YOBR 17, via Total/BMG)
WestBam’s real life brother DJ Dick bursts onto the scene with an excitingly frantic, rampaging and rattling raver punctuated by self publicising shouts and bursts of phonetic rap, in a Club Mix followed continuously by its Beats, flipped by fractionally slower Instrumental and, linked through an electro lull, Zombie Mix versions, guaranteed to leave dancers breathless!

LISA M ‘Love’s Heartbreak’ (104¾bpm) (Polydor PZ 125)
Out this week but promoed with just one track, possibly flipped commercially by the seven incher’s electric piano bubbled catchily loping ‘Love Bug’ (120½bpm), this excellent continuously scratching slithery CJ Mackintosh remixed, Phil Chill produced rapping Brixton girl’s simple strong jiggly chugger has a nice telephone effect halfway and some counterpointing conversational male rap, plus a naggingly repeated jaunty little horn riff that’s instantly familiar (except I can’t place it!). The promo label, incidentally, says it’s 112bpm — shurely shome mishtake?

MASSIVE ‘Unfinished Sympathy’ (Wild Bunch Records WBPR 2, via Circa)
Promoed as by Massive Attack, but released with a name change (not to be confused with Massivo) in deference to the Gulf War, this haunting lush strings and Shara Nelson swirled melodic lovely swayer was white labelled in a pattering Paul Oakenfold Mix and Instrumental Mix (113½bpm), flipped by its jigglier Original and Instrumental Version (119¼bpm), while a more recent separate piano plinked then again strings swamped slightly more chunkily shuffling Nellee Hooper 12″ Mix (119bpm) (WBPRT 2) reunites Bristol’s original Wild Bunch crew, with its Nellee Hooper Instrumental Mix plus the previous Original too. The effect of every version is subtly subdued, atmospheric rather than rhythmic.

CLIVE GRIFFIN ‘Reach For The Top’ (95¾bpm) (Mercury STEP 512)
Started by handclaps and “reaching for the top” repetition ahead of the funkily jiggling beat in its main commercial Back With A Vengeance Re-Mix with additional production by S+P Jervier, this authentically soulful seventies style huskily wailed wriggly jogger fair jumps along with pent-up passion (and yet more wah wah guitar, definitely the sound of now again!), flipped by a more percussive jazzy guitar picked quieter Mellow Mix with additional production by Chris Bangs, plus co-producers Joe Dworniak, Dave Clayton & Clive Griffin’s starker plinky piano and squeaky strings stabbed original mix (97¾bpm). Out separately is a totally different raw break beats jiggled dubwise Funky Beats Remix (95¾bpm) (STEPR 512) that bears little relationship to the classy actual song, flipped however by another joltingly tapping vocal sparse S+P Mix (95¾bpm) plus the previous original.

KING BEE ‘Back By Dope Demand’ (113½bpm) (1st Bass/Big One RUFF 6X, via Rough Trade)
Yet another reissue of a dancefloor hit from last June that didn’t sell as well then as it might have, this bumpily jiggling angry rap chugger is again in its Funky Bass and scratching choppier Straight Up Mixes, now fractionally slower, both with a sitar, brass and (subsequently repeated) guitar intro that sounds like some variation on ’19th Nervous Breakdown’, flipped on a 33⅓rpm four tracker again by the hip house ‘Feel The Flow‘ in just its jaunty Yellow Magic Orchestra based Club Mix (122bpm), plus also now the studio chat introed Watts 103rd Street Rhythm Band and other riffs woven bumpily jogging ‘Oral Excitement‘ (110½bpm).

DIGITAL UNDERGROUND ‘Same Song’ (103½bpm) (Big Life BLR 40T, via Rough Trade)
The conversationally mumbling zany rappers’ recent import ‘This Is An EP Release’ six tracker has here been adapted and split up, with Part 2 to follow, the UK’s lead track (languidly muttering about, among other topics, wearing a jim hat and taking a leak!) building an increasingly infectious jiggly groove in its new CJ Mackintosh remixed Around The World Mix, with jazzy organ in the last half, flipped by the argumentative lurching ‘Arguin’ On The Funk‘ (104bpm), “here comes the bride” piano prodded ‘Tie The Knot‘ (93¼bpm), and Cream era Clapton-ish guitar underpinned ‘The Way We Swing (Remix)‘ (88bpm).

