September 3, 1988: Michael Jackson, Tony Terry, The Pasadenas, Sweet Obsession, Biz Markie


ANDY PEEBLES, now he’s toned down his stentorian Radio 1 vocal modulation, has been doing a good job as Tony Blackburn’s weekday 9am-noon replacement on BBC Radio London, the show being markedly more “soul”-ful than before — however, there’s bad news for all soul fans, as from mid-October the station is adopting an AoR format, leaving soul to the pirates (although ‘Black Londoners’ will be broadcast every evening, 7-10pm, combining black affairs and music), possible new presenters including the likes of Johnnie Walker, Greg Edwards, Tommy Vance and even Jonathan King, while Robbie Vincent is leaving of the end of the week to move his ‘phone-in show to LBC, as of September 26 replacing Mike Allen (who in turn moves to weekends) in the top rated Monday-Thursday 10pm-1am slot on London’s “talk” station … Pres Jam 4 at Prestatyn is likely to feature Salt-n-Pepa, Steven Danté and more, in addition to Keith Sweat’s debut UK concert appearance, the November 4-6 weekender this time attracting the broadest spread of people yet from all over the country (£45 Access/Visa bookings and details on 01-364 1212) — Martin Collins has returned to the LiveWire DJ fold, Tim Westwood will host an extended (and exclusive) rap session, while acid, rap, jazz and doubtless a bit of funk and soul are being offered in three clearly defined “dance zones” … Upnorth Promotions hold their third soul-funk-jazz weekender, the second Blackpool one, on October 7-9 at Fleetwood’s Cala Gran Holiday Park, presenting Jean Carne in concert plus such DJs as Richard Searling, Colin Curtis, Martin Collins, Jonathan, Bob Jones, Hutchy, Norman Jay, Bob Jefferies, Billy Davison, Simon Dunmore, Ian Clark and more (£45 ticket info on 091-389 0317) … Steve Walsh’s family benefiting fund appears to have raised £30,000 from the star-studded special (and final) Radio London Soul Night Out … ‘DiscEyes’ is the best conceived video programme for disco use that I’ve seen, a great deal of clever thought having gone into the musical and visual links between each track of the non-stop segued two hour stereo hi-fi tapes, available on subscription for professional disco use only — details from Diamond Time Ltd on 01-586 7056, ask for Graham Gold (who does the sequencing with Steve Kemsley, video jock at Video Cafés around the world) … Swan Lake’s ‘In The Name Of Love’ shares a title (and to these ears, not much else) with a Thompson Twins oldie, which is now getting London pirate radio play in its new Shep Pettibone created ‘In The Name Of Love ’88 (Railroad Mix)‘ (US Arista ADI-9731), a pulsing bass driven funkily lurching 116⅓-0bpm remix, not at the moment due out here until an album of Twins remixes is released in November … Rick Astley’s upcoming (and long awaited) ‘She Wants To Dance With Me‘ single is self-penned and co-produced by Rick with Phil Harding and Ian Curnow, deliberately to show that he can cut it without any direct Stock Aitken Waterman involvement … ‘Night Of The Living Baseheads‘ is inevitably the next Public Enemy single … Bassment Records’ first UK single through Westside Records will be the Diaz Brothers ‘Here We Go Again‘ … T.I.C. is pronounced as separate initials, their ‘Popcorn ’88 Remix’ indeed being due from Arista this week, flipped by the original Woodstock Mix … Les Adams has created an “industrial” flavoured juddering re-production (rather than remix) of Inner City ‘Big Fun’, specifically for Disco Mix Club subscription service release although a commercial version may be due too … Chris ‘Bam Bam’ Westbrook has also remixed Brass Construction ‘Ha Cha Cha’ … Kool Kat are currently promoing ahead of 10 Records release their Liaz ‘House Sensation (Master Reese Mix)‘, a Kevin Sanderson remixed bustling (0-)126bpm frantic formless rambler with vacuous cooing girls, the epitome of late Eighties disco dross aimed at people too drugged to care about music, while likewise WEA have promoed indie band Beloved’s ‘Acid Love’ in two Mike ‘Hitman’ Wilson mixed trite “it feels like ecstasy” muttered and synth twittered 118bpm versions, flipped by cymbal shushed busier 119⅓bpm Love & Ecstacy and 121¼bpm Original Mixes, two of which will eventually be chosen as a commercial B-side to something else … Jay Strongman’s currently promoed ‘East West‘ (Rhythm King) is, I fear, easy to dismiss now as yet another bass bombing sampler, chugging along at a possibly too monotonous (0-)109bpm jitter despite being built from interesting old funk grooves, the Red Army Choir, disembodied voices, and just a bit of song featuring Maureen … Yazz And The Plastic Population’s horny horn blast is sampled from Sharon Redd’s ‘Beat The Street’ … Gordon Mac’s newly renamed Graphic Records label has released a compilation of ‘Boogie Tunes‘ (LIPS 2) with no discernible common link other than they’re all old, from 1975’s Milton Wright ‘Keep It Up‘ to the relatively recent John Wayne-impersonating Rappin’ Duke’ ‘Rappin’ Duke‘, other cuts being by Derrick, Michele, Taana Gardner, Black Ivory and Melba Moore … Double Trouble guest at London Charing Cross Road Busby’s new Wednesday The Exchange night this week (August 31), while Leroy Burgess and Tyrone Williams, performing as El Bee & Tee, are next door at the Astoria the following night (September 1) with Chris Forbes, Simon Goffe, Madhatter Trevor, Paul Anderson Bobby & Steve of The Zoo … Steve Roberts and Keith Diamond revive “good old soul” (rather than “rare groove”!) on Thursdays at Kingston-upon-Thames Hoofers now that the adversely publicised link between acid house and ecstasy has put paid to the proposed night with Jasper and Jazzy M … Russ Dewsbury and Baz Fe Jazz recently started the Saturday Night Fish Fry for classic jazz and Latin dance in Nash’s Basement on Marine Parade, and now on Fridays also run The All New Jazz Room upstairs at Downbeat in Dyke Road, both in Brighton — where Balearic beats and acid are to be found on Thursdays at Slam in the Savannah, Old Steine, with Paul Clark and Warwick, next week (September 8) seeing a Shoom special starring Danny Rampling and a PA by Baby Ford … Queensgate Leisure open the flashy Discotheque P’Zaz this weekend in Grays, Essex (on Orsett Road in the Queensgate Centre) … Camden Lock’s Dingwalls having stopped live music on Saturdays, that night is now the solidly funky Second Base, with Paul Anderson and a rota of regulars including Gordon Mac, Madhatter Trevor, DJ Tee, Norman Jay, Colin Dale, Steve Jackson, Bobby & Steve of The Zoo, Jazzy B, Jay Strongman, Jules from Family Funktion (dress to sweat, but no trainers) …  John Douglas, Ray Keith, Dave Malone, Guy Palmer & Turbo take turns to tear the root off this Sunday (4) at Castle Hedingham’s Memories in Essex … Charles Dickson of Northern Ireland Dance Factory and DCR 100.2fm is organising a Sudan flood victims benefiting ‘DJs Change The World’ day for next Saturday afternoon (September 10, noon-5pm) in Ballymoney Town Centre, County Antrim, with loadsa DJs working hard to raise loadsa (bally?) money for the cause … Teesvalley Roadshow requires a part-time DJ able to work weekends and travel the country — contact Graham Murray on 0642-226270 … I recently mentioned my still functioning 20 years old disco equipment, the very first purpose built mobile disco unit ever, the prototype of a production run marketed by pioneering sound installer Pepe Rush — who, amongst other international projects, is currently building a new mixing desk for London’s Tramp nightclub (if you too want something designed to last, call him on 01-889 2200!) … Gary and Martin Kemp might like to note that the club where I began my DJing career in 1963, The Barn in Knightsbridge, was owned by Ronnie and Reggie Kray, should they want any further first hand insights for their movie! … ssshh — “static house” … NANU NANU!


MICHAEL JACKSON ‘Another Part Of Me (Extended Dance Mix)’ (Epic 652844 6)
While ‘Dirty Diana’ could never be regarded as a genuine club cut, this Bruce Swedien-remixed pent-up nervily urgent (0-)110-0bpm jittery jerky really is full of floor filling rhythm in Jacko’s best classic style (in four mixes).

TONY TERRY ‘Young Love (Acid Remix)’ (US Epic 49 07874)
One of his last album’s hot cuts given an exciting house-style jiggly jumpy driving 117bpm nervy Steve Peck remix that – possibly a first for a major label US release – is actually called an Acid Remix (not that it’s truly “acieed!”), in similar Extended and Radio Versions, a very different Bohannon-ish bassily bubbled bounding 114½bpm 7” Version, jaggedly juddering 115-0bpm DJ Shock-scratched samples studded Charlie Dee’s “Not Just Sex” version, Omar Santana-edited violently jittering 116½bpm Oh Oh Omar Dubb, and Acappella, adding up to lots of beats for your money (over 35 minutes).

