ODDS ‘N’ BODS
SHARON REDD’S ‘Never Gonna Give You Up’ has rapidly been re-pressed on UK 12in with both the instrumental and vocal remix versions of ‘Beat The Street’ as 2-track flip — this’ll kill her album, but boy what a bargain! . . . The Quick’s ‘Touch’ will now indeed be on full length commercial 12in . . . Morgan Khan’s Streetwave label next week puts out a 6-track £2.99 33 1/3rpm LP-type 12in called ‘Streetnoise‘ containing Hi Voltage ‘Let’s Get Horny‘, Weeks & Co ‘Go With The Flow’ (vocal and instrumental), The LIVE Band ‘A Chance For Hope’, Carol Jiani ‘You’re Gonna Lose My Love’, NY Skyy ‘Let’s Celebrate (Remix)’ . . . Weeks & Co is currently on US Prelude 12in as well as Canadian Black Sun, this switch to a hip label doubtless causing its sales surge . . . Capital Radio’s Greg Edwards must take credit for reviving Hi Voltage’s fortunes . . . Elite has licensed from Inner City for 4-track £2.50 12in the jazzy Lee Ritenour ‘Sugarloaf Express‘, Kazumi Watanabe ‘Gentle Afternoon‘, Don Latarski ‘Jennifer Anne’s Samba‘ / ‘Beginning Song‘ (Elite 4 PLAY 101) . . . ‘D’ Train ‘Walk On By’ is now remixed with a longer instrumental start on 3-track US 12in (Prelude PRL D638) with the herky-jerky c.124bpm ”D’ Train (Dub)’ and ‘Tryin’ To Get Over’ . . . Imagination’s single is ‘In The Heat Of The Night‘, which could be a bad mistake — especially as radio loves ‘Heart ‘N’ Soul’ . . . Fat Larry’s Band ‘Zoom’ is now on LP-length 12in (WMOT VS 546-12) with 2-track flip of the Rick James-inflected 115-116-115-116-117-119bpm ‘Traffic Stoppers‘ and ‘Jamming’-quoting 117-118bpm ‘House Party‘ . . . Alton Edwards next week issues ‘Shining Light‘, a 126bpm bright squeaky pure pop skipper which soul fans will hate, recorded because according to his manager Margaret Hamilton (no relation, though I wouldn’t mind!) CBS confess they can’t market disco material . . . BADEM’s exhibition featured an impressively created disco environment in which to demonstrate a well co-ordinated but slightly too long lighting effects display, while out on the stands the stacks of boring old lightboxes looked decidedly outmoded by the far more sophisticated (if more expensive) developments that have taken place in disco hardware — although the most welcome sight was the Cambridge Pianola Company’s cassette operated automatic piano, an oasis of old world simplicity . . . Roger Squire’s had a suite of their own in which to show their many wares, and over the road in a pub there was a rival ‘Discoextra’ exhibition featuring Cliff Wilding’s Lampseed lighting products amongst others . . . Rob Harknett (Roydon) expressed before the event his hope that this year more DJs would stop and chat to each other instead of brushing by in a world of their own, and I certainly talked to quite a few, including at length Chris Cole of the West Surrey & Hants DJ Assn . . . Paul Anthony, who arrived by motorbike from Wolverhampton Eve’s, wonders what awful secret prevents Radio One’s Steve Wright from appearing at his or any other Wolverhampton club . . . Ilford Room At The Top’s John Osborne is, I now realize, a dead ringer for Haircut 100’s Nick Heyward — down girls! . . . Room At The Top celebrated its 12th birthday this Wednesday (15), incidentally . . . Larry Foster packs Gants Hill Villa every Friday and does Stratford Reflections on Wednesdays, amongst other gigs, but has stopped doing Romford Lamps on Tuesdays and Thursdays and thus would like other work those nights (on 01-519 7280) . . . Travis, one of the dancers, has a Sunday afternoon 3-6pm dance and exercise session at Gants Hill’s The Villa (Ilford), take £3 and your ‘Fame’ togs . . . Steve Goddard, who now does Romford Lamps on Fridays, seems like an amiable loony to judge from what he says about his Saturdays and Mondays in the guise of The Soul Messiah at Barking’s Chains, where “anybody genuine enough to convince me of a more ‘in the groove’ venue gets a free Curly-Wurly bar and a photo of my Aunt Hilda of East Grinstead — Curly-Wurleys away, with a hip-hop, chow chomp, you don’t stop chomping till it’s all gone!” . . . “Harry” or “Big H” as he’s variously known, only jocking a year despite advancing age, has the mouth and confidence of another Chris Hill (although not the music) and could be fun to catch at Bagshot Pantiles, Ascot Belvedere Arms, Southampton Barbarellas amongst other regular gigs . . . South Harrow’s Bogarts is bulging with happy funksters every Thursday thanks to Chris Paul, who jams along on sax over the records — he’s also at Southampton Barbarellas on Fri/Saturdays, where they can’t otherwise hear or buy import soul . . . Direct Drive were evidently unaware of the PA they were reported as ignoring, but by actually naming a group even if they were as in this case innocent I hope the message was rammed home that lack of appearance can be damaging to both the act and the club — however beware the old con where a promoter bills an act as appearing for a PA without first having actually booked the act, and then expecting the act to turn up so as not to disappoint the fans . . . John Grant, until recently one of the North-West’s most revered jocks, has moved his harbour mastering location from Newhaven to the far hipper Brighton, where the Vinyl Demand record shop had the good fortune to buy up his entire jazz-funk collection — they may even have some of it left, if Paul Clark hasn’t bought it all! . . . David ‘Rowdy’ Yeats is at liberty (with a small “l”), not Liberty the record company — ie: he needs a gig! . . . Soho’s Le Beat Route in an effort to cut costs have perhaps unwisely stopped using any DJs who actually charge proper money, hence, and it’s a wrench, my Tuesday ’60s soul night is no more — and I’d love another somewhere else! . . . Fatman Graham Canter hosted an early evening party last week for music biz liggers at London Piccadilly’s Xenon, which turned out to be nowhere near as big or flashy as I’d expected . . . Showstopper Promotions take over Luton’s Caesar’s Palace premises for another of their Pink Elephant Fun House venues, to open in December as a companion to the similarly revamped Southgate Royalty . . . Sandy Martin (Swindon Brunel Rooms) was playing his Soul On Sound cassette’s preview mix so loudly in the car that he didn’t know he’d lost a hubcap until someone flagged him down a mile later! . . . Soul On Sound’s next preview mix, which took me 26 hours to create, flows as well as the last one with 28 record snippets blended into 22 mins 55 secs, but lacks a similar overall strength of material and has to hiccup slightly to accommodate Kenny G and Carl Carlton — however listen out for the Pressure Drop/Sharon Redd instrumental / “Q” and the Alfie Silas/Suzy “Q”/Nighthawk instrumental/Donald Byrd sequences, and then tell me which record is which ‘cos I’m still not sure myself! . . . Beats Per Minute fine tunings for some of last week’s Imports are Jamaica Girls 119-121-120-120½bpm, New Jersey Connection 116½-115-113-115-113-115-113bpm, West Street Mob 113-114-115-116-117-115-116bpm, Began Began 0-124-122-124-122-124-0bpm . . . American black music has always shifted in style and sound through the years — under the general euphemistic labels of “race music”, “sepia sounds”, “rhythm & blues”, “soul”, and now “black” or “urban contemporary” — and if what black American funk musicians are now getting into in a big way is electronics then I don’t see how we are in a position to pontificate and argue about the relevance to “soul” of this move: it’s on a par with gospel purists in the ’50s being upset about their favourite singers switching to the devilish blues — which brought about “soul” in the first place! . . . Robbie Vincent leads the field of those DJs now too hip to play Rockers Revenge — I hear he says it’s a “youth club record” . . . Rotherham Tiffanys’ Paul Barron hopefully has better luck with the horses than he has with the Gee Gee’s! . . . Tom Wilson (Edinburgh Oscars) can’t wait to see plugger Erskine Thompson’s new film, ‘E.T.’! . . . Mayfair’s Rockafella’s late nite eaterie (next to Samantha’s) currently has Maggie Thatcher’s Swiss holiday chef Jack Garlic cookin’ in the kitchen while waiting to start at a new restaurant being opened by Maggie’s hubby’s company . . . Yazoo on its US-pressed Sire 7in singles is now appearing as Yaz, a mistake (or intentional move?) which has been carried over into the Billboard charts — who took the “oo” out of Yazoo?! . . . I alone seem to have been right in my spelling of Jay W McGhee, where everyone else had him as JW . . . Orin Cozier’s “Ladies’ Man” influence seems to be spreading at Streetwave to Morgan Khan and now Patrick Boothe! . . . Adrian Martin (Denbigh Bamboo/Towyn Jollie Nights) is the North Wales DJ who started the local demand for Pete Brown’s ‘Can’t Be Love‘ 12in — he’s had offers of £25 and £30 for his copy . . . Van Martin revives Johnny Guitar Watson ‘I Need It‘ at Ernie ‘Whitehouse’ Priestman’s new Touchdown Tavern in Blackpool’s Talbot Road . . . Paul Major (East Anglia) revives Philadelphia International All-Stars ‘Let’s Clean Up The Ghetto‘ out of ‘The Message’ . . . Richard ‘Lofty’ Lofthouse (Chester-Le-Street Whispers) re-recommends Callers Records in Newcastle-upon-Tyne’s Northumberland Street for good import prices to bona-fide DJs . . . Adrian Dunbar (Bournemouth Adams) is mixing Lime ‘Agent 406‘ with Sylvester/Cowley (incidentally UK 7in pressings of Sylvester are slower than the import 12in and I’ve not heard the UK 12in), Derek Pierce (Bath Moles) mixes Soul Sonic Force and Giorgio ‘The Chase‘, Ian Levine (London Heaven) mixes Carl Carlton and Carol Jiani ‘You’re Gonna Lose My Love‘ . . . JUMP JUMP JUMP TO IT . . . HEY . . . DO IT DO IT!
JAY W. McGEE: ‘When We Party’ (Ensign ENYT 231).
If at first this doesn’t hook you, hang on in there, as the surprisingly subtle GQ-ish jauntily pushing 120-121bpm 12in kicker builds through ultra catchy “uptown downtown” chants (now in fact tagged on in brackets after the title on UK labels) to truck through a buoyantly instrumental last half, the deep soul slow ‘I’ve Been Checking Out (Too)’ flip being a goodie (too).
THE LIMIT: ‘She’s So Divine’ (Arlola AROD 285).
Given such a low profile UK release by Ariola that I haven’t even had a copy or seen it advertised, this Dutch originated successor to Blue Feather is a superb resonantly loping easily soulful 116bpm 12in romp through the song previously done by Jan Akkerman but now remade by its original writers. Huge on import already, it evidently has a flip here called ‘Pop‘.
MELBA MOORE: ‘Love’s Comin’ At Ya’ (EMI America 12EA 146).
Prod/penned by Paul Lawrence Jones III to sound just like his ‘I Can’t Stand It’ on Evelyn King’s LP, this carefully controlled 114bpm 12in judder and thud-filled cool slinky smacker is also extremely like Howard Johnson — but then they’re all from the same production team. Continue reading “September 18, 1982: Jay W. McGee, The Limit, Melba Moore, Gary’s Gang, Kool & The Gang”