Slam Slam – Move! (Dance All-Night) (Slammin’ 12″) [1989]
January 9, 2012

Sasha classic and a great example of late 80’s gospel tinged House music. There are two killer mixes of this stormer, the one in the title is a decent house track punched up to 11 with the quality of that cracking vocal. Then there is the Tony Humphries mix which injects a huge slice of the New York scene into the original composition. Taking the best parts of the riff, kicking up the speed a touch and layering the soul into it like only the master can do. A guaranteed arm waving stormer.


Tony Humphries Mix.

From Discogs
If you’re a fan of the legendary Tony Humphries Kiss FM Master mixes from the early 90’s then you’re gonna need this 12″. This record is on lots of the aforementioned mix tapes I have from that era. The Tony Humphries mix is absolutely essential, and is probably overlooked by most as there is also a David Morales Red Zone mix on this 12″ too. In my opinion, forget the Red Zone mix and go straight for the Tony Humphries mix, you will not be disappointed!

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The Stone Roses – I Am The Resurrection [1989]
August 19, 2011

Fools Gold will forever be my favourite Stone Roses track but “I Am The Resurrection” comes pretty damn close. Not because the start of the track is classic Roses rock with some innovative lyrics and catchy hooks. No, its because at four minutes in, the planets decided to align and finish the last track on one of the greatest albums ever released, the right way. Gone are the lyrics, gone is the catchy riff of the previous four minutes, what happens next is pure divine inspiration. The band just seems to jam, pumped on the previous ten tracks and kicks the encore into overdrive. Its four minutes of some of the most inspirational music ive ever heard in my life. Its abso-fucking-loutely amazing, what a track.

From Discogs
Utterly fantastic debut and one of the best albums of all time (and I still think that’s an understatement!). Anytime I get a chance to introduce this LP to a new friend, my anticipation grows to enormous heights because I get to listen to it again, and each time I hear it, I feel as if I’m experiencing it for the first time as well. I think it’s impossible not to get lost in this recording and it’s world of sound and wonder.
This is truly a timeless sonic document of MAMMOTH proportions.
The Stone Roses are eternal…

The Stone Roses were one of many bands coming from the mighty Manchester following on from the likes of The Smiths, New Order (geographically not sonically) who paved the way for the Oasis etc.

Anyway, this album is a near perfect example of the late 80’s / early 90’s explosion of youth club culture where an indie record could be played next to a dance record and next to a rap record. All the songs are pure emotional bliss and even the shortest (Elizabeth My Dear) taking a riff from Simon & Garfunkel is miles better than the palest of imitators from the time.

The lyrics of each song match perfectly the accompanying artwork from John Squire, the tight drumming from Reni and slightly funk-driven basslines from Mani were always super tight with Squire’s lead guitar and Ian Brown’s understated delivery – truly an album of it’s time and still one of my favourites today.

If you like indie, dance or just generally good music you should have a copy of this LP or CD

No wonder St Etienne declared on the run-out groove to Kiss & Make Up that: “John Squire You Are My Guitar Hero”

De La Soul – Say No Go [1989]
July 29, 2011

One of my favourite De La Soul tracks, full of conscious lyrics about the evils of crack. I still say many of the alleged hip hop social commentators out there should revisit Three Feet Hight & Rising to get a fundamental understanding of how to deliver a message in song. Its one of the most up beat, tragic songs I think ive ever heard. Amazing.

The Octagon Man – Free-er Than Free [1989]
July 12, 2011

Brutal breakbeat beast from Jonathan Saul Kane aka The Octagon Man. Dripping in Electro tinged synth but featuring a break that had more in common with its hardcore brethren, I would consider this to be a perfect meshing of the two genres. Absolute cracker this is.

From Discogs
This is one of my favourite tunes ever, and certainly my favourite by JSK. Real tranced out dubby breakbeats with the sample “wooh…it’s all in my head.” This release is just awesomly simple and pure, you just dont want it to end. I cant think of any more words to describe what this tune means to me.