THE PASADENAS ‘Riding On A Train (Extended Version)’ (CBS PASA T2)
Another Philly Soul inspired (no, not ‘Love Train’!) lavishly arranged 111⅙-0bpm surging jiggler with an ever shifting full orchestration and much vocal interplay, a good follow-up to ‘Tribute’ although had it been heard in isolation possibly not as punchy (reviewed off promo, release date unknown). Continue reading “September 3, 1988: Michael Jackson, Tony Terry, The Pasadenas, Sweet Obsession, Biz Markie”

August 27, 1988: “The frantically empty acid house of the late Eighties is being created specifically to keep ecstasy motivated trendy Londoners dancing on a high”


Take this how you like, but it’s worth bearing in mind that the frantically empty disco music of the late Seventies was created (not that we in Britain necessarily realised it at the time) specifically to keep drugged gay New Yorkers dancing on a high, and now the frantically empty acid house of the late Eighties is likewise being created specifically to keep ecstasy motivated trendy Londoners dancing on a high (a fast beat and surface excitement being so common to both styles that many acid DJs are now mixing in Seventies disco oldies without anyone noticing the difference!) – my point being that if the music is appreciated primarily by people speeding on drugs, who are in the minority, why isn’t more being done at the moment to cater for the tastes of the majority, who don’t need artificial stimulants to appreciate a good tune? … Gee St Records have picked up the Jungle Brothers here, ‘I’ll House You’ possibly being due a for UK remix but definitely out on 12 inch and added to UK pressings of their album before they visit for gigs here next month … Maze were mooted but now, as well as fireworks, November the 5th at the Prestatyn weekender will see the first ever exclusive UK concert by Keith Sweat instead … Gullivers DJ Graham Gold is the latest jock to become a recording artiste, co-producing himself with Phil Harding and Ian Curnow on ‘Shikisha’, described as “more Yazz than LA Mix with a touch of Todd Terry” … “They really like acid here”, Kevin ‘Reese’ Saunderson remarked drily, in the understatement of the night, when DJing at Nicky Holloway’s most recent “doo at Kew” (actually the venue’s in Brentford, across the river, but that doesn’t sound so good!) … Nicky Holloway, amongst an armoury of slick acidic tracks, plays the start of Tyree ‘Acid Over’ at 33⅓rpm before jacking up to the correct 45rpm precisely as the main impetus kicks in, and also dramatically shifts the vari-speed during different phases of Donna Summer ‘I Feel Love’ (the Eighties remix version), to ecstatic reaction … I haven’t time this week to BPM the slew of strong acid house albums that are out, including two rival double LP sets, ffrr’s ‘The House Sound Of London Vol IV – The Jackin’ Zone’ and Breakout’s ‘House Hallucinates – Pump Up London, Volume One’, plus two hot import compilations, Hot Mix 5 Inc Records’ ‘Acid’ and the Junior Vasquez remixed mainly Arthur Baker productions on Minimal Records’ ‘Rough House Vol 1’ … Westside Records are countering Serious’s 10 album boxed house set with a 14 album, 120 track, limited edition ‘House Of Hits’ box set! … Ace Records have just released a whole slew of old Stax albums in their original late Sixties/early Seventies sleeves, including Isaac Hayes ‘Hot Buttered Soul’ … Westside Records have signed New York’s Bassment Records for the UK … Andrew Beer is building a DJ mailing list at Warrior Records, PO Box 798, London W14 9NT (01-801 0254) … Bill Medley’s new version reminds me, which now exalted national radio executive, when a producer on local radio, asked the record library for copies of “those two old Hollies hits, ‘He Ain’t Heavy’, and ‘He’s My Brother’?! … Island have signed the Leslie Drayton Orchestra … Chrysalis picked up City Heat’s ‘City Heat’, real “yuppy soul” considering the song is set in a city cocktail bar after work … Raheem the rapping vigilante’s ‘Dance Floor’, reviewed as an import last week (when the fact it’s based on Eddie Kendricks ‘Keep On Truckin’’ was left out), is already on 96⅔-0bpm UK 12 inch (Breakout USAT 642) and getting perhaps more pop than hardcore attention … Kool G Rap & DJ Polo ‘Poison’ (US Prism) only ever hit The Club Chart for one week at number 90 at the end of May, but has been selling steadily for the last 14 weeks – and while we’re talking longevity, Shy Rose ‘I Cry For You’ (US JDC) has been bubbling around the Hi-NRG chart since late last October, without ever getting higher than number seven, so will it last for a whole year? … Nicky Holloway and ecstatic Johnny Walker “Balearic” The Devil May Trip this Tuesday (23) at Uxbridge Regals … Sunday (28) sees Jeff Young, Pete Tong, Chris Hill, Chrisse Jackson, Colin Hudd, Eddie Gordon, Danny Smith and more at Great Yarmouth Tiffany’s 6pm “alldayer”, and Stu Allen, Rob Manley and Steve Woolfe at Manchester Legend’s allniter … Bank Holiday Monday (29) has DJs Huge, The Klass, David T and more at No Sell Out 9 in Liverpool’s Mardi Gras, also Steve Allen, Nick Graham and more plus Chapter + The Verse at Peterborough’s Millionaire Club, a noon-midnight alldayer at Putney’s Micawbers with Jazzy M, Jasper, Nigel Wilton, Steve Roberts and more, and Chad Jackson cutting up Preston’s The Place … Neil Fincham, awarded a gold disc on his departure from Styx, has moved across Edinburgh to continue his funk, soul, jazz policy on Thurs/Fri/Saturdays at the new Morrisons in Morrison Street … Bloxwich’s Flix has become the refurbished Starlight Club, with DJs Ray Young Tues/Fri, Shaun Sullivan Thurs, Scott Brazil Sat … Gary Steel souls Chesham Stages every Thursday … Phil Simmons, recently at the Empire in London’s Leicester Square, has now moved actually to Leicester to jock Thur/Fri/Sat at The Studio … East Midlands club jock Glen Ross writes a weekly music column in Leicester’s The Times … Mark Hughes is excited at the prospect of being the club jock involved in a live link up between Worthing’s Sterns Nightclub and Southern Sound radio on Saturday, September 3 … RSW, creators of the already reviewed funkily drummed ‘Biting My Nails’ on Mute, turns out to be Renegade Sound Wave (with a dreadful vocal version as commercial A-side!) … NANU NANU!


BOOGIE DOWN PRODUCTIONS ‘Stop The Violence (Extended Mix)’ (US Jive 1121-1-JD)
Brand new tougher (0-)91⅙bpm “hard” remix of KRS-One’s reggae-ish bass thrummed sombre anti-drugs and violence message rap (only ever out here in its LP version), with some plinky plunky African kalimba, and a dubwise style false finish (instrumental/edit too), flipped by the amusing 0-102bpm ‘Jimmy’, a thinly disguised warning to wear a condom! Meanwhile, KRS-One’s new UK release is the bass jolted wordy unremixed 91bpm ‘I’m Still No. 1’ (Jive JIVE T 179), also flipped by the here 0-101⅔bpm ‘Jimmy’ plus the previously oddly disjointed 76½bpm ‘Essays On BDP-ism’ with Scott La Rock.

M.C. SYN-DEE ‘Best 2 B A Girl’ (Virgin VST 1111)
Promoed for ages to great acclaim and finally out properly (still at 33⅓rpm despite the label saying 45), this is the correct nomenclature for the now subtly remixed and more smoothly rounded jiggly bass throbbed go-go-ish 108⅓bpm infectious female rap, sure to be big (scratching 108⅔bpm Instrumental and funky JB drummer sampled 100bpm ‘Low Down Bonus Beats’ flip).

STETSASONIC ‘Talkin’ All That Jazz’ (Breakout USAT 640)
Due fully on September 5, their excellent unhurriedly talking justification for sampling James Brown and others’ oldies is burbled by Lonnie Liston Smith’s ‘Expansions’ bassline in the 0-107⅚bpm main A-side mix and its 0-107½bpm Instrumental and by Donald Byrd’s ‘Dominoes’ bassline in the flip’s 107⅚bpm Dominoes Mix and its 107⅔bpm Instrumental. Already big on LP, it’s a hot one! Continue reading “August 27, 1988: “The frantically empty acid house of the late Eighties is being created specifically to keep ecstasy motivated trendy Londoners dancing on a high””

August 20, 1988: Diaz Brothers, Tina B, EPMD, Nu Shooz, Johnny Kemp


The Urban All Stars, rather than its creator Norman Cook, turns out to be the correct label credit for the terrific ‘It Began In Africa’ megamix, finished 12 inch copies also including the Jackson Sisters’ ‘I Believe In Miracles’ and ‘When Your Love Is Gone’, and Maceo & The Macks ‘Cross The Track’ … Jimmy Jam & Terry Lewis will again be producing the long awaited new Janet Jackson LP … London Leicester Square’s Empire Ballroom has had another fatal stabbing, during a privately staffed function – this will not affect the Steve Walsh family benefiting Soul Night Out there this Thursday, when the myriad of PAs will include Joyce Sims, DJ Jazzy Jeff & The Fresh Prince, Wee Papa Girl Rappers, Derek B, Glen Goldsmith, Princess, Steven Danté, Rick Clarke, Mica Paris, Pasadenas, LA Mix, Tongue In Cheek, Ruby Turner, Phil Fearon, David Grant, Sid Haywoode, Total Contrast, Krush, Jazz & The Brothers Grimm, Mirage, Simon Harris and many more (including surprises), Edwin Starr being due to lead them all in an ‘I Found Lovin’’ finale for the Radio London broadcast, the evening’s presenters including Tony Blackburn, Jeff Young, John Sachs, Mike Shaft, John Saunderson, John Ceccini, Gary Crowley and Dave Pearce … Paul Oakenfold filmed the video for Electra on Ibiza without mishap, Ben Liebrand having done a Spectrum Remix of ‘Jibaro’ … Eric B & Rakim ‘Put Your Hands Together’ has initially been remixed for the UK by Sheffield’s FON Force, apparently just one of several remixes … Longsy D + Cut Master MC have been signed by Cold Chillin’ in the US, Marley Marl remixing their earlier ‘Hip Hop Reggae’ for release there … MCA Records picked up The Kraze ‘The Party’, the exciting Balearic house raver about which I enthused some time ago, only a few (albeit major) jocks playing it so far … Republic Records have signed Phase II ‘Reachin’’ and Blaze ‘Can’t Win For Losin’’, both being remixed for the UK (along with Kikkit ‘Love Fixation’) by Blaze, who have left Quark in the States for Warner Bros … Sweatbox DJ Steve Wren has quit his day job at Polygram to become club plugger at Jive, taking up the position Jon Williams left vacant on his move to Phonogram … PRT Distribution is starting its own Nite Shift Promotion service for the benefit of contracted labels, Darren Ensom setting up the DJ mailing list on 01-648 7000 (extension 207) from September 3 … Criminal Records, the UK label that releases Tongue In Cheek, has started a club mailing list at 22-23 Red Lion Street, Holborn, London WC1R 4PS … The Dance Yard Recording Corporation has also moved to Unit 7, Grand Union Centre, West Row, Ladbroke Grove, London W10 5AX (01-969 2296) … RJ’s Latest Arrival’s import LP is due here imminently (EMI-Manhattan MTL 1035), Najee’s is already out (MTL 1026), as is Gregory Hines’ (Epic 461027 1) … Jeffrey Osborne’s LP is out here next week (Breakout AMA 5205), its first single here being a Gail ‘Sky’ King remix of the, to my mind not that special, ‘One Love – One Dream’ title track … Syn-Dee is touring Stockton’s Mall Tuesday (16), Sheffield’s Leadmill Wednesday (17), Manchester’s International Thursday (18) and Segers Friday (19) … Gordon Mac is Tony Monson’s guest DJ this Wednesday (17) at Chelsea Sloane Square’s Roberto’s … Double Trouble in its roadshow form consists of mainman Leigh Guest with Michael Menson and Carl Brown, mixing it up this Friday (19) at Southend-on-Sea’s Mr B’s … Gerald G Holley is acidic Saturdays at Aberdare’s Deckers (due for a £250,000 refit in the new year) … Jeff Young is so well supplied with pre-releases these days that at his Swansea Martha’s Vineyard gig he earned the nickname “JAY” (to go with Pete ‘Acetate’ Tong’s “PAT”!), his guest appearance at Jeff Thomas’s Monday soul night attracting not only myself but also MCA’s Eddie Gordon, Island’s Nigel Wilton, Jive’s Steve Wren, Virgin’s Mervyn Anthony, Marshall Arts’ Ray Edwards, Kool Kat’s Neil Rushton and Everton Webb, plus a Hotline PA, most of the “taffia maffia” including Barry Island’s Steve Wiggins and megamixing Noise Boyz – one incredulous observer wondering why Youngie attracted so much attention, a question he answered for himself when I asked if he was having a good time, as he replied, “Yeah, he’s playing great stuff!” … NANU NANU!


