Heading back 40 years to hear Electro-Funk and Hip hop 12” singles that were rockin’ UK Boom Boxes at the end of 1984. This mix is the B-side to the original Electro-Funk ’84 mixes that aired in 2021 (transmissions 93-96).
TRACKLIST
Lunar Voyage by Rich Cason And The Galactic Orchestra
Have Your Heart (Instrumental) by Fresh 3 MCs
Matt’s Mood (Street Mix) by Breekout Krew
It’s Not Right by Dynamic Force
Placin’ The Beat by Spyder-D
2-4-6-8 Here We Are (Vocal and instrumental) by Crash Crew
Loop by Tom Browne
You Can Make It (Dub Mix) by The Rebels
Rock On by Sugar Kay & The Mighty Three
Body Rock by Ice-T
Hard Rock (It’s The Beat Of The Street) (Vocal + Instrumental Edit Version) by Flea
Troy by The Sugarhill Gang
The New Adventures of Grandmaster by Grandmaster Melle Mel & The Furious Five Loveride (dub ride) by NUANCE.
Just Having Fun by Doug E. Fresh
Our Picture Of A Man (Vocal and Instrumental) by The Playgirls
Hanging Out (Vocal & Instrumental) by U.T.F.O.
Push (Vocal & Dub) by Clair Hicks & Love Exchange
Drunk Driving (Instrumental) by Tuga
Breakdance by King Tut Strut Jon Kaufman & Frank Doyle
Sexomatic (Bonus Beats + Dub Version) by Bar-Kays
People Hold On (Vocal & Instrumental) by Earl Flint
Shake It Up (‘Til Ya Drop) (Vocal & Dub Mix) by Marcus Barone
How To Be A Zillionaire (Wallstreet Mix) by ABC
Break Anyway by Twilight 22
Space Connection 2012 Part 1 by Rich Cason And The Galactic Orchestra
Surgery (vocal and instrumental) by The Wreckin Cru
Broadcast on Radio Reverb 97.2FM and DAB, Brighton, UK, streaming on www.radioreverb.com in these timeslots:
Sunday 1st December at 11pm
Wednesday 4th December at midnight
Monday 9th December at 2pm
Thursday 12th December at 11pm
Tuesday 17nd December at 1pm
Tuesday 24th December at 10am
Friday 27th December at 2pm
SHOW NOTES
Lunar Voyage by Rich Cason And The Galactic Orchestra
Opening slice of new age synth sounds from Rich Cason’s Space Connection 2012 EP
Cason was a west coast songwriter, producer and keyboardist who had recording credits going back to the early 1970s. In 1984, Cason also wrote and produced an electro version of Prince’s huge hit, ‘When Doves Cry’, a single for TV star, Mr. T (‘Treat Your Mother Right’), various artists who were part of the Rappers Rap Disco Co, as well as his own ‘Street Symphony’
Have Your Heart (Instrumental) by Fresh 3 MCs
The second and final, single by Mr Bee, B-Unique and Jay Kool aka Fresh 3 MCs.
Written and ,Produced by Dave Ogrin who also engineered Air Force 1’s ‘See The Light/Feel the Heat’ that charted at same time. In 1984 Ogrin also co-produced Master O.C & Krazy Eddie’s ’Masters of the Scratch’, and worked on records by Fat Boys, Tina B, Ultimate 3 MC’s, and Pumpkin and Profile All-Stars
Matt’s Mood (Street Mix) by Breekout Krew
A US rap re-work of an instrumental from UK jazz pop band Matt Bianco’s debut LP. Produced by Tony Carrasco (from Italo-Disco group Klein & M.B.O.), with an uncredited rap by Spyder-D. In a review, Blues & Soul magazine wrote ‘Just watch this one fly!’ Echoes wrote ‘Tipped to be the hottest electro-rapper for ages’. An extended 12” mix of the Matt Bianco original was also released at this time, making the bassline and melody ubiquitous across a range of dance floors
It’s Not Right by Dynamic Force
The only single by Dynamic Force who were Kid Seville, CYB, Master E and FG. In 1984, rapper and guitarist, Kid Seville also released his only single, a pop funk rap track, ’Do You Have A Car?’ on SalSoul records. In 1985 the Dynamic Force guested on Afrika Bambaataa’s single ‘Funk You’.