The Wing Command – Latino Rave ’89 [1989]
July 1, 2011

This shipped as the promo release for Deep Heat 1989 ~ Fight the Flame, mixed by the then Uncredited “Wing Command” aka M.Kamosi and Thomas de Quincey. I’ve got to say, for the time, this was one of the biggest and best commercially released mixes in the UK. Everyone I knew had a copy of either the 7″ double A or the 12″ with 2x variants of the 89 tracklists on them. There’s almost no beatmixing in this either, the whole mix is cuts only, likely due to the time contraints. What this leaves is 6 mins of a banging selection of classic house, hip hop and pop tracks that for me at least, defined the summer of 89 for me. Nothing but respect to Telstar, they had someone at the top with all the right idea’s and put out collection after collection of classic compilations, Deep Heat being their most well known brand.

From Wikipedia
Launching in March 1989 with the Number 1 album Deep Heat, the brand achieved a successful four year run and set the footprint for Dance Music Compilations for many years to come. The record company, which had formed in 1982, had achieved modest success with Dance-themed multi-artist compilation albums with notable successes in the genre including the Dance Mix collections of 1987 and 1988 and The Best Of House ’88. What was initially unique about the Deep Heat collections was that they contained exclusive 12″ Remixes of recent Club Hits, instead of Extended versions of Chart Hits featured on similar collections such as Now Dance 89 which was charting around the same time as the first Deep Heat albums. The success of the series was partly due to the CD boom of the late 1980s and early 1990s and it was the first time full 12″ Mixes could be commercially bought on Compact Disc, offering the listener at home a whole new experience of enjoying digitally enhanced Dance Music. Tracks on the first and longest running release kicked-off with Adeva’s version of ‘Respect’ while Underground favourites such as ‘Break 4 Luv’ by Raze and Hithouse’s ‘Jack To The Sound Of The Underground (Acid Mix)’ ensured the album reached the top of the newly created Compilation Chart, the first of many.

Vinyl was still relatively popular with DJs and this format of Deep Heat sold well with each Volume being released on Vinyl when other Companies such as Arcade (who came on board in 1991 with the Groovy Ghetto series) had largely abandoned the format, preferring to concentrate on packing as many tracks as they could onto a 74-minute single CD.

Also unique to the Deep Heat Compilations was that there would often be ‘Exclusive Remixes’ of tracks, such as the Megamix of Technotronic’s biggest hits. This appeared on Deep Heat 7 ~ Seventh Heaven several months before it was commercially released, while “Exclusive Deep Heat Mix”s of tracks by The KLF featured on later editions. It would be these ‘exclusive tracks’ that would form the focal point of Deep Heat’s extensive Television Advertising campaigns launched by Telstar to promote each release. These would feature clips of videos of the albums biggest Club hits, usually with graphics in the style of the albums theme on the sleeve.

Deskee – Let There Be House (ABCD Mix 1)[1989]
June 29, 2011

Originally released as a more Hip-House number, it got re-released early 1990 with some significantly more up to date production. My favourite of these is without a doubt the ABCD1 Mix, its got a huge, banging intro using the fanastic bassline of the original and the Brutal Deluxe sample AND keeps the vocal rap complete out of the picture. Thats not to say that I hate the rap, its just fine but this mix is just perfect without it. Dark, sinister and banging, just the way I like my house music.

Quick shout out to the original Hip House mix too. Sampled to death and for good reason, the man is a talented lyricist.
Deskee – Let There Be House (Original Mix)

Twin Hype – For Those Who Like To Groove (Club Groove Remix) [1989]
May 2, 2011

Probably one of the best and most recognised Hip House tracks ever released. Put out at the time by Twin Hype, a triplet of kids, the oldest being sixteen years old. Sure, its slickly produced, alluding to the saccharine future of teen pop music but it retains the street roots courtesy of some excellent production from Shameek that make it far more legitimate than more modern offerings. The composition is the real hero though here, with that deep bassline and break rolling through the entire track gives actual rap a sense of place. Quality tune!