DIAZ BROTHERS ‘Here We Go Again (Diaz Mix)’ (US Bassment Records BM-0073)
Great for DJs in a jam, this instantly exciting 0-112¾-0bpm Craig Bevan creation combines the Lyn Collins ‘Think (About It)’ break beat popularised by Rob Base & DJ E-Z Rock and then Roxanne Shanté, Public Enemy’s continuously repeated title line (and some “boyee”), plus Clint Eastwood’s “do you feel lucky, punk?” dialogue (acidic Instrumental), flipped by the Zapp ‘More Bounce To The Ounce’-based 111bpm ‘We Bad (Bad Mix)’ (inst too).

TINA B ‘Bodyguard’ (US Vendetta Records VE-7004)
A&M’s US equivalent of the Breakout dance label features Arthur Baker & David Cole producing Arthur’s wife on a nastily noisy US-aimed (0-)112⅔-0bpm Janet Jackson-ish cranker, but luckily it’s in five mixes and the flip’s samples based ultra funky infectious Vocal Hip Body Mix and Hip Body Beats are just right for the UK, well worth checking.

EPMD ‘Strictly Business (12” Vocal)’ (Cooltempo/Ensign COOLX 172)
Helped immensely by ‘I Shot The Sherriff’ being slotted through it, this stutteringly remixed sinuously rolling (0-)96½-96⅓-0bpm chatting reggae-rap jiggler is in four mixes, due out fully on August 30. Continue reading “August 20, 1988: Diaz Brothers, Tina B, EPMD, Nu Shooz, Johnny Kemp”

August 13, 1988: “Enough ACIEED already! Remember soul?”


HASTILY ARRANGED so that a date could be announced, the Steve Walsh tribute Soul Night Out will no longer be at Hammersmith’s Le Palais where its Mecca owners (who never supported the Walsh-fronted Dance Aid nights either) have decided that their regular Thursdays are doing quite well enough now that the venue’s been refurbished, so, still on the some date – Thursday, August 18 – the Radio London-relayed event will instead be held at Leicester Square’s Empire Ballroom, where the First Leisure management have welcomed this benefit night for the late DJ’s family (nowhere will it be the same without Steve actually being there, although one thing that might revive the authentic atmosphere would be a PA by Aswad) … Marshall Jefferson has remixed Chris Paul ‘Turn The Music Up’ … Jolley Harris Jolley are remixing Pieces Of A Dream ‘Rising To The Top’, to coincide with the group’s UK visit next month — in fact their import LP is now out here (EMI-Manhattan MTL 1030) … Derek B is producing a rap by basketball stars the Harlem Globetrotters, for release on Beatmaster Records! … S’Express, still with an apostrophe but with the “E” back in place, now appears to be the way in which the name is officially spelt … BlueBird Records finally did take over the old Record Shack shop in Soho’s Berwick Street, and are now open there … Les Cokell has opened his own “High Energy” specialising shop (stocking rare oldies including those hard to find Hot Tracks and Disconet subscription discs from the States), called Energhighs Records in the Clone Zone, 37-39 Bloom Street, Manchester 2 (telephone 061-236 1398) … Sylvester is widely reported by US trade papers to be suffering from AIDS … Dave Randall’s disco promotion service Clubnet has moved to Unit 7, Grand Union Centre, West Row, Ladbroke Grove, London W10 5AZ (01-968 9661) … No Strings Attached is the name by which South London remix DJ Perry Daniels now is credited (on such as the new Natalie Cole medley, see her review), Perry handling samples and mixing while colleague King Enri programmes the drum machines and produces, and Enri’s brother ploys keyboards and engineers — their latest total production being their own ‘House On The Hill’, a ‘Hill Street Blues’ soundtrack dialogue sampling house chugger that’s set for release soon on a major label … Chapter 8’s keenly awaited new LP will be out here on Capitol at the end of the month, as close as possible to its US release (there are already cassette promos in circulation) … ‘Put Your Hands Together‘, emerging as the hottest cut or their new album, will be Eric B & Rakim’s follow-up single in about three weeks … ‘Talkin’ All That Jazz’ will likewise be Stetsasonic’s follow-up on September 5, while the next Rose Royce reissue is ‘I Wanna Get Next To You’ … Beats Workin’ ‘Sure Beats Workin’’ would appear to have been withdrawn by ffrr, presumably in the hope that it might eventually build up the consumer demand that so far has yet to materialise — Balearic being all talk and ecstacy rather than a real chart force despite the hype … Robin King from Jack Trax points out that the Night Writers ‘Let The Music (Use You)‘ has been something of an anthem for the last 18 months or so, at London’s more seriously trendy Balearic-type venues (except, he hastily adds, it’s much more solid and soulful than that might suggest!) … Sound Assassins buyers seem to prefer the flip’s more percussively spacious (0-)117¾-0bpm Spectrum Edit version of ‘Get Out Of My House!’ (reviewed last week) … Loose Ends’ latest album has so far sold a quarter of a million copies in the US during its first six weeks … Desa, with guests DJ Trix and DJ A-Ski, has opened The Bassment on Fridays in Merseyside’s rendezvous for serious groovers, inside Birkenhead’s Comet Car Park (this bizarre address being behind Hamilton Square sta-tion in Argyle Street) … York’s seriously crucial Sweatbox hosts a cruise on the river Ouse this Saturday (13), leaving Kings Stoith at 7pm with DJs Bri G, Rockie and Soul Pete then getting down (or off?) at the Bonding Warehouse … Norman Scott is back doing one hour guest spots most Mondays at the reopened gay Bang disco in London Charing Cross Road’s Busbys … Johnny Walker guests next Wednesday (17) at Tottenham Websters’ weekly acid house Buzz night – acieed! …  Kingston-upon-Thames Hoofers has pure acid Thursdays with Jazzy M, Jasper (The VJ) and Steve Roberts … Rayners Lane Record & Disco Centre owner Jon Jules, not to be outdone, bought an “F” reg white Vauxhall Astro GTE convertible, while poor Les Adams is only able to drive his Toyota Supra for short distances while his bum heals — he had a huge cyst cut out of it just as his “F” reg dream car was delivered … NANU NANU!


D.J. JAZZY JEFF & THE FRESH PRINCE ‘A Nightmare On My Street (Extended Mix)’ (US Jive 1125-1-JD)
Another slow talking vignette of contemporary American teenage life — about the perils of horror movies! — this ‘Amityville (House On The Hill)’-type 85¼-0bpm rolling “spooky” rap is the duo’s new US single (Instrumental/Edit too, and slippery scratching 0-127½-0bpm ‘Rhythm Trax — House Party Style‘), while here we get again ‘Parents (Just Don’t Understand) (Danny D Remix)’ (Jive JIVE R 169), Dancin’ Danny D speeding up the amusingly chatted US smash to a more usefully jiggling 92⅚bpm tempo with rare grooving piano and brass, its main appeal though still being as a potential pop crossover once enough people have seen its popular video (and provided Derek B hasn’t already satiated the market here for first person story telling raps!).

JEFFREY OSBORNE ‘One Love — One Dream’ (US A&M SP-5205)
Faithful fans will immediately lap up this overdue return on LP by the soulful baritone — seemingly more given to singing the American national anthem than making records these days! — although there’s not an awful lot on it for the dance crowd. Best bets there are probably the vigorously lurching 112½bpm ‘(You Can’t Get) Love From A Stone’, pleasantly swaying 96⅓bpm ‘Can’t Go Back On A Promise‘ and spikily leaping and kicking happy Brazillian style 119½-0bpm ‘La Cuenta, Por Favor‘, otherwise the joltingly rolling 116bpm title track and gruffly sincere slow 65bpm ‘Cindy’, 0-33-0bpm ‘My Heart Can Wait Forever’, 0-37½bpm ‘All Because Of You’, 29-58-0bpm ‘True Believers’ and 75/37½bpm ‘The Family’ are radio aimed, while the tensely jerking 111¼bpm ‘She’s On The Left’ is a tighter vocal version of his new import 12 inch, reviewed separately in Hot Vinyl.

CHUBB ROCK ‘Caught Up (Remix)’ (US Select FMS 62317)
Maybe not quite so innovative as ‘Follow The Leader’ but just as excitingly different, this urgent rap is based in spasmodic spurts on James Brown’s ‘I Got Ants In My Pants’ beat, with “man – woman – earth – infinity” pauses and rhythm shifts breaking up the momentum and making it so unusual, in 108-108̿⅓-108⅙bpm Remix, 109-109⅓-109⅙bpm Instrumental, 108⅓bpm Bonus rapid re-edit and 95bpm Original mixes, the latter completely unlike the rest and quite funny in sexist Jazzy Jeff & Fresh Prince style, bragging about the stiffness of his Johnson and other attributes! Continue reading “August 13, 1988: “Enough ACIEED already! Remember soul?””