Co-written by Michael Walker, co-writer and vocalist on Fatback Band’s ‘I Found Lovin’.
Co-written, Produced and mixed by Eric Matthew, from disco funk group Gary’s Gang, who was the founder of New York disco label, Radar Records, and worked on Key-Matic tracks including ‘Breakin’ In Space’. ‘It’s Not Right’ was the sole release on Ebony Coast records, a New York electro hip hop label founded by Eric Matthew during the mid-1980s.
Placin’ The Beat by Spyder-D
Duane Hughes aka Spyder-D, grew up in Hollis Queens, alongside childhood friend Russell Simmons. In 1984 Spyder-D produced and rapped on ‘Magic’s Message’ by Mr. Magic, Diamond D’s ‘Fresh Avenue’, The Playgirls, ‘Our Picture Of A Man’ as well as Matt’s Mood. The Playgirls guest on this track. In his Zulu Message column, Tim Westwood wrote that ‘Placin’ the Beat, along with Newcleus ‘Automan’, were ‘a couple of disappointing grooves…They’re not really worth the money.’
Earlier in the column he promoted his 6 days a week hip hop show on London Pirate radio station, LWR. ‘Highlight of the week’s listening was David Toop in interview, playing an explosive selection of early original hip hop beats brought back from New York. Perhaps it’s now time for legal radio to realise the enormous demand for electro. But if such a thing ever happens it would require a totally fresh DJ with an understanding of hip hop to front the show. Not an existing DJ like Tony Blackburn or Robbie Vincent jumping on the bandwagon. In all honesty the chance of Robbie Vincent playing an electro record is as likely as taking out Chaka Khan on a blind date!’ Westwood might have been aware that Capital radio was about to launch a show by a DJ who was 15 year’s older, Mike Allen, whose weekend evening Capital Rap Show which was dominated by electro singles throughout 1985.
2-4-6-8 Here We Are (Vocal and instrumental) by Crash Crew
One of the original Hip hop groups formed in 1977 in Harlem. Crash Crew recorded between 1981 & 1985, mostly for Sugarhill Records. CRASH was an acronym for Cool Romantic Amazing Super Heroes. The group’s planned 1985 LP was cancelled with the IRS shutdown of Sugar Hill records.
Produced with Howie T (Howard Thompson aka Hitman Howie Tee) English-born, but of West Indian origin, raised in Brooklyn, Hip-Hop DJ and producer formerly a member of CDIII (‘Get Tough). Around this time Howie T also worked with UTFO, Whistle, and Real Roxanne.
Loop by Tom Browne
Written and Produced by David Spradley with Ted Currier who worked with Queens, NY-born horn player, Tom Browne on the LP ‘Tommy Gun’, producing two tracks (‘Loop’ and the title track) alongside Michael Jonzun’s brother, Maurice Starr. Browne established an adventurous pop-electronic approach in 1983’s Rockin’ Radio LP.
Blues & Soul stated that ‘David Spradley’s contributions are probably more gutsy and adventurous that (Maurice) Starr’s…”Loop” trots along with a crashing beat and Browne’s extremely accomplished playing‘
In 1984 Currier and Spradley also produced ‘Beat Freak’ by Bobby Broom, The Boogie Boys’ ‘Zodiac / Break Dancer’ EP. The duo would go on to produce big 1985 hit, Sly Fox’s ‘Let’s Go All The Way’ along with further great tracks with Boogie Boys.
You Can Make It (Dub Mix) by The Rebels
Released on French/US label, Celluloid Records this was an electro update of 1982’s The Smurfs,’Smurf For What It’s Worth’.
Performed, produced and arranged by vocalist and multi-instrumentalist, Bernard Fowler along with Steven Brown from Peech Boys and Fred Fowler from Shango. Mixed with Dave Ogrin.