From Discogs
When sometimes asked about my all time favourite record, this one (the Club Groove version) will immediately come to my mind. Twin rappers Lennis and Glennis Brown, (there must have been a third one called Dennis, making them a triplet;) were very young, probably 15 or 16 years old when this record came out. Yet it’s a very mature track, in my opinion one of the finest combinations of house and rap, like maybe only hiphouse daddy Fast Eddie could make. Build ups, pumping beats and basslines, sharp breaks, a song that shouts “get your ass on the dancefloor”
Classic lines like “Jack / 89’s a year / house music is in your ear”, a very subtle 303, this track has it all. A legendary early 90s dutch house radio show was named after this very song. A timeless classic that i will play forever.

Black Box Feat. Loleatta Holloway – Ride On Time [1989]
March 22, 2011

Hate on them as much as you like, they took the epic accapella and propelled it into an entire planets consciousness over the summer of 1989. The very definition of legendary.

The Stone Roses – Fools Gold [1989]
March 10, 2011

One of the truly landmark tracks in music for me, its absolute perfection from start to finish. Its loved by just about anyone that had come into contact with it. I dont know anyone that doesnt love it. Why? Its simple, the break is amazing, the riff is incredible and the vocals are meaninful without being intrusive. Everything a true classic should be wouldnt you say!

From Discogs
The Original 9.53 version of Fools Gold back in 1989, you can’t have failed to take notice – because it is astounding. Apparently it was intended to be the B side to What the World is Waiting For – even Squire and Brown weren’t aware of their musical genius at the time! But listening to the irresistibly hypnotic groove produced by the effortlessly funky guitar, a superb drum loop and that bassline ten years later, it is still the groundbreaking sound of a band at the peak of their genius, drawing on influences such as Hendrix, Sly Stone and Chicago house music and moulding them into something unique And Very Unforgettable by these northern monkeys the defining point of music for the 1990’s. anything after is merely trying to emulate dance music-all from this record .

Silver Bullet – 20 Seconds To Comply (Omen Mix) [1989]
January 21, 2011

This needs almost no introduction whatsoever. The second mainstream hit from the exceptionally talented Silver Bullet absolutely decimated the charts back in 1989. It has universal appeal, i’ve yet to find a soul that doesn’t enjoy this track. The rapping is an impeccable, staccato whirlwind of lyrics, the break is a belter and that deep sub base keeps the track menacing. The addition of all the Robocop samples was a stroke of genius, getting people who may have passed up the track hooked by the recognisable movie samples just helped showcase what the rest of us all knew – sampling was everywhere, in everything. An absolute legendary tune that requires all the praise showered upon it. Incredible.

Silver Bullet – 20 Seconds To Comply (Original Mix)

From Discogs
Well known for its Robocop intro which helped in it becoming such a mainstream hit even though it was nothing but a rough demonic monumental slab of uk hardcore hip hop , but bullet did it in such a very eerie scary evil way which not many had done before. Samples, scratchers and lyrics were all menacing in a mystic type way. It hit the top of the charts which still surprises me considering what else was on there at the time yet still was loved by fans of Gunshot, Hijack, Demon Boys, London Posse etc strange times, for a while there it seemed London had been set alight and Bullet was in the middle spitting lyrics of fury.

As mentioned above, this record contains samples from the motion picture “Robocop”, where the fully mechanical type is presented first, just to go on a rampage due to a software failure. Anyway, this record uses a extremely pitched up breakbeat later to be used in “Rhythm Quest – Closer to all your dreams (Hibrid mix)” and for me its a cornerstone in the evolution of hardcore/junglemusic in the late 80’s uk just like Rebel MC and Shut up & dance. Shift this gangsta hiphop and get this one… real hardcore!