THE CHOSEN FEW ‘Revolution Of The Heart’ (122½bpm) (Fabulous Records FABU 001T, via APT)
Stickered as being by the Chosen Ones but referred to in all accompanying bumf as being by the Chosen Few (it’s out commercially this week, so hopefully somebody’s made up their mind!), this tabla blooped cantering bright breezy bleeper is overdubbed by Indian mystic Osho’s philosophical “rejoice” utterances, with a demystified instrumental flip.

N-JOI ‘Adrenalin EP’ (de/Construction Records PT 44344)
The rush released good value follow-up to ‘Anthem’, likely to be a very fast seller right now. This strong bleep four tracker has the “Hey, you want to get this place?” shouting started and punctuated Belgian style frantically buzzing and raving ‘Adrenalin’ (128½bpm), cantering techno ‘The Kraken‘ (124½bpm), percussive squiggly ‘Rhythm Zone‘ (125¼bpm), plus the strange ‘Phoenix‘ (125bpm), likewise tightly jittering before it fades to silence halfway and restarts differently as a slow then bounding ‘French Kiss’-ish synth thrummer.

DEFINITION OF SOUND ‘Wear Your Love Like Heaven’ (Circa Records YRT 61, via Virgin) Out this week, but in exactly what form is uncertain as it was promoed as a twinpack in six mixes, rapping Don & KevWon’s jauntily lurching fidgety bounder was in a ‘Soul Makossa’ wah wah bass burbled Ultimatum Mix and Ultimatum Instrumental Mix (119¾bpm), coupled also by the daisy age satirising jiggly mumbling ‘I Don’t Know Nothin’ ‘Bout Daisies‘ (113bpm) on one disc, while on the other was a ‘Cigareets, Whuskey, And Wild, Wild Women’ introed then nervy fatback drum driven Dream Warriors-ish Extended Live Version based on mid-sixties rock guitar riffs and West Coast harmonies, with its Seven Inch edit (so maybe this is the first commercial treatment?), and a similar but guitar-less more beefily uttering Uptown Sound version (all 120½bpm). Read all about it in next week’s RM interview with them.

CULTURE BEAT featuring LANA E. & JAY SUPREME ‘Tell Me That You Wait’ (97¾bpm) (Epic 656531 6)
From Darmstadt, Germany, with a title that makes sense but isn’t quite how we would express it, this in the Liberace introed and outroed Airline Mix is dully thumping for ages before the monotony slowly metamorphoses into a mesmeric slinkily throbbing languid groove with Jay rapping and Lana wailing in turn, while the flip’s totally different Airdrome Club Mix is a jet ‘plane effects introed then ‘Sexual Healing’ started, very much more immediate jittery swaying attractive breathily crooned proper song with an “I’m-a leavin’, on a jet ‘plane” chorus, the more commercial side for sure.

PRESENCE ‘In Wonder’ (117½bpm) (Reality LOLXC 1, via Pinnacle)
The Cure’s former keyboardist Lol Tolhurst launches his new group with this Chris Butler & Craig Walsh remixed rattling congas and jangling organ driven funkily jumping jiggler, a good groove with an unfunky white boy vocal though, instrumentally flipped however by a differently treated even jumpier, saxes honked more beefily percussive Millie Mix (118bpm), both sides worth checking.

HIBRID ‘Twisted Tambourine’ (118bpm) (Megablast MEGA 502, via Pacific)
Originating from a white label last September, the Mancunians’ now released follow-up to ‘Hypnotisin” is a bass frequencies started then plaintive girl wailed “sometimes I feel like throwing my head up in the air” repeating tinkly jiggler in its Club Remix, or a raves aimed totally different much harder and better guys rapped “rock the discotheque” repeating frenetic jitterer in its Original Version, with the latter’s flashes of ‘Crosstown Traffic’ guitar emphasised more in a similar Radio Edit (118¼bpm), coupled also by the “I’m in love with you” girl repeated frantic sparse galloping ‘A Sample Of My Love’ (130bpm).