August 6, 1988: Eric B & Rakim, Phase II, Brooklyn Funk Essentials, Inner City, Swan Lake


BOBBY BROWN has been given The Mac Band featuring the McCampbell Brothers treatment by MCA Records, import copies of ‘Don’t Be Cruel’ being sold here now at UK 12 inch price (as MCAT 1268) … Disco Mix Club founder Tony Prince blagged his way into New York’s MK club by telling the receptionist he was one of the directors — she mentioned this to someone who knew better, and six burly bouncers tracked down Tony just as he was giving an impromptu flamenco display on stage! … Betty Wright reportedly was the sensation of the New Music Seminar in New York, preaching as if in church to ecstatic crowd response in a 40 minute diatribe during the ‘Soul Souled Out’ seminar session, describing how she got her record deal for ‘No Pain, No Gain‘ (which proved to be a big black hit) — after being turned down by 36 different record companies, she did a reverse payola and borrowed the money from a disc-jockey to put it out herself! … Paul Kindred is starting a club mailing list at CityBeat, 17-19 Alma Road, London SW18 1AA, while both Froggy and Sean French seem to be handling the mailing list at Circle City Records, PO Box 244, Barnet, Hertfordshire EN4 0EW … Ensign picked up EPMD ‘Strictly Business’ for a remixed UK 12 inch … T-Coy are the latest remixers of the Funky Worm … Supreme have still not released the Project Club ‘Dance With The Devil‘, presumably in the hope that accumulated advance orders will give it a high chart entry — the trouble is that, although I have indeed been mentioning it a bit within the Balearic context recently, it really isn’t THAT outstanding, so don’t get too frustrated at not being able to get it! … Serious are unbelievably compiling all ten of their previous house music albums into a box set called ‘Serious…The House Story So Far‘, but no price is mentioned! … M|A|R|R|S managed to hit the US in a big way but now the word from there is that “volume pumping” samplers are dead, thus dashing the hopes of such as S’Xpress, LA Mix, Simon Harris and Bomb The Bass … Jazz & The Brothers Grimm ‘(Let’s All Go Back) Disco Nights’ is rumoured not to have had Radio 1 play because the title contains that dreaded word “disco” —which didn’t stop Steve Wright from digging out the original GQ ‘Disco Nights (Rock-Freak)’! … Florida’s B.V.S.M.P. already have a follow-up out in the States, ‘Be Gentle‘ … Chris Hill, original “godfather” of the old jazz-funk “mafia” jocks, would indeed have attended Steve Walsh’s funeral had he not been in Texas at the time … N. Dorsett (Letters page last week) has a mistaken idea about the small amount of money that’s paid to most soul presenters on local radio (they have to make their living from the gigs that result), and about the cost of a council flat — we also purposefully didn’t mention the expense of maintaining a dual lifestyle, leaving that to the tabloids … Channel 4 of the end of this month start what should be a fascinating four part series, ‘Brown Sugar’, tracing on film the careers of great black female entertainers from the early 1900’s to the present, featuring such as Ma Rainey, Bessie Smith, Adelaide Hall, Josephine Baker, Ethel Waters, Billie Holiday, Lena Horne, Ella Fitzgerald, Pearl Bailey, Eartha Kitt, Dorothy Dandridge, the Shirelles, Crystals, Ronettes, Marvelettes, Martha & The Vandellas, Supremes, Aretha Franklin, Diana Ross, Sister Sledge, Pointer Sisters, Donna Summer, Tina Turner and more, beginning on Saturday, August 27 … ‘Can’t Get You Out Of My Head‘ will be Narada’s follow-up … Morgan Khan these days sports a full head of wavy hair instead of his customary skinhead cut, making him look so much older that at first I didn’t realise it really was him! … Jeff Young wrenches himself away from his new Banstead home to join Jeff Thomas next Monday (8) at Swansea’s Martha’s Vineyard, upon which so many record companies’ dance music pluggers also look like descending that — if the weather’s good — I may well end up there too … Plymouth Sound presenter Chris Dinnis hosts Humdinger 2 at Exeter Quay’s Boxes next Wednesday (10), planned as a three-monthly upfront event, advance bookings on 0392-39477 after 6pm (ask him to play Kanu Sukalagwun’s rare groove!) … Lyndon T and Chris Johns boogie down at Paddington’s Starlight Club every Fri/Saturday … Barry & District News dance music columnist Steve Wiggins now jocks and VJs at Barry Island’s brand new Warehouse, with over 30 video monitors at his disposal … Les Adams got so fed up with my Japanese car having more nifty “extras” than his cherished Audi that he’s just bought an “F” reg Toyota Supra, with air conditioning and the works (but he still doesn’t have an illuminated keyhole, na na na-naa na!) … I’m afraid a flying visit to sun-drenched Jersey (and day trip to France) last week kept me from reviewing the Hot Vinyl in as great a depth as I’d have liked, so check The Club Chart for extra BPMs as usual (everyone else takes several weeks’ holiday, so don’t complain) … NANU NANU!


ERIC B. & RAKIM ‘Follow The Leader’ (MCA Records MCG 6031)
Possibly nothing on this eagerly awaited album stands out as startlingly as did its revolutionary 109⅔-0bpm title track hit on first hearing, in similar swirling style being the slippery scratching 117¼bpm ‘No Competition’, slow piano preambled then scrubbing (0-)111⅓bpm ‘Put Your Hands Together‘, funky drummered 106-0bpm ‘Lyrics Of Fury‘ and rumbling 111½-0bpm ‘Musical Massacre‘, plus there are the jazz-funky 99½bpm ‘The R‘, freakily throbbing and scratching 0-103½bpm ‘Eric B. Never Scared‘, moodily meandering 93½bpm ‘To The Listeners‘, jinglebells backed chatting then jolting 94bpm ‘Microphone Fiend‘, jogging instrumental 97bpm ‘Beats For The Listeners‘ and even more makeweight 0-114bpm ‘Just A Beat‘. Like it or not, they’ll need a Coldcut-type remix to go Top 20 here again with anything else off this.

PHASE II ‘Reachin’ (Brotherhood Mix)’ (US Movin’ Records MR003)
Blaze-produced typically excellent soulfully sung and piano plonked creamily thumping smooth 0-120½-0bpm hustling churner building powerful nagging tension (in four mixes), full of timeless joy and hope, well worth checking. This may not be the most hyped newie of the week, but it sure is the best!

THE BROOKLYN FUNK ESSENTIALS ‘We Got To Come Together’ (US Minimal Records 4)
Arthur Baker created excitingly driving 0-123bpm instrumental, funkily drummed through chattering beats, anxious title line shouts and “alldayer” whistle blasts (in five mixes), hot for the likes of CJ Mackintosh but apparently not that widely distributed on import, although it’s now also on a StreetSounds album here. Check it, in some form! Continue reading “August 6, 1988: Eric B & Rakim, Phase II, Brooklyn Funk Essentials, Inner City, Swan Lake”

July 30, 1988: Steve Walsh, Jo Ann Jones, Longsy D + Cut Master M.C., Rick Clarke, James Brown


Urban have pressed on “promo” copies of a four-track 12 inch that contain two tracks each from their new ‘James Brown’s Funky People (Part 2)’ and ‘Urban Classics 2’ LPs, respectively 1972’s brassily burbling and tumbling (0-)96½-96-94½-97bpm Hank Ballard & The Midnight Lighters ‘From The Love Side’, 1970’s piano nagged rolling and preaching 0-99½-100-100½-0bpm Myra Barnes ‘The Message From The Soul Sisters (Parts 1 & 2)’, 1972’s squeaky early Jackson 5-style Foster Sylvers ‘Misdemeanour’, 1971’s glorious blue-eyed Philly soul swinging 117½-115½-115-116bpm The Mob ‘I Dig Everything About You’… WEA have now promoed Terrajacks ‘Houseplan’, a frenetic samples studded choppily jumping jangly 0-122¾-123-0bpm volume pumper that’s already been white labelled around Merseyside for months… Double Trouble (his mum knows him as Leigh Guest) has created a megamix for Syncopate, the 0-118-117½-117-117½-0bpm INSYNC 1, combining Brass Construction ‘Movin’’, Chris Paul ‘Turn The Music Up’ and Carol Cayne ‘What My Love Can Bring’… Warner Bros are preparing an album of remixed oldies by Chaka Khan, ‘I’m Every Woman’ being remixed by Dancin’ Danny D, ‘Ain’t Nobody’ by Frankie Knuckles, ‘Slow Dancin’’ by Hank Shocklee amongst others… Steve Walsh, always one to say things for effect, actually confirmed to me that he was born in Walsall, but quite rightly his mum should know and she tells me that he was London born and bred – however, his Irish born dad did live for years in Walsall… Les Adams at Norbury’s Sussex Tavern, only a music pub and not a vast great place, raised £1,310 in just two hours for Steve Walsh’s family trust – mind you, he sold even the shirt off his back to do so!… Les has also just created a full 24 track remix of the Funky Worm ‘Hustle! (To The Music)’ but for Disco Mix Club release only – a bit of a breakthrough, the very first mix they have featured done from master tape rather than disc… Marshall Jefferson is doing a house remix of ‘Somebody Save Me’ as the follow-up for By All Means… Jellybean’s still only promoed ‘Coming Back For More (Part 1)’ is now also in a more smoothly jiggling 114½-0bpm vocal version gruffly nagged by Richard Darbyshire from Living In A Box… 88 Light + Sound Show, the annual PLASA equipment exhibition this year is at Olympia 2 in West London’s Hammersmith Road from Sunday to Wednesday, September 11-14, discount £2 advance booking forms having to be returned by August 19 – to get yours, contact PLASA, 7 Highlight House, St Leonards Road, Eastbourne, Sussex BN21 3UH (otherwise it’s £5 on the door)… Edinburgh DJ Donald Hughes, the Steve Walsh lookalike ‘Shuggy Bear’ pictured by this column back in January, still presents the Radio Forth Dance Chart on Saturdays 8-9pm, and now hosts a Sunday 2-4pm ‘The Scottish Chart’, compiled from retail sales in – you guessed – just Scotland… Lindsay Wesker has moved with Kiss Records and Goodfoot Promotions to Unit 14, Backstock Mews, Backstock Road, London N4 (01-359 2969)… Marie Birch’s new Sound Promotions address is 31 Norfolk Place, London W2, and not as misprinted last week (when it should also have been Gipsy Kings, Yello, Dave Ball, Blue Moderne, S’Xpress, Fon Force, etcetera – well, it’s probably my fault for delivering the copy late!)… Monday (August 1 – what, August already?) finds Liverpool’s Mardi Gras having another No Sell Out night, number 8, the monthly pack jammed underground house/rap/funk/reggae/soul event, while up at Darlington’s Zhivagos a £3 North East Frontline jam has the Wee Papa Girl Rappers and a DJ cast list including Hutchy, Alex Lowes, Herbie Mack spinning jazz/soul/rare groove… Swansea’s soul boyo Jeff Thomas also now hikes on Tuesdays to 5th Avenue at Torquay… Dorothy turns out to be two white girls and their reggaefied single is of Prince ‘Still Waiting’ rather than Diana Ross’s ‘I’m Still Waiting’ – which latter is what the white label promo called it… NANU NANU!