In 1984 Bernard Fowler also played on Herbie Hancock’s ‘Sound-System’ LP, ‘Shango Funk Theology’ LP, featured on Beside’s ‘Odeon’ Single, and Gil Scott-Heron’s ‘Re-Ron’. In a 4-star review in Echoes, Ian McCann wrote ‘Heavy electronic drums belt their way into this, followed by some fuzzed our power chords on guitar. They’re kept mercifully short, and then the bass comes in, well heavy. At this point it starts to groove…This combines rock, hip-hop and funk in a manner that receives the McCann seal of approval…Get ya ears on the case.’
Rock On by Sugar Kay & The Mighty Three
The only release by The Mighty Three. Produced by Clark Jay for New Jersey Label, Specific Records, also home to Divine Sounds. Jay also worked on 1984’s ‘Request Line/The Roof is On Fire’ by Rock Master Scott and Divine Sounds’ ‘What People Do For Money’ and Do or Die Bed Sty’. ‘Rock On’ featured on the 1985 compilation ‘Kings of Rap along with Run-DMC, Fat Boys, UTFO and Whodunit.
Body Rock by Ice-T
The B-side of ‘Killers’, co-produced by the west coast’s Ice-T and ‘The Alien Wizard’ Dave Storrs ‘using the biophringique audio recording process’. The duo had a big hit in the UK with Reckless (Club Mix) made popular by it’s inclusion on the soundtrack for the movie, ’Breakin’ (‘Breakdance’ in the UK). ‘Reckless’ re-entered the Electro Funk charts at the end of the year. At some point, the Body Rock track might have been linked with the 1984 film of the same name. ‘Body Rock’ was the most poorly received of the year’s breakdance movies. Storrs was also a producer of New Age cassettes for the Valley of the Sun label. In 1984 he also worked on electro tracks with Kid Frost.
Hard Rock (It’s The Beat Of The Street) (Vocal + Instrumental Edit Version) by Flea
One-off release under the artist name ‘Flea’. Produced by Flea and Eric Howard for Atlantic Records. It is not clear whether the artist has anything to do with Michael “Flea” Balzary from Red Hot Chili Peppers who was active at this time.
Troy by The Sugarhill Gang
With raps by New Jersey Rapper’s Delight trio, Big Bank Hank, Wonder Mike and Master Gee on the fashionable subject of a breakdancer overcoming all odds to become a success. Produced by Sylvia Robinson, the track was taken from the album ’Livin’ In The Fast Lane’, the groups last before disbanding in 1985. ‘Troy’ samples “Mosquito” by West Street Mob which, in turn, was a version of ‘Hobo Scratch’ by Malcolm McLaren and Trevor Horn. In true Sugarhill Records fashion, the source material was not credited. Sugarhill records went bust due to shady practices in 1986.
The New Adventures of Grandmaster by Grandmaster Melle Mel & The Furious Five
Another release on Sugarhill records after the split between Grandmaster Flash and Melle Mel following a royalties dispute following the worldwide success of ‘White Lines’.
The tracks credits ‘all scratching executed by Leland Robinson (Vicious Lee)’ who was label founders Sylvia and Joe Robinson’s son. The group played UK dates from 1st to 13th November 1984. Previewing the dates in his Hip-Hop column in Blues & Soul wrote, ’this is going to be explosive!’ In a typically scathing live review Chris Wells from Echoes (24th Nov ’84) wrote, ‘rather tedious, but the shaven-haired trendies seemed to lap it up’. With further disdain, Dave Ramadan described the track as ‘an irritating and almost unlistenable hotchpotch of sounds and voices that adds up to nothing’. In a more positive review, Mark Webster (Blues & Soul 420) wrote, that this ‘real cut-up sound…will appease all of those souls who snap in their baggies or just plain enjoy F.U.N.K.’
Grandmaster Flash returned soon after with a run of singles on Elektra records.
Loveride (dub ride) by NUANCE.
The follow up to ‘Take a Chance’, Produced by Ron Dean Miller (who assembled the 82/83 studio group Raw Silk for singles on West End Records. Mixed by Jay ‘Burzootie’ Burnett and Mark Kamins who worked prolifically across pop and dance genres at this time. Jay Burnett: ‘We Come to Rock’ by Imperial Brothers, Frantic Situation, Force MDs, ‘Time is Running Out’ by Jonzun Crew and ‘Out of Touch’ by Hall & Oates, the No1 Dance track from November 84. Mark Kamins: Beastie Boys’ ‘Rock Hard’, and pop tracks by Kim Wilde, Madness & Animotion.
