Leeds-based Matt Woodward and Jed Skinner formed house act Galaxians in 2012. Over the past five years they’ve forged a beautiful soundscape that’s all about keeping dance floors moving and grooving. Now a trio thanks to the addition of vocalist Emma Mason, they’re about to unveil their full-length, Let The Rhythm In, on Brooklyn’s Dither Down. The LP is an expression of their love for soul to house music, and it’s founded on the studio experience they’ve gained over the years.
Galaxians put the single “Out They Minds” in the capable hands of SIREN, a collaboration between NYC legends Darshan Jesrani of Metro Area and Dennis Kane. It’s nothing short of spectacular, and we’re thrilled to world premiere it! BIG SHOT
Galaxians formed back in 2012, vowing to make dance music that wasn’t actually ‘dance music’.
Reaching back to the roots of electronic music in the North of England – think electro, synth pop, and early Warp – the group began building up a distinctly individual sound and approach.
Now expanded to a trio, Galaxians are currently prepping new release ‘Let The Rhythm In’, a tour de force of exuberant club energy.
Clash is able to premiere ‘Out They Minds’ and it matches EBM influences to cold wave, early techno, and machine funk. Basically, it slaps. CLASH
Phil Gerus – If Not, My Eyes Closed (Lumberjacks Boogie, 2016)
Released on Netherlands label Lumberjacks Boogie last year, this track from Russian producer Phil Gerus is what you might call “the shit”!
One of four tracks from the ‘Lumberjacks Boogie vol. 2’ EP, all of which are totally banging. There’s no other word to describe them, really. You need it in your collection – buy it now!
ABCF – Phantom (Future Vision World, 2016)
04:12
ABCF = A Band Called Flash. Executive produced by legendary house producer Ron Trent (check his 1995 classic from ‘The Nature of Retribution EP’ here), this is a great modern boogie number that channels elements of French house with soulful vocals, slap bass and synths.
Tomas Malo – Love Stoned (Whiskey Disco, 2013)
09:56
An innovative, thoughtful and respectful rework of Kashif’s 1982 classic ‘Stoned Love’, which stays true to the original by taking original elements from the track and sensitively rearranging them. Normally, I would never tolerate any kind of messing around with a Kashif track, but this track is so expertly crafted that it had to be included on the mix. Released in 2013 on the ‘Future Lovers EP’ from re-edit label Whiskey Disco.
Tyka Nelson – L.O.V.E. (Shep Pettibone Dance Mix) (Chrysalis, 1988)
16:17
Tyka Nelson is the late great Prince’s sister, and unsurprisingly also a great musician. This track was produced by boogie/disco producer Shep Pettibone, and is full of tasty synths, 808 drum machines and more.
Jiraffe – Out’a The Box (Crazy Club Dub Mix) (GoldQwest Records, 1988)
24:43
Co-produced by Richie Weeks from Weeks and Co and The Jammers, this is a super lo-fi garage house track originally released on the budget GoldQwest Records in 1988 before being reissued on Italian label Omaggio last year. Lots of stuff going on here – drum machines distorted through the four track, crunchy synths and a nod-along kick. What is this box they’re on about, though?
Claude Jay – Love Is The Answer (Purple Majic Records, 1986)
30:57
Yes! Love REALLY IS the answer. What a track, and how important to have this playing REALLY LOUD as much as possible these days! Claude Jay is a New York-based singer and producer, and this track was released on the obscure Purple Majic Records in 1986. The production quality on this track is superb – the gospel-style choir really tugs at the heartstrings! It deserves a re-release and Claude Jay deserves our huge thanks for this superb track.
Anthony Lockett – Decisions (Boogie Times Records 2011, originally released 1983)
36:06
Anthony Lockett is a member of Cameo (of ‘Word Up’ fame) and is a guitarist and producer. French label Boogie Times Records (recently defunct as of 2014) re-released this track in 2011.
Hall Boys Organisation – Send In The Groove (Studio Records, 1985)
40:47
Not sure who the Hall Boys Organisation were, but they were probably funky robots who had a synth fetish, because that’s what this sounds like. It’s all about the synths and the drum machines and that 100% electronic crusing groove. Released on Maryland-based Studio Records in 1985. Wind down those windows and crawl down the palm tree avenues…
Colorblind – Crazy (Capitol Records, 1984)
44:26
Colorblind were a modern soul band who released one album and single on Capitol in 1984. Some sweet little riffs and close harmonies dominate in this track. It almost sounds like it could have been a 80s Four Tops or O’Jays production, such is the the quality of the recording.
Affinity – Pick Me Up (Rock Me Non-Stop) (Pow Wow Records, 1986)
50:24
Synth bass, drum machines and a kind of loose production that makes this a garage house/boogie crossover track. Affinity also released another great track (a boogie number called ‘Don’t Go Away’ on Mango Records in 1983), but this is a steady banger released at the period where house music was beginning to become a thing in the US. Pow Wow Records are also known for releasing Serious Intention’s classic ‘Serious’ in 1986 – another proto-house track with lots of influences on the likes of Easy Street Records, Strictly Rhythm and more.
Jed takes us through December’s mix. We give thanks to the uploaders of YouTube, without which this wouldn’t have been possible (due to the fact that some of these records are long out of print/are prohibitively expensive). Enjoy!
Labels from the records featured in December 2016’s mix.
Keni C. – Find Someone (To Love You)
Insanely rare 45 which will set you back about $300 if you ever come across it. There’s hardly any information on this release online, so I’ve pieced together what I can and made a few educated guesses.
It was released on Space City Records at some point in the 1980s. Space City is a nickname for Houston, so it’s possible that this record was released there.
The label states that it was produced by Tom Burton III – who also appears, according to Discogs, as a horn player on another record in 1982 (released by The Sound Of Brooklyn). So, about 1982 would be my best guess as to the year of release for this.
The label also states that it was produced by Robert ‘Baba’ Lyles, who could be Bobby Lyles, the keyboard player with Young-Holt Unlimited. He currently resides in Houston so it wouldn’t be out of the question to assume he was involved with this record’s production.
Marc Reed – One Body
Released on London-based 20/20 Records in 1986. Apparently this is Marc Reed’s only release – a 12” single (surely there’s an album out there?)
Produced by Lenny Fearon, who had some success with the Brit-Funk group Galaxy in 1982 with ‘Head Over Heels’ and in 1983 with ‘Dancing Tight’.
The bassline is reminiscent of Steve Harvey’s classic ‘Tonight’, which you should totally check out.
UDM – To Please You
Not, in fact, the Union of Democratic Mineworkers, but a track written by three members of the disco/boogie group Rhyze (check out their classic ‘Just How Sweet Is Your Love’). Those guys were Leon Stuckey, Roscoe Taylor and Ellsworth Anderson. I have no idea why they’re called UDM…anyone else?
Released on Kadabra Records in 1983, this is apparently the only release on that label. Not sure why, because Rhyze were pretty well-known on the scene by this point and were signed to SAM Records and then 20th Century Fox Records.
Maybe they couldn’t