STEVE WALSH ‘Ain’t No Stoppin’ Us Now (Party For The World)’ (A1 Records 12A1 304, via PRT)
Quite a revelation, the late and sadly missed giant amongst DJs sounds far more polished than before on a tasteful and really excellent long smoothly flowing (0-)111bpm revival of McFadden & Whitehead’s singalong soul anthem, starting off with doodling piano before being presented as a live performance with the crowd support increasing as Steve breaks halfway into some rap and a “party for the world” call and answer session (including an inevitable though brief “you wot, you wot?” exchange), so good that it would have been a smash regardless of the circumstances – the flip’s jiggly lurching 97bpm ‘I’ll Keep On’ is less remarkable but especially ironic.

JO ANN JONES ‘Share My Joy’ (Champion CHAMP 12-81)
Sybil’s producer James Bratton has followed the example of Jellybean and Hurby ‘Luv Bug’ Azor by assembling an upcoming ‘The James Bratton Project’ on which his creations are performed by individually credited different artistes, first UK release from it being this excellent striding 116½bpm bubbly kicker (dub/edit too) with rippling vibes and cooing girls behind the superbly soulful unhurriedly wailing Jo Ann, a voice that’ll drive those with a taste for the old style wild!

LONGSY D. + CUT MASTER M.C. ‘To The Rhythm’ (Big One VV BIG 10)
Creating the maximum rhythm from the minimum ingredients of a resonant bass thrummed madly jaunty 93⅓-93½-93¾bpm syncopation, cutting in the Upsetters’ ‘Return Of Django’ and James Brown’s ‘Funky President’ amongst others (Dub Rap Mix/Bonus Beats flip), these beat bouncing reggae hip hoppers claim to be “like Zanussi, the appliance of science” – I’ll drink to that! Stay still if you can! Continue reading “July 30, 1988: Steve Walsh, Jo Ann Jones, Longsy D + Cut Master M.C., Rick Clarke, James Brown”

July 23, 1988: Chris Paul, Deluxe, Mr Lee, Alexander O’Neal, Al B. Sure!


Steve Walsh’s funeral was attended by so many – all the “names” in the business you can think of (apart from noticeably, the old jazz-funk “mafia”) – that most were outside the chapel in the sun listening to the service on loudspeakers, over which at the end was played ‘I Found Lovin’’, which initially gave one a start (but not as much as the unfortunate way in which the smoke from his cremation then blew down onto the departing mourners) … Paul Hardcastle was one of the very last people Steve spoke to on the telephone just before his fateful operation, asking “I’ll be alright, won’t I?” … Gary Smith and Peter Ferrant were due to have Steve with them at Romford’s Hollywood two weeks ago, so turned it into a tribute night and raised £2,900 towards his family’s trust fund (they also got 1,800 rowdy clubgoers giving him a minute’s silence!) … Thursday, August 18 is the date for the Hammersmith Le Palais benefit night for Steve’s family, which the Disco Mix Club are organising – one can see why they would leap in, but they’ve caused resentment amongst some of Steve’s longer standing colleagues … Bomb The Bass’s long awaited follow-up is a double A-side, the Merlin-featuring ‘Megablast (Hip Hop On Precinct 13)’ being another ‘Beat Dis’-type 0-114⅓-0bpm jerky shuffler full of rather tired samples, and the Lorraine-featuring ‘Don’t Make Me Wait’ a reedy shrill 0-119¾-0bpm Latin hip hop jitterer, both a bit disappointing … Public Enemy’s import LP is now out here (Def Jam 452415 1) … Full Force’s remix of James Brown ‘Static’ is due here early August … Ben Liebrand has remixed the Four Seasons ‘Oh What A Night (December 1963)’, out in Europe already but unfortunately I can’t tell you what it’s like as it was only sent me on CD! – speaking of which, amongst their many other compact disc dance music releases, Germany’s BCM Records have kicked off a four-track ‘Classic Dance Tracks On CD’ series, Volume 1 (BC 50-2150-44) featuring Fred Wesley ‘House Party’, Stone ‘Time (Tic Toc Remix)’, Rod ‘Shake It Up (Do The Boogaloo)’ and Michael Zager Band ‘Let’s All Chant’ (the recent remake) … Raul featuring J Bonell ‘Guitarra’ (Spanish Blanco Y Negro), now a Euro smash, could be a Balearic Beat worth checking, probably compatible with the big instrumental remixes of both the Thrashing Doves ‘Jesus On The Payroll’ (US A&M) and Mandy Smith ‘I Just Can’t Wait’ (PWL Records), all having been reviewed at different stages in the past … Supreme Records still haven’t released the Project Club ‘Dance With The Devil’ commercially yet – originally scheduled for June, it’s finally out on July 25, by which time it’ll be far from “the first” Balearic Beat single! – the finished copy’s Balearic Mix being very slightly altered and coupled now with the also 120¼bpm but very different raucously sung house-ish ‘Amnesia (Up All Night Mix)’ alternative treatment of the same rhythm, minus any chimes … Balearic, as feared, is already being used by record companies as a tag with which to try and foist any old rubbish onto the public … Jon Jules, Glen Gunner, Jagger, Rocky and Diesel, plus Adrenalin MOD member Richie Fermié playing acid live, have turned every other Tuesday (that’s fortnightly, next one July 26) at Greenford’s Barbarellas into “the hottest Balearic night outside Spectrum” – they actually get many Spectrum and Trip regulars coming for a sweat with them! … Graham Gold’s re-edit is in fact “the more brightly remixed B-side” of the Hudson Giants, reviewed last week from inaccurate label copy, Pascal Gabriel’s remix being therefore the frankly less good A-side – Jeff Young, incidentally, played Graham’s Public Enemy megamix on Radio 1 last Friday … Cornish mixing DJ Tristan Bolinho now precedes the relayed Radio 1 chart on BBC Radio Bristol every Sunday afternoon with a well positioned soul show, which I managed to hear while driving all the way from Somerset to Bournemouth, plus he hosts what I presume also to be a soul show for two hours every weekday evening on the same station – nice work, if you can get it! … Roger Squire’s Light & Sound showroom in Manchester has combined with the local Piccadilly Sound & Light and moved as the Piccadilly Squire Megastore to new premises at 130 Broadway in Salford’s Metroplex Enterprise Zone, near the end of the M602, opening this Thursday (21) … Marie Birch is moving her Sound Promotions mailing list yet again, to 31 Norfolk Place, London W21 (01-258 0035) … Benny Wilson has graduated from DJ to manager to owner of Stoke Newington’s The Cotton Club, at 20 Stamford Hill (01-806 3765), and is looking for good mixing DJs to play acid house, rap and Seventies disco on the GL1 mixer – will his phone be hot or what?! … Johnny Kemp ‘Just Got Paid’ has actually been withdrawn prior to a full relaunch the first week in August, when Johnny will be over doing PAs, to try and boost it into equalling its US success … Shirley Lewis reckons that Bros fans have been buying her single on account of her long standing relationship with Luke Goss … Syn-Dee, whose ‘It’s Best To Be A Girl’ will be out on August 1, is young and English, and previously rapped with Boy George … Love Street, revivers of ‘Galaxy’, turn out to be Stephen Mallinder, Dave Ball and Ruthjoy from Krush … Smith & Mighty’s members and confederates, Rob Smith, Ray Mighty, Jackie Jackson, Krissy Kriss, MC Kelz and DJ Linx, are all from Bristol … Sabrina ends the rap in ‘Boys’ with the line “Every boy that’s got a c**k”, according to Vincent O’Brien of Tollcross, Glasgow, who reckons Auntie Beeb’s censorship standards have slipped in this instance! … I’ve been so swamped by the last minute arrival of overdue mail that there’s no time to review albums this week by such as Burrell (already BPM-ed in The Club Chart last week), Masters Of Ceremony, James ‘D-Train’ Williams on import, and many more out here … Burrell are twins called Ronnie and Rheji, which (spelling apart) might sound familiar! … I actually began my DJ-ing career in a club, Esmerelda’s Barn, owned by the more infamous twins, Ronnie and Reggie Kray, and as a matter of coincidence bought my mobile disco equipment exactly 20 years ago this month, and am still using it – the very first purpose built mobile unit ever made, it was built to last by Pepe Rush, who in the Sixties was the pioneer of club sound installation, the console he sold me actually being a prototype which needed to be adapted for little things like tape input/output! … NANU NANU!


CHRIS PAUL ‘Turn The Music Up (Extended Version)’ (Syncopate 12SY 13)
The West London DJ/remixer/instrumentalist’s thudding jittery scurrying 119-0bpm Players Association revival takes a while to become recognisable but then there’s no disguising the distinctive jiggly guitar and braying brass that he’s wisely retained amidst (for once!) his own breathy vocals, while the flip is a screams greeted good jittery bounding 0-118¾-0bpm ‘House On The Move’ jazzy keyboards and guitar instrumental with occasional vocoder and girls choruses, almost better than the plug side.