L.L. COOL J ‘Around The Way Girl’ (Def Jam recordings 656608 8)
The import hit that here was used (not in its best mixes) as the coupling for ‘Mama Said Knock You Out’ but even so always carried the weight, this nicely worded attractive jogger is at last now out properly in its own right, its five-track promo having the import’s Mary Jane Girls ‘All Night Long’ influenced chunkily rolling Untouchables Remix (105½bpm), likely to work well with Kenny Thomas’s ‘Outstanding’, a new jolting Marley Rub (100bpm) that’s more like the original LP Version, plus new UK remixed good jumpier jaunty swingbeat Jerv’s 12″ Rub Mix (100bpm), lighter much less powerful Crypt 12″ and Dub Mixes (100¼bpm).

N-R-GEE POSSE ‘N-R-Gee’ (123¼bpm) (D-Zone Records DANCE 007, via SRD)
The latest bleeper from André Jacobs’ hot logo is a scurrying, pausing and spurting percussive wriggler with fuzzily booming bass (or maybe that’s just my speakers!) and a repeatedly spelt out title line, flipped by the differently titled, although similar piping and thrumming ‘The Final Word‘ (123bpm), except with repeated (but unrepeatable!) obscenities thrown in instead of a title line this time.

LISTEN UP ‘Listen Up’ (Qwest Records W0010T/SAM 744, via WEA)
Possibly not due commercially until the summer release of the Quincy Jones biography film, this tie-in all star tribute to Quincy (not in fact a Quincy Jones record) by Siedah Garrett, Karyn White, Tevin Campbell, James Ingram, Al B. Sure!, El DeBarge, Ray Charles, The Winans, Ice T, Melle Mel and Big Daddy Kane, is an at first thudding then more loosely cantering, unison wailed, girls warbled, guys whispered, declaimed and rapped gospel-ish soul strider in its Raw Dance Remix (117bpm), or a totally different afro jazz instrumental in its exotically throbbing shorter Mabuye Afro Jazz Mix (116bpm), so far only on promo — already for some time now, rather as was the earlier Ice T, Melle Mel, Big Daddy Kane and Kool Moe Dee rapped juddery jiggling ‘Back On The Block (Mellow Radio Mix)’ (104¾bpm), which came out eventually just as the B-side to the Tevin Campbell, Siedah Garrett and Chaka Khan sung chorally backed moody slow surging QUINCY JONES ‘The Places You Find Love’ (42½bpm) (Qwest Records W0001T).

LEE MARROW ‘To Go Crazy (in the 20th century)’ (124¼bpm) (Italian World Of Music/DiscoMagic MIX 495)
Repeating “round and round, upside down, livin’ my life underneath the ground” before its James Brown grunts prodded frantic Italo pop rap is pushed along by an incongruous “Goliath will set you free, to go crazy in the twentieth centu-ree” chant, this vigorous simple catchy pounding hip house bounder is in a Mix Version flipped by its Instrumental Version, City Version, and a slightly slower less urgent Extended Version (123¼bpm). Even more incongruously, for some reason the sleeve illustration features a picture of Arthur Askey!

BEVERLEE ‘Set Me Free’ (German Dance Street DST 1029-12)
Catchily wailed by Beverlee Wallace with some bursts of rap by Sachmo, this ‘Gary Dee’ Malke/’Johnny Five’ Frage/Danny Garcia produced nervily pounding derivative but bright stuttery Italo house-type jangler samples “there’s not a problem that I can’t fix” during its main break, in both Tribe Mix (120½bpm) and faster still quite vocal Instrumental (122½bpm) versions, flipped by the funky drum tapped meandering dull ‘Keep On‘ (105¾bpm), due for UK release soon on ZYX Records.

SUB-SUB ‘Spaceface’ (121bpm) (JAJ 001, via 061-928 4303)
Only so far apparently on the group’s own self- financed white label from Manchester, this “my god, it’s full of stars” started noisy brash buzzing, washing and jangling keyboards bleeper is a bit low-tech in comparison with the more sophisticated bleep productions to which we’re becoming accustomed, but no less effective for all that, flipped by the washing machine gurgled percussively thrashing ‘Ekto-Jam-Sub‘ (114½bpm).

TONY! TONI! TONÉ! ‘It Never Rains (In Southern California)’ (79¾bpm) (Wing Records/Polydor WINGX 10)
Nothing to do with Albert Hammond’s 1972 US smash of the same name, this slinkily jolting slow sweet soul jogger has been remixed by our own DJ Streets Ahead with Wah Wah Watson on guitar, Cornelius Mimms (of past Controllers fame) on bass and rising new US name Ryan McKnight on keyboards, in pleasantly old fashioned seventies style Ubiquity Sexy Bass and sexually healing Brighton Daze Mixes, plus the group’s own more brassily orchestrated All The Way Live Mix. But it pours, it pours!