Loveride would go on to be the No 1 Billboard dance track in 1985. An LP with vocalist Vikki Love followed. Westwood wrote that Loveride as ‘loud, rocky, and baad’. (B&S 421)
Loveride was edited by Albert Cabrera and Tony Moran, known as The Latin Rascals whose careers creating pioneering edits and radio megamixes for WKTU were taking off at this time. The Latin Rascals started to appear on records in 1984 with credits for Air Force 1’s ‘See the Light/Feel the Heat’, High Fidelity Three’s ‘B-Boys Breakdance’, Soulsonic Force’s ‘Frantic Situation’, Beastie Boys’ ‘Rock Hard’, C.O.D.’s ‘Uphill (Peace Of Mind)’, ‘Breakers’ Revenge’, Tina B’s ‘Honey To A Bee’ as well as Animotion’s ‘Let Him Go’. The Latin Rascals would carry on producing incredible edits throughout 1985.
Just Having Fun by Doug E. Fresh
The 2nd single by Barbados-born American rapper, scientologist and human beat box, Douglas E. Davis aka Doug E Fresh, with DJs Chill Will and Barry B. Produced by Harlem record shop owner Bobby Robinson for Enjoy Records. Robinson was the father of Ronnie D from Disco Four and uncle of Spoonie Gee. A UK Release on Streetwise records followed in 85 and featured on Street Sounds Electro. Fresh’s next single was the worldwide pop smash, ‘The Show’.
Our Picture Of A Man (Vocal and Instrumental) by The Playgirls
Produced by Duane Hughes aka Spyder-D for Sutra records, home to the Fat Boys. Playgirl, Doreen Broadnax (Sparky D) went on to release multiple tracks as part of the Roxanne Wars including an LP, ‘Roxanne Shanté Vs. Sparky Dee – Round 1’, produced by her then partner, Spyder-D.
Hanging Out (Vocal & Instrumental) by U.T.F.O.
Produced and arranged by Staten Island hip hop group and R&B singers, Full Force who had own 84/85 hit with Lisa-Lisa And Cult Jam’s ‘I Wonder If I Take You Home’
U.T.F.O (UnTouchable Force Organization) consisted of The Kangol Kid, Dr Ice and The Educated Rapper. This unpopular A-side lead to adoption of the B-side, ‘Roxanne, Roxanne’ as most popular cut from single. In Blues & Soul (421) Westwood wrote, ‘Roxanne, Roxanne is the track to bust. Using a serious drum beat, def scratching and the Kango Kid’s occasional human beatbox, this track has everything’. Smarting after a no-show, Marley Marl and Mr Magic cut a revenge reply record with 14 year old Lolita Shanté Gooden under the name Roxanne Shanté. The 9 month, 20 track ‘Roxanne Wars’ were underway.
Push (Vocal & Dub) by Clair Hicks & Love Exchange
Greg Carmichael & Shep Pettibone remake of Musique’s (Patrick Adams) smutty 1979 disco hit with female vocal disco trio, The Love Exchange. Greg Carmichael was a disco producer, songwriter. Harlem born, veteran disco, soul and boogie producer, Patrick Adams also contributed to Mr. Magic’s ‘Magic’s Message’, Louie Delight’s They Put Sex In Everything’ and The Cold Crush Brothers ‘Fresh, Wild, Fly And Bold’. Emerging DJ, producer, mixer and remixer, Shep Pettibone also injected some mid-eighties energy to Loleatta Holloway’s ‘Crash Goes Love’ and Barone’s ‘Shake It Up (‘Til Ya Drop)’
‘Push (in the Bush)’ charted in the Electro Funk chart at the very end of 1984.