DELUXE ‘(I’ve Got A) Feeling’ (The Dance Yard Recording Corporation/Unyque Artists UNQ 3T, via Spartan)
Delores ‘Deluxe’ Springer follows up ‘Your Loving Drives Me Crazy’ with another sultrily crooned sparse sinuous 84½bpm bumpily jogging “street soul” swayer that was recorded in Master ‘The Beatcreator’ Tee’s bedroom studio, flipped by the equally sparse 108bpm ‘My Mama And Papa Always Told Me (Club Remix)’ and gently jiggling (0-)105bpm ‘Passionately’, with some male rap and ragged harmony, all of them enough off-key in lovers rock vocal style to give them that nagging charm.

MR LEE ‘Pump Up London (Club Mix)’ (London USAT 639)
Possibly anthemic enough to be the first real acid house crossover hit, Manchester, Liverpool, Birmingham, Nottingham, Leeds, Scotland and various UK clubs being namechecked as well as London during the bursts of staccato chanting in this Mike ‘Hitman’ Wilson-mixed acid synth sizzled 125¾-126bpm thumper, flipped by a brand new 125½bpm Acid Dub and the import’s 125¾-0bpm Acid Mix of ‘Pump Up Chicago’. Continue reading “July 23, 1988: Chris Paul, Deluxe, Mr Lee, Alexander O’Neal, Al B. Sure!”

July 16, 1988: Steve Walsh obituary, Mantronix, Public Enemy, Stetsasonic, Mica Paris


As I hope you realised, last week’s column was printed before tragic events overtook its lead story … Steve Walsh’s untimely death has had one beneficial side effect, in that it appears to have given some of our fatter DJs a keen sense of their own mortality, and encouraged them to diet in earnest … Steve was chairman of the Dance Aid Trust, which has selected as one of three nominated charities for support this year the Christian Lewis Neuroblastoma Trust Fund. which become a registered charity on June 6 — young Christian’s own tumour is still undergoing chemo- and radio-therapy but has not shrunk (he’s the son of Swansea DJ James Lewis, who has written with local musician Maldwyn Pope a song called ‘Christian’, described as “not a bass bomber but a catchy pop dance number’, for which they seek a deal on 0792-896928) … S-Express have indeed changed their name’s spelling to S’Xpress, to make it more phonetic and prevent people pronouncing it as “S”- “Express” — incidentally, it really is very misleading sometimes having to review 12 inch versions of such as their new ‘Superfly Guy’, which turns out to be a much catchier song in its edited seven inch/video form … Gwen McCrae’s review last week was premature as her single isn’t now out until July 25, when the brand new jittery Jocelyn Brown-ish ‘Eighties Lady (Seventies Trammp Mix)‘ will be the A-side, merely flipped by the track previously promoed and reviewed … Groove’s ‘Hijack The Beat’ seems likely to be remixed extensively before it’s out commercially … Martyn Young of M|A|R|R|S created the Afro-Acid Remix of Mory Kante’s ‘Yé Ké Yé Ké’, and has another Mory’s House Remix ready to follow it, too … ffrr are previewing their ‘The House Sound Of London Vol IV — The Jackin’ Zone‘ album with a pair of 12 inch promos containing the frantic samba flavoured 125½-0bpm The House Addicts ‘Come Together‘ flipped by the Dancin’ Danny D-created “acieed”-chanting burbling 124¼-0bpm D. Mob ‘We Call It Acieed‘, and the Jazzy M talked and Julian Jonah moaned, Bam Bam co-produced, Fingers Inc backed jittery smooth (0-)122bpm The J&M Connection ‘Living In A World Of Fantasy‘, plus its more melodic 122¼bpm One For The Ladies Mix semi-instrumental, flipped by the synth washed and piano nagged slippery throbbing 0-120⅓bpm Richie Rich ‘Salsa House‘ … Inner-City ‘Big Fun’ is the next (and only logical) single to be pulled from 10 Records’ tedious ‘Techno!’ double album … Acid Fingers couldn’t possibly be Simon Harris’s new “house” alter ego? … Virgin have promoed on totally blank white label the particularly strong, jaunty girl rapped scratching and jiggling 108⅓bpm Syn-Dee ‘It’s Best To Be A Girl‘ … Jellybean’s new instrumental ‘Coming Back For More’ will in fact be followed by a vocal version featuring Richard Darbyshire from Living In A Box … Eddie Murphy, in his hilarious new film ‘Coming To America’, successfully shatters his old stereotype by playing four totally different characters — including an old white Jew called Saul! — while co-star Arsenio Hall likewise plays four characters, the make-up jobs being fantastic (incidentally, when you see it, which you must, the kid in the barber’s choir is Cuba Gooding Jr, presumably son of the Main Ingredient member) … Leroy Burgess is recording himself again and producing others for Zoo Experience Records in London next month … CityBeat have combined their previous releases by Philadelphia rap acts Cool C and 3-D into a six-track £3.99 mini-LP, ‘CityBeat Hilltop Hustlers‘ (CBLP 2) … Lindsay Wesker (playwright Arnold’s little boy) has co-founded the new Kiss Records label, debuting with — it has to be said — a very intelligent compilation LP of Salsoul oldies, ‘Salsoul 1‘ (LIPS 1), including such as Jimmy Williams ‘All Of My Lovin’’, The Strangers ‘Step Out Of My Dreams’, Surface ‘Falling In Love’ … Urban’s new ‘Urban Classics 2‘ (URBLP 5) includes such eagerly sought rare grooves as the squeaky Jackson 5-style 89⅙-88⅚bpm Foster Sylvers ‘Misdemeanor‘, and New Orleans chanting pattered and wah-wahed 0-111-112-113½-109bpm The Wild Magnolias ‘(Somebody Got) Soul, Soul, Soul‘ … Charly R&B have released a great double LP of Sixties material, classics and rarities, recorded by the likes of Aaron Neville, Ernie K-Doe, Benny Spellman, Eskew Reeder, Irma Thomas, Allen Toussaint and The Showmen (featuring General Johnson) for the late Joe Banashak’s various New Orleans labels, ‘Mr Joe’s Jambalaya‘ (CDX26) … Big Dee Irwin, the singer/songwriter who 30 years ago led the Pastels doo wop group but is better remembered for his hit duet of ‘Swinging On A Star’ with Little Eva 25 years ago, has been signed (under his real surname, Ervin) by 2000 AD Records, the label that veteran record plugger Golly Gallagher is now running here … James Brown’s past cohorts, including Bobby Byrd, Vicki Anderson, Lyn Collins, Marva Whitney, Maceo Parker, the JBs, Fred Wesley and the Horny Horns are all live at London’s Town & Country Club in Kentish Town next Wednesday/Thursday (20/21) … James Brown’s CD is packaged more colourfully than the brand new bag given to his ‘I’m Real’ LP here … Keni Stevens’ old ‘Blue Moods’ album on Jam Today will soon be on CD with extra mixes and unissued songs boosting it to 13 tracks … T-Coy’s latest latin house jangler ‘Night Train‘ (a new tune) is due on promo now … Dave Rogers, a regular shopper along with me at Rayners Lane’s Record Centre, has himself set up a small specialist Soul Shop at 789-791 London Rood in Hounslow, supplying black and dance music plus imports for the locals there … Sarbani, the girl whose ‘(Ish Ka Deh) Marmaleh‘ Bhangra house single turns out to be produced by Andy Cox of Fine Young Cannibals, is the Wolverhampton teenager who won the national Bhangra dance contest on TV’s ‘Network East’ … Culture Shock’s pioneering ‘House Bhangra‘ only ever hit (in a small way) the Indie, rather than dance charts … North West London’s postal disputes held up DJs’ charts (and new UK releases) this week … NANU NANU!

STEVE WALSH died on Sunday, July 3, following an operation on his fractured left leg in Paddington St. Mary’s Hospital. His great bulk of around 26 stone, which gave him such a commanding presence on stage, proved to be his undoing. Apparently people who are very overweight are liable to get calcium deposits around their joints, bits of which can break off during this type of operation and get into the bloodstream, causing a blockage and heart failure. This is what happened when, made fully aware of the risk, Steve agreed that surgeons should put a plate in his leg, as otherwise his fractured femur might not have mended sufficiently to bear his weight and allow him to walk again. This four hour operation was successful, and Steve woke up after it, before his heart stopped twice, the second time there being no reviving him. Four evenings earlier, on Ibiza in the Balearic islands, Steve was being driven in a convoy of cars back from the final sunset shot of the third day’s filming for his new single’s video, when a car shot out of a side road straight into the car he was in, throwing him through the windscreen. In addition to a broken leg he suffered four broken ribs, a black eye and facial lacerations. Put in traction, he was flown home by air ambulance for medical attention close to the Paddington apartment he shared with wife Sue and three young daughters (one only weeks old).

Steve himself was born on September 20, 1958, in Walsall, although into a South London family with colourful connections about which he later loved to boast. Moving north of the river, he ended up at school in Paddington with classmates Paul Hardcastle, Billy Idol, radio DJ Gary Crowley and actor Phil Daniels. I first met him when he was 17, and we spent many hours talking about the art of DJ-ing, as he was even then determined to learn as much as he could in order to get to the top. While still a teenager, he talked his way into running very successful soul sessions on Sundays at the Lyceum, with which he made his early reputation. Soon there was a “Walsh Force” who followed him by the bus load to his out of town gigs. At this stage he was often accused of copying other better DJs’ styles: he was, however, much younger than his size suggested, and still learning by other people’s example. Cutting a Henry The VIIIth like figure with his red hair and massive girth, he commanded instant attention when on stage, not only because of his bulk but also, even more important for a DJ, he was loud and could be heard. Subtlety and Steve Walsh were the opposite ends of the spectrum, yet, against all odds, and showing again his determination to get things right, by painstaking practice he became one of the few disco DJs to make the successful transition from live stage work to radio, modifying his stentorian stage manner into the necessarily more intimate “one to one” style of the radio presenter. At one incredible period he was actually presenting soul shows on Guildford’s County Sound plus both London’s Capital Radio and BBC Radio London, before finally opting for the latter. (Most recently he also introduced the “Boogie Box” show on the Music Box cable TV channel.)