MAUREEN ‘Mesmerise Me’ (Urban URBX 68)
Maureen Walsh rapidly returns with another Rockhouse production, this time back in mellow soulful style on a tuneful pleasant old fashioned pop/MoR aimed singalong swayer, brass, strings and wah wah backed in its rolling Expression Mix (102bpm), or flipped by a (credited) Eagles-inspired different chunkier jiggling strange One Of These Basslines Mix (101bpm).


For those of you off to The Main Event this weekend, Jammy Hammy provides this essential route guide. Forget the AA, Record Mirror will get you there faster!

THE MAIN EVENT this weekend at Butlin’s Starcoast World (on the A497 midway between Criccieth and Pwllheli) is worth reaching by 6pm, in daylight, no matter which route you take as the final 70 or so miles in Wales will be both spectacular to look at and tricky to follow in the dark. Allow at least four and a half hours of non-stop fast driving for the 250-275 miles from London (remember that the new M40 goes right to the M42 motorway box around Birmingham, easing traffic on the M1/M6 and making both routes viable now), the most direct way being to branch off the M6 just after Birmingham (exit 10A) on the M54, past Telford (impressive hill, the Wrekin, on left), continuing on the single carriageway A5 around Shrewsbury (dramatic distant hills on left near Nesscliff) and past Oswestry through Llangollen, where there’s stunning scenery for 15 miles. Continuing on the A5 (twisty, beware) past Cerrigydrudion (“stones of the druids”) into the real mountains, just short of Betws-y-coed be sure to follow the A5 sharp to the left over a bridge instead of going straight on the A470. Six miles after Betws-y-coed, at the hamlet of Capel Curig, hang another sharp left off the A5 onto the A4086, down over a little bridge and along a bleak mountain valley for four miles to the Pen-y-Gwryd Hotel. Here, you can sidetrack off to the right over the Pass of Llanberis (with the bulk of Snowdon rising on your left) down to Caernarfon, but the most direct route continues on the A498 to Beddgelert, where it turns sharp left over the river (home made ice cream shop on right!). After just over a mile, keep following the A498 towards Porthmadog, or, if it’s a nice day and you’re in plenty of time (only 15 miles to go), you have the option of turning off left across the river on the A4085 for five miles to Penrhyndeudraeth and then right on the A487 towards Porthmadog (alongside the famous Ffestiniog Railway), turning off to the left for a look at Portmeirion, the attractively exotic fantasy village where TV’s ‘The Prisoner’ was filmed in 1966 (there’s an admission charge). Back on the A487, across a toll bridge and through Porthmadog, branch left on the A497 to Criccieth, or, if you stayed on the A498, when you reach Tremadog in fact ignore signs for Porthmadog and likewise head for Criccieth, briefly right on the A487 then left to join the A497. Five miles past Criccieth is Starcoast World. Alternatively, if you are travelling from further north or would prefer dual carriageway driving for just about all but the last 33 miles, proceed as previously for Prestatyn on the M56 (sharp left, coming from the south, off M6 at exit 20), carrying straight on past Queensferry and staying on the A55 through Colwyn Bay (a sightseeing side trip to Llandudno is recommended: at the far west end of the elegant seafront squeeze into the very last road to the left, Church Walks, and then first sharp right to climb almost vertically up Great Ormes Head for one of the most breathtaking views in the world!). Still on the A55, over the bridge past the castle and walled town of Conwy, 17 miles later (this is the end of the dual carriageway) either slide off on the A4087 and A487 to Caernarfon alongside the Menai Strait or carry on another three miles to the island of Anglesey over the Britannia Bridge, immediately taking the slip road to turn right on the A4080 and stopping after half a mile to enjoy the classic view of Telford’s 1826 Menai Suspension Bridge with Snowdonia behind it. If you like that and there’s the time, carry on through the town of Menai Bridge along the coast on the A545 to Beaumaris for further fabulous views, or return over the actual suspension bridge to join the A487 for Caernarfon, where King Edward l’s magnificent castle and the battlemented waterfront are also well worth the tiny detour. Continuing on the A487, three miles past Caernarfon fork right on the A499 down the Lleyn Peninsular all the way to Pwllheli (although those with maps will spot some short cuts through Abererch), turning left on the A497 towards Criccieth for three miles to Starcoast World. Pwllheli, by the way, is pronounced with much gargling of phlegm as “Poothh-elly”. Happy motoring!

THE CLUB CHART – March 2, 1991


01 01 (I WANNA GIVE YOU) DEVOTION Nomad, Rumour 12in
02 03 LOVE IS THE MESSAGE (LOVE LOVE LOVE MIX) Love Inc. featuring MC Noise, Love 12in
03 02 APPARENTLY NOTHIN’ Young Disciples, Talkin Loud 12in
04 04 YOU GOT THE LOVE (MIXES) The Source featuring Candi Staton, Truelove 12in
05 05 TAKE A REST (REMIXED BY C.J. MACKINTOSH) Gang Starr, Cooltempo 12in
06 83 ALRIGHT (ORIGINAL MIX) Urban Soul, Cooltempo 12in promo
07 06 IT’S TOO LATE Quartz feat. Dina Carroll, Mercury 12in
08 08 THINK ABOUT… D.J.H. featuring Stefy, RCA 12in
09 07 OUTSTANDING (THE MORE BEEF MIX) Kenny Thomas, Cooltempo 12in
10 10 TILL WE MEET AGAIN Inner City, Ten 12in
11 19 MAINLINE (CHEP’S MIX) Tribal House, Cooltempo 12in promo
12 18 HOLD ME (VOCAL CLUB MIX) Velvet, Tam Tam 12in white label
13 13 WIGGLE IT (THE CLUB MIX) 2 In A Room, SKB 12in
14 97 SAME SONG (AROUND THE WORLD MIX) Digital Underground, Tommy Boy/Big Life 12in promo
15 15 LOVE THE LIFE (GUARANA DJ VERSION) James Taylor Quartet, Urban 12in promo
16 12 MY LOVE (ATMOSPHERA MIX) Collapse, Citybeat 12in
17 14 JEALOUSY (RED ZONE MIX) Adventures Of Stevie V, Mercury 12in
18 35 HOLD YOU TIGHT Tara Kemp, US Big Beat 12in
19 09 BLACK WHIP Chapter And The Verse, Virgin 12in
20 — REMEMBER THE DAY (FINAL MIX) Innocence, Cooltempo 12in promo
21 22 EVERYBODY (ALL OVER THE WORLD) (DANCE VERSION) FPI Project, Rumour 12in promo
22 11 I’M READY Caveman, Profile 12in promo
23 20 DUNNO WHAT IT IS (ABOUT YOU) The Beatmasters featuring Elaine Vassell, Rhythm King 12in promo
24 23 UNFINISHED SYMPATHY (PAUL OAKENFOLD MIX) Massive Attack, Wild Bunch 12in
25 36 MOVE (DANCE ALL NIGHT) (SLAMMIN’ 12-inch) Slam Slam, MCA 12in promo
26 25 SCANDAL/IS IT LOVE? The Basement Boys present Ultra Naté, Eternal 12in
27 — POSSESSED/PIN UP GIRL Awesome 3, A&M PM 12in promo
28 30 WEAR YOUR LOVE LIKE HEAVEN (ULTIMATUM MIX) Definition Of Sound, Circa 12in
29 28 GONNA MAKE YOU SWEAT (SLAMMIN’ CLUB VOCAL MIX) C&C Music Factory featuring Freedom Williams, Columbia 12in
30 21 BACK BY DOPE DEMAND (FUNKY BASS MIX) King Bee, First Bass 12in white label
31 — NASTY RHYTHM (P.K.A. REMIX) Creative Thieves, Stress 12in white label
32 — TAKE ME AWAY True Faith featuring Bridgette Grace with Final Cut, Network 12in
33 37 ADRENALIN (EP) N-Joi, deConstruction 12in
34 — THROUGH Victoria Wilson James, Epic 12in white label
35 — HUMAN NATURE Gary Clail, Perfecto 12in promo
37 44 LOST IN MUSIC (ULTIMATUM REMIX) Stereo MC’s, 4&B’way 12in promo
38 THE WORLD IS A GHETTO (MIXES) Will Downing, 4&B’way 12in promo
39 — MAKE IT RAIN/NO MORE TEARS The KLF, KLF Communications 12in promo
40 GIVE ME SOME LOVE (ANDY WEATHERALL MIX) Love Corporation, Creation 12in promo
41 32 ANIMAL (PRIMEVAL INTERFACE)/SHOUT (PRIMARY CONTACT) Man Machine, Oval/Outer Rhythm 12in promo
42 — DON’T GO MESSIN’ WITH MY HEART (ALBUM VERSION) Mantronix, Capitol 12in
43 74 LOVE OR NOTHING Diana Brown & Barrie K. Sharpe, ffrr 12in promo
44 81 TELL ME THAT YOU’LL WAIT Culture Beat featuring Lana E & J Supreme, Epic 12in
45 42 WRAP MY BODY TIGHT (12-inch REMAKE VERSION) Johnny Gill, Motown 12in