Drunk Driving (Instrumental) by Tuga
Produced by The Jam – On Production Crew. This was a Newcleus song with Tuga (Al T McLaran) rapping on it. The production team included Robert Crafton III (Chilly B), Maurice Benjamin Cenac (Cozmo D) with regular Newcleus producers, Joe Webb and Frank Fair – who also produced Dynamic Breakers’ ‘Dynamic (Total Control)’, a big track at this time. The rap is a forgettable, cautionary tale about drink driving over Christmas. Newcleus’ customary clean punchy beats and arpeggiated synths make the track worthwhile. Westwood wrote, ‘this beat can’t be beaten’. (B&S 421)
Breakdance by King Tut Strut Jon Kaufman & Frank Doyle
From an instrumental LP that promised ‘Breakdance Rhythms & Tracks for Rapping’ and ‘The Hottest Beats for Breakin’, Electric Boogie, Flashdancin’’. This cash-in on the Breakdance craze was produced by New York based drummer, Jon Kaufman and keyboard player and music journalist, Frank Doyle for Jazz record label, Inner City Records’. Another LP from the duo, ‘Ultra-Drums’ would follow on educational label, ‘Music Minus One’.
Sexomatic by Bar-Kays (Bonus Beats + Dub Version)
The original Bar-Kays were formed in Memphis but most band members died in the plane crash that killed Otis Redding in 1966. Sexomatic was written and produced by the new Bar-Kays manager and veteran producer, Allen Avoid Jones who died in 1987.
Remixed by Mark Berry (Hot Box) who, around time worked on records by Two Sisters, Alisha’s ‘All Night Passion’, Swans ‘Cop’, Animotion’s ‘Obsession’ and ‘Let Him Go. Mix engineer included Paul O’Duffy who, in 1984, worked on releases by John Rocca and Freeez
People Hold On (Vocal & Instrumental) by Earl Flint
The only release on Flint’s label, Panda Records
Produced by co-writer, James Mason, a jazz funk guitarist and keyboardist, former solo artist and member of Roy Ayers Ubiquity band. ‘People Hold On’ charted in Blues & Soul’s ‘The Beat Box Chart’ in early November, but this track didn’t appear in the Groove Electro Chart.
Shake It Up (‘Til Ya Drop) (Vocal & Dub Mix) by Marcus Barone
Barone contributed to C.O.D.’s ‘Uphill (Peace Of Mind)’ before arranging and playing keyboards with David Hasselhoff and entering the the TV and movie business in various music consultant roles. ‘Shake It Up’ was mixed by Shep Pettibone, and co-written with producer Joel Diamond for his Silver Blue record label.
How To Be A Zillionaire (Wallstreet Mix) by ABC
An electro slammer from the hugely popular Sheffield pop band. Arranged and produced by Mark White (ABC, Vice Versa) along with vocalist Martin Fry, and engineered by Martin Webster (Anne Clark, Aswad). This November 1984 single previewed 1985’s ABC album of the same name.
Break Anyway by Twilight 22
Taken from their 1984 LP, Twilight 22 was an Electro-funk project led by keyboardist/producer Gordon Bahary with Joseph Saulter and Errol Moore on vocals. Twilight 22 used a Roland 808, Prophet 5, E-Mul Emulator, Korg VC-10 Vocoder. Released on jazz and classical label, Vanguard, Bahary also wrote and produced Zero Hour’s ‘The Dark Side’. As a teenager, Bahary had programmed synthesisers for Steve Wonder’s Journey Through The Secret Life Of Plants and Herbie Hancock’s ‘Feets Don’t Fail Me Now’. Gordon Bahary now runs Electric Kingdom Studios.
Space Connection 2012 (Part 1) by Rich Cason And The Galactic Orchestra
Released on promo at the end of 1984 this charting in Blues & Soul’s ‘The Beat Box Chart’ at the end of November but didn’t appear in the Groove Electro Chart.
Surgery (vocal and instrumental) by The Wreckin Cru
The second single by Los Angeles’ Wreckin’ Cru on Compton club owner Alonzo Williams’ Kru-Cut Records. DMX Drums and Keyboards were played by Oberheim employee, Daniel Sofer. Acting as a medical professional, Andre ‘Dr Dre’ young prescribed the scratch whilst Mark ‘Cli-N-Tel’ Hawkins provided the rap. ‘Surgery’ was followed by ‘Juice’, both featuring on Street Sounds compilations. Dr. Dre and DJ Yella later continued producing music with N.W.A.