At Radio London his Sunday and Monday night soul programmes, in which he introduced far more new music than when on stage, were overshadowed perhaps by his partnering Tony Blackburn in the wildly successful Radio London Soul Night Out live broadcasts, these latter being really what established his reputation as London’s number one disco name. Everyone loves a fat man, and he only had to walk on stage with his arms spread wide and a smile on his face for the crowd to erupt. Indeed his actual disc-jockeying at such gigs was reduced to the predictable rotation of a few well proven favourites, one of which, Fatback’s ‘I Found Lovin’’, he eventually recorded himself and took into the top 10 last autumn. His simplistic “you wot, you wot?” catchphrase chant thus caught on nationally, and perhaps summed up his unpretentious live appeal. It certainly helped him at last to become the nation’s embodiment of a “disco DJ”. Prior to this, back in the early Eighties, for three years his face had appeared in advertisements on the front page of London’s Evening Standard newspaper, endorsing Svenson’s hair-weaving process, making him even then the first “mere” disco DJ ever to be given such prominence in an advertising campaign totally unconnected with the disco business.

Through all this, he surprisingly never let his ambition, and enjoyment of such fleshly pleasures as his Rolls Royce, weaken his commitment to the black music that some might have considered could hold back an entertainer in his position. Although the records he played at gigs may have been predictable, they were far from obvious to a pop crowd (he had long been an early champion of Aswad, for instance), as he always played primarily for the black market. It is a mark of the gap his untimely death now leaves that the organisers of a special tribute night, being planned for Hammersmith’s Le Palais to benefit his wife and daughters, cannot think of any other current figurehead from the disco world who could handle such an event as Steve would have done himself. He will indeed be missed.

(The single for which he was making the ill fated video, his “you wot”-studded rendition of McFadden & Whitehead’s ‘Ain’t No Stoppin’ Us Now’ will ironically still be issued by A1 Records on August 18, while his manager, Martyn Levett, has set up the Steve Walsh Family Trust, c/o Barclays Bank, Crouch End Branch, 46 The Broadway, London N8, account number [redacted], sort code [redacted], all to benefit his widow and children, as Steve seems to have spent his earnings as he made them.) Perhaps it is fitting that he should share with you the secret of his stage success, “Always look at the audience, look into their eyes as you are talking.” He learnt this, and passed it on.

LEIGH GUEST is the sole remaining original member of the Double Trouble remixing team but still uses its plural monicker for his work (joined though as he often is these days by the separately credited Simon Goffe, fuzzily glimpsed lurking behind him here), Leigh alone creating special mixes now for Chris Forbes’ Capital Radio soul show every Saturday night. Come to think of it, in this photo, Simon Goffe is (very appropriately!) the face behind the face behind the name on the label!


MANTRONIX ‘Join Me Please … (Home Boys — Make Some Noise) (Noise It Up Mix)’ (US Capitol V-15386)
Although this (0-)95-0bpm remix of their disappointing album’s wordy jitterer (with home boys making background noise) is the plug side, together with its LP version and dub, plus the dull booming 0-87bpm ‘Get Stupid (Part III)‘, it’s the flip’s brand new break beat-cutting 0-108-104-105⅓-103¾-97⅓-98⅓-0bpm ‘King Of The Beats’ instrumental scratch mix that’s selling it.

PUBLIC ENEMY ‘It Takes A Nation Of Millions To Hold Us Back’ (US Def Jam BFW 44303)
Interspersed with brief snips of live crowd reaction from their London concert (which is flattering to us considering that it’s the US pressing), this tracks crammed typically angry rap set to the b boys’ heroes exploded immediately for the “bass” repeating (0-)105½-0-105½-0bpm ‘Night Of The Living Baseheads’ but also has the (0-)107⅔bpm ‘Cold Lampin With Flavor‘, (0-)101bpm ‘Terminator X To The Edge Of Panic‘, (0-)117bpm ‘Caught, Can We Get A Witness?‘, (0-)96½-0bpm ‘She Watch Channel Zero?!‘, 0-108⅔bpm ‘Party For Your Right To Fight‘, (0-)99⅓bpm ‘Louder Than A Bomb‘, (0-)91 bpm ‘Black Steel In The Hour Of Chaos‘, already issued 0-99⅚bpm ‘Rebel Without A Pause’, (0-)110⅕bpm ‘Bring The Noise’, 98½bpm ‘Don’t Believe The Hype’, 0-100⅓-0bpm ‘Prophets Of Rage’, and short 100½bpm ‘Mind Terrorist’, 0-107⅚bpm ‘Show Em Whatcha Got’, instrumental 97⅔bpm ‘Security Of The First World’. It’s a bit militant!

STETSASONIC ‘In Full Gear’ (Breakout AMA 9001)
Another tracks crammed though less angry rap set, with the excellent ‘Expansions’ basslined 0-108-0bpm ‘Talkin’ All That Jazz’ (which makes the point: “tell the truth, James Brown was old, ’till Eric and Rak came out with ‘I Got Soul’ — rap brings back old R&B, and if we would not, people could have forgot”), Force MD’s featuring dreamy (0-)40½-81pm revival of the Floaters’ ‘Float On‘, Mohawks ‘The Champ’-cutting wordy 104-108⅔-0bpm ‘Miami Bass‘, 98⅔bpm title track, 95bpm ‘Stet Troop ’88!‘, (0-)91⅓bpm ‘This Is It, Y’All (Go Stetsa II)‘, 97⅓bpm ‘It’s In My Song‘, 112bpm ‘Pen And Paper‘, reggae 88bpm ‘The Odad’, already issued 103bpm ‘DBC Let The Music Play’, 0- 101bpm ‘Sally’, and short 0-101bpm ‘Rollin’ Wit Rush’, bongo pattered 95-0bpm ‘Freedom Or Death’, organ instrumental 0-100⅔-0bpm ‘Music For The Stetfully Insane’. Continue reading “July 16, 1988: Steve Walsh obituary, Mantronix, Public Enemy, Stetsasonic, Mica Paris”

July 9, 1988: S-Xpress, Evelyn ‘Champagne’ King, El Bee & Tee, Bang The Party, The Funky Ginger


STEVE WALSH, checking out the Balearic Beat at first hand on Ibiza (and filming his ‘Ain’t No Stoppin’ Us Now’ video), had his leg broken when the car he was being driven in crashed — lucky it wasn’t his recently resprayed Roller! … Supreme Records evidently didn’t have their Project Club single in the shops to meet the demand following my Balearic Beat article, even greater demand though apparently being for the Fini Tribe whose chimes it borrows … Fourth & Broadway could suddenly find The MLK Project ‘I Have A Dream’ (12 BRW 93) starts selling for the B-side’s Martin Luther King uninterrupted speech sequence, used on top of the other records by the Balearic jocks … Gino Soccio ‘Dancer‘ could make a useful Balearic reissue, as so much that’s played actually sounds like it — in point of fact, Balearic Beat is going to be a useful banner under which record companies can reissue even more dodgy old material than they did with Rare Groove! … BBC Radio 2 reclaims sole use of its FM transmitters in October, leaving Radio 1 covering only 60 per cent of the country on its own FM network then, it will be maybe two more years before the latter is complete … Chiltern’s soul jock Martin Collins is being considered by Radio 1 for a pop programme … Pete Tong points out that it was London/ffrr’s promotion of the remix that made Salt-n-Pepa’s ‘Push It’ cross over at last, closely tied in with its strategically placed live performance on the Nelson Mandela show … Wembley and Harrow post offices have been on strike, causing Fred Dove to ship his DJ mail-outs over for posting from WEA’s head office in Kensington … Wayne Hernandez’ original version was of course the Bulletin Mix, my confusion of it last week with the new The News At 12 Remix was because I keep being sent copies of the old one — anyway, there’s the possibility of yet another ‘Bad, Bad News’ as by WH Posse, a samples scratched more chunkily jiggling faster 117bpm “illegal mix” cutting ‘Think (About It)’ and more (but I didn’t tell you this!) … Camberley JW’s DJ Dave Roarty has in fact created another strictly promo-only ‘Illegle 2‘ mix (the mis-spelling is deliberate) combining Alexander O’Neal, Temptations and much more, including “important” radio announcements, out of Nick Kamen’s 0-120bpm ‘Bring Me Your Love’ … Greg Wilson has also used radio samples from around the world on Greyhound-distributed limited white labels of the girl chorused 0-122½bpm lively volume pumping Credit To The Edit ‘(Non Stop Radio) The Rhythm Of Life’ (CTTE 001) … Chris Paul’s now promoed scurrying 119-0bpm remake of the Players Association’s ‘Turn The Music Up‘ takes a while to become recognisable but then there’s no disguising the jiggly guitar and braying brass that he had to keep amidst his own breathy vocals! … Jellybean’s next UK single will be the slightly Oriental flavoured jittery thudding and chugging 114¾-0bpm ‘Coming Back For More‘ instrumental theme from the forthcoming film, ‘The Man In The Glass Booth’ … Republic Records have promoed ahead of July 25 release the M-D-Emm-produced ‘Pump Up The Volume’ tempoed 116½bpm Kikkit ‘Love Fixation‘, a heavily bounding instrumental strider influenced by the early Eighties output of such New York disco labels as West End and Prelude … Coldcut’s follow-up will feature Junior Reid from Black Uhuru on the go-go-ish ‘Crazy Thing‘, promoed in a fortnight, while they’re also releasing 19-year-old girl rappers Lazy & Lisa’s ‘Bad Young Sisters‘ on Ahead Of Our Time, which label also currently has their latest strictly limited ‘Hot Plate 4’ 12 inch, featuring the acidic instrumental 120½-0bpm ‘Acid Drops‘ and 120bpm ‘Acid Ant Attack‘ by Acid Ant, (0-)120½bpm ‘Deep‘ and 0-121¼-0bpm ‘Stepper‘ by Sweet Tooth Sonny, plus the loopingly edited 124-0bpm bonus beat, ‘Juice’ by Juice … GRC’s third and final previously unreleased track on their ‘House Music Vol 1’ double album compilation is due on Urban 12 inch in three weeks, Phoenix ‘Everybody (Get Loose)‘, a Damon Rochefort co-created 118-0bpm pastiche of lots of disco oldies all revolving around an intertwining of Tony Rallo’s ‘Holdin’ On’ and Aleem’s ‘Get Loose’ … Millie Scott’s upcoming UK 12 inch on Fourth & Broadway will be the gently swaying 104bpm ‘To The Letter‘, flipped by the two songs that make up her current import single … Sybil’s producer James Bratton is following Jellybean and Hurby ‘Luv Bug’ Azor with an album called ‘The James Bratton Project’ on which different singers perform his productions, the first single from it being promoed here by Champion ahead of August 1 release, the Jo Ann Jones-credited soulfully unhurried 116½bpm ‘Share My Joy‘ with rippling vibes and cooing girls … Angela Winbush’s currently imported juddery 108bpm ‘C’Est Toi (It’s You) (12” Remix)‘ has been promoed on Club (JAB 67), with no release date scheduled, flipped by the sultrily wailing (0-)61½bpm ‘Hello Beloved‘ duet with Ronald lsley … Gregory Hines’ classy import LP is totally created by Luther Vandross in his own style — count up the number of BPMs and reviews I’ve got through in this issue and then work out why I have unfortunately not had time to cover it and other new albums this week, OK? … NANU NANU!