47 38 3 AM ETERNAL (LIVE AT THE SSL) The KLF, KLF Communications 12in
48 — DADDY’S GIRL (MAIN MIX) Nikki D, Def Jam 12in promo
49 45 LOVE’S HEARTBREAK Lisa M, Polydor 12in promo
50 39 IN YER FACE (IN YER FACE MIX) 808 State, ZTT 12in
51 16 CAN I KICK IT? A Tribe Called Quest, Jive 12in
52 33 WEEKEND (CLUB MIX) Dick Low, Spirit 12in
54 64 INSANITY (HURLEY’S HOUSE MIX) The Pointer Sisters, Motown 12in promo
55 31 GET INTO IT (PARK YOUR CAR IN MY BRA MIX) MC Kinky, More Protein 12in
56 54 TAKE ME AWAY Jay Mondi, Raw Bass 12in
57 48 LUDI (DOUBLE TROUBLE CLUB MIX) Dream Warriors, 4&B’way 12in
58 40 FLIGHT X (SCHOOL MIX) Paul Haig, Circa 12in promo
59 27 EVERYBODY LET’S SOMEBODY LOVE (CLUB MIX) Frank “K” featuring Wiston Office, Urban 12in
60 re FAMILY OF PEOPLE (MIXES) Quest For Excellence, Republic 12in promo
61 53 LOOSE FIT/BOB’S YER UNCLE (REMIX FASHION) Happy Mondays, Factory 12in
62 66 JOIN THE FUTURE Tuff Little Unit, WARP 12in promo
63 41 ECHO CHAMBER Beats International, Go Beat 12in
64 51 TWISTED TAMBOURINE Hibrid, Megablast 12in
55 57 HEAT OF THE MOMENT (12-inch ONE WORLD REMIX) After 7, Virgin America 12in
66 — LOVE’S GOT A FEELING (WHEN THE GOING GETS TOUGH MIX) Neutron 9000, Profile 12in promo
67 99 ESQ/SLAVES Rum & Black, Shut Up And Dance 12in
68 67 REACH FOR THE TOP (BACK WITH A VENGEANCE REMIX) Clive Griffin, Mercury 12in
69 26 I CAN’T TAKE THE POWER (RIVA-MIX) Off-Shore, Columbia 12in
70 94 YOU USED TO SALSA Richie Rich’s Salsa House featuring Ralphi Rosario, ffrr 12in promo
71 82 SUMMERS MAGIC (UNIT MIX) Mark Summers, 4&B’way 12in
72 50 GO GO/LIES Oval Emotion, Canadian Hi Bias 12in
73 52 BOW DOWN MISTER (SITARI BIZARRI MIX) Jesus Loves You, More Protein 12in
75 — COME ALIVE Orchestra JB, Rumour 12in promo
76 93 IN WONDER (BUTLER & WALSH MIXES) Presence, Reality 12in
77 34 PLEASE LEAVE (STEVE JERVIER MIX) Carlton, Three Stripe 12in
78 — IF I LOVE U 2 NITE (NELLEE’S CLUB U 2 NITE MIX) Mica Paris, Big Life 12in
79 47 THINKIN’ ABOUT YOUR BODY 2 Mad, Big Life 12in
80 62 LOVE L.U.V. (BEAUTIFUL LOVE) Julian Cope, Island 12in
81 46 SPREAD A LITTLE LOVE (CLUB VERSION) Richard Rogers, BCM 12in
82 59 KID GET HYPED (VOCAL MIX) Deskee, Big One 12in
83 17 MY HEART, THE BEAT D-Shake, Cooltempo 12in
85 91 MORE THAN I KNOW/NOT FORGOTTEN (REMIX) Leftfield, Outer Rhythm 12in
87 re MAGIC STYLE (AROUNDABOUT MIX) The Badman, Citybeat 12in
88 77 PRINCE OF DARKNESS Messiah, Deja Vu 12in white label
89 — MOVE YOUR BODY (ELEVATION) (1991 REMIX) Xpansions, Optimism 12in
90 — IT NEVER RAINS (IN SOUTHERN CALIFORNIA) Tony! Toni! Toné!, Wing 12in promo
91 — THE WICKEDEST SOUND (DON GORGON MIX) Rebel MC (featuring Tenor Fly), Desire 12in
93 — OUT THERE Friends Of Matthew, MCN 12in
94 89 REACH OUT (PUMPHOUSE LIBERATION MIX) Donna Gardier, Virgin 12in
95 29 WIPE THE NEEDLE/JUGGLING The Ragga Twins, Shut Up And Dance 12in
96 re JAZZ IT UP (MIXES) CFM Band, 4th&B’way 12in
97 76 PAY THE PRICE (GOSPEL DANCE MIX) The Creations featuring Debbie Sharp, Loco 12in white label
98 63 WE SHALL OVERCOME (MIXES) Emmanuel, Global Village 12in
99 49 MUST BEE THE MUSIC King Bee, Torso Dance 12in
100 43 AGAIN (URBAN MIX) Juliet Roberts, Eternal 12in promo

2 thoughts on “March 2, 1991: Innocence, Dick, Lisa M, Massive Attack, Clive Griffin”

  1. James’s contribution to “the next Nexus 21 single” was eventually released as Altern 8’s “Infiltrate 202”, reaching 27 in the pop charts in July, and giving James his third and final hit single as a featured vocalist (!). You can hear him briefly at the start of the track, at more length at the end, and here and there in the middle.


  2. I see that the dance chart seems to have dispensed with the input from the various record shops it used (for this week anyway). I wonder if this is anything to do with the ease of influencing the chart by workers in those shops, who may have personally particularly liked a tune or were friends with certain local artists and wanted to give them a boost. I’ve never felt is was such a pure record of what was really big out there in the nationwide underground dance scene since the input of the (often particularly hip in the eyes of music writers) record shops. The only way it could really be accurate with record shop inclusion was if as became theoretically possible in the bar-code era every sale in every acknowledged dance specialist record shop in the country could somehow be incorporated into the chart. But in the real world Alan Jones & JH would not have been privy to those record business figures and anyway incorporating them all would have been a mammoth task and well nigh impossible for the resources the dance column could command. And I also believe some dance specialists were the last hold-outs for getting the technology fitted for electronically logging all sales. Some of those I used although popular were pretty shoestring enterprises bwhen it came to the premises etc.

    Although for all I know the record shops may be back next week I still maintain the chart lost something when it started to include just a few named (and often hipster type) record shops in its compilation. When it used to just mention the use of certain anonymous record shop sales in its figures I felt that that was somehow more honest and seemed to signify JH and Alan Jones off the cuff just ringing a few record shop nationwide and asking what was selling that week and not just a few big city outlets.

    As I knew from being a raver and then London pirate and Kiss listener in the vast majority of the underground dance scene the indie-dance type records were just not played and maybe people in charge at Record Mirror felt that they should try to make out that this mythological idea that out at the raves we were all dancing to records made by dance converted guitar groups had a basis in reality. But as we’ve seen even at the very height of that era (mid-1990?) few if any of these records featured anywhere high in the dance chart. Maybe they thought by adding in some ‘hip’ record stores they could get a few more such records in the chart – but tbh if this was the intention this didn’t even really work with a couple of suspicious exceptions. I’m probably overthinking this. But at least the chart gives the lie to the idea that ‘Madchester’ (WTF) ,and other irrelevancies that have been pedalled down the years by the media and even the less authentic dance magazines as having anything to do with the post 1988 dance scene; was ever true. It was so constant that you occasionally began to doubt your own memory! But maybe it’s just that a lot of the writers of this stuff confuse their memories of the student disco and what they read in the mainstream music press with what was really going on out in ravedom.


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