PUBLIC ENEMY have the hottest import album of the week, ‘It Takes A Nation Of Millions To Hold Us Back’ (US Def Jam BFW 44303), biggest track so for being the “bass”-repeating (0-)105½-0-105½-0bpm ‘Night Of The Living Baseheads’, while another hot rap set that’s out here is STETSASONIC ‘In Full Gear’ (Breakout AMA 9001), biggest track initially being the Force MD’s-featuring sweet (0-)40½-81bpm revival of the Floaters’ ‘Float On‘ ballad, both LPs however being so jam-packed with tracks that I just haven’t had time to review them fully this issue. Sorry!


PAUL OAKENFOLD is the Balearic Beat pioneering DJ behind ELECTRA ‘Jibaro’ (ffrr FFRX 9), a Phil Harding & Ian Curnow-produced extremely catchy and commercial remake of Elkin & Nelson’s German CBS-issued Continental oldie, with ‘Jingo’-style chants (featuring pouting Paul plus — shhh! — Rick Astley amongst others) and a simple percussive 0-109bpm bounding beat, likely to be the biggest Balearic crossover of those heard so far — this one, however, not being due commercially until July 25 (with a much more subtle 0-109-0bpm Spanish version B-side, and the strange episodic 106-0-73½bpm ‘The Future: Edition 1’, in which ‘Stone Fox Chase’ meets Ofra Haza, Chaka Khan, “Beatles”, Pink Floyd and many more).


S-XPRESS ‘Superfly Guy’ (Rhythm King LEFT 28T)
Chugging and thumping 117½-0bpm percussive jiggly thudder with chanting girls, wailing guys, dialogue samples and various breaks, quite bright but monotonous and less catchy than their number one (repetitively looping jiggly 117-0bpm ‘Lolly-Pop‘ and bongos pattered moody 99⅓-0bpm ‘Funky Killer‘ flip). What’s with the slight name change? Continue reading “July 9, 1988: S-Xpress, Evelyn ‘Champagne’ King, El Bee & Tee, Bang The Party, The Funky Ginger”

July 2, 1988: The Funky Worm, Loose Ends, Bobby Brown, Freddie Jackson, Full Effect


Jazz & The Brothers Grimm ‘Disco Nights’ turns out to be the co-creation of Phil Fearon – I shoulda guessed!… Robert Clivilles & David Cole have remixed ‘Ha Cha Cha’ as Brass Construction’s follow-up reissue… Steve Walsh’s next single is his inimitable reading of McFadden & Whitehead’s ‘Ain’t No Stoppin’ Us Now’, complete with “you wot”’s! (Steve, chuffed at the TimeLords’ “you wot” quotes, evidently missed the Nelson Mandela birthday bash crowd chanting his catchphrase too!… Morgan Khan has signed the Gap Band plus the whole Total Experience label for the UK to Westside Records… Dave Lee of M-D-Emm has left his Rough Trade day job to work full time on his own Republic Records label… Nottingham DJ Graeme Park has promoed the upcoming new Groove single on Submission, ‘Hijack The Beat’ adapting Herbie Mann’s old ‘Hijack’ into a bubbling and leaping 0-120bpm East Midlands house groove, flipped by a thudding and bounding 126⅓bpm new acidic remix of ‘Submit (To The Beat)’ with some ‘RR Express’ quotes… 10 Records’ mailing list DJs have charted, ahead of July 11 release, the Timmy Regisford-mixed rumbling and jolting choppily worried 112bpm Burrell ‘I’ll Wait For You‘, by identical twins from New York; likewise, the label’s promoed particularly tedious double album of stark acid house, ‘Techno! The Dance Sound Of Detroit‘ (DIX 75), is hitting with its best track, the Paris (a girl) sung bounding 120¼bpm Inner-City (featuring Kevin Saunderson) ‘Big Fun‘, plus the deadpan girl whispered shuffling 120⅔bpm Mia Hesterley ‘Spark‘ and frantically jacking 126¾bpm Eddie ‘Flashin’’ Fowkes ‘Time To Express‘ (fuller review when I’ve more time)… Scotland was terrific last week, but thanks to a side-trip to the sundrenched Lake District on the way back I had no time to pick up such evidently happenin’ imports as (on LP) Womack & Womack, Najee, New Edition, and (on 12 inch) Ultra Magnetic MCs, D Train, Schoolly-D (check The Club Chart for BPMs if they hit)… Big Daddy Kane’s new single will be his album’s now sizzling ‘Set It Off’… Matt Bianco’s ‘Wap-Bam-Boogie’, plugged by radio and clubs since the off, has finally been made the official A-side… Wayne Hernandez’ remix, credited last week as The News At 12 Mix, turns out to be called the Bulletin Mix… Simon Harris has created two remixes of Jack E Makossa ‘The Opera House’ which will be released by Champion separately along with the two original old mixes, making four different records in all, at the same time on July 18!… Champion meanwhile are chuffed by the eventual crossover pop success here of Salt-n-Pepa ‘Push It’, to which they own the UK rights (despite ffrr claiming the remix), obviously made into a hit by the girls’ Nelson Mandela birthday bash appearance, which at the time looked out of place in the running order but its chart place proves was better accepted by TV viewers than the rock-biased live audience… Norman Cook is guest DJ and one of the judges at Brighton Club Savannah’s £100 mixing competition this Friday (July 1), entry forms available in advance from the club at 32 Old Steine, Brighton… Tim Westwood presents MC Lyte, the Audio Two and Wrecks-N-Effect at Brixton Fridge’s teenage 6-10pm Illin this Sunday (3)… Chris Paul, whose new single will feature his own vocal on a remake of the Players Association’s ‘Turn The Music Up’, says his Thursday gig at Kingston-upon-Thames Options needs more men as it’s full of women, and his acid house Friday at the Camden Palace is now so steaming that Steve Walsh looks in for free… Swansea Martha’s Vineyard is so heavingly full that a glass conservatory has been added to the front, due for completion on Monday… Westerham’s Road-block club is organising a £6 coach party next Friday (8) to see Ten City, Marshall Jefferson and Bang The Party at Brighton’s Club Savannah (coach details on 01-668 1527 between 6-7pm)… Airto and Flora Purim will be live at Hammersmith Le Palais on July 18 (Monday) for a Funky Street Samba Party… Danish DJ Kenneth Baker has been signed as an artiste by MCA Records here… Natalie Cole’s ‘Everlasting’ video wittily reverses the Robert Palmer ‘Addicted To Love’ formula with emotionless cool male musicians swinging their hips behind her… Gary Hickson (0254-62411 office hours) is after a pair of the old Sennheiser HD424 headphones (2K resistance) as Simon Johnson, his colleague at Radio Lancashire, has the only pair at the station and is fed up with Gary always borrowing them!… NANU NANU!

NICKY HOLLOWAY, showing off his new profile in best Frank Sinatra style, is the Balearic Beat pioneering DJ behind BEATS WORKIN’ ‘Sure Beats Workin’ (It’s A Trip Mix)’ (ffrr FFRX 8), a jauntily rolling 0-113¼-0bpm instrumental leaper which combines the distinctive harmonica from Area Code 615’s ‘Stone Fox Chase’ (the ‘Old Grey Whistle Test’ theme, inspired in this case though by a Canadian disco version by Icarus) with a new backing track and bursts of Winston Churchill speech.


THE FUNKY WORM ‘Hustle (To The Music)’ (Fon FON T15, via WEA)
Creating quite a buzz, Sheffield’s answer to the Seventies revival is this Julie Stewart-sung and DJs Parrot and Ping Pong-scratched nervily shuffling 120¾bpm jitterer quoting from the old ‘Spanish Hustle’ rhythm riff, with an even better spikier 121¼bpm Manu Dibango-ish instrumental Blow Job flip.

LOOSE ENDS ‘The Real Chuckeeboo’ (Virgin V2528)
Classily packaged and produced long-awaited new album, sticking to their typical tempo range with the US-issued jiggly jogging 99bpm ‘Watching You’, rolling soulful 0-102bpm ‘(There’s No) Gratitude‘, Nick Martinelli-produced flowingly mixed 99⅔bpm continuous title track medley of the swaying ‘Tomorrow’, chunkier ‘Mr Bachelor’ and weaving ‘You’ve Just Got To Have It All’, jauntily wriggling 105bpm ‘Hungry‘, cheerfully jolting 101⅙bpm ‘Life‘, jerkily rolling 97⅔bpm ‘Remote Control’, lightly lurching 106⅔bpm ‘Is It Ever Too Late’, slightly Marvin Gaye-ish 107⅓bpm ‘Easier Said Than Done’ and 103⅓bpm ‘What Goes Around’.

BOBBY BROWN ‘Don’t Be Cruel’ (US MCA Records MCA-42185)
New Edition’s now solo old leader sounds solid if sometimes derivative on a consistent album with the juddery jogging Cameo-ish 102⅓-102½bpm title track, Change-ish slinky roiling 0-107¾bpm ‘I’ll Be Good To You‘, lovely old Philly-style 53bpm ‘Take It Slow‘, smacking “purple”-tinged (0-)110¼bpm ‘My Prerogative‘, ‘phonecall started tortuous 82⅔bpm ‘AII Day All Night’, swaying 73⅜bpm ‘Roni’, smoochier 77½bpm ‘Rock Wit’cha’ and 83½bpm ‘I Really Love You Girl’. Continue reading “July 2, 1988: The Funky Worm, Loose Ends, Bobby Brown, Freddie Jackson, Full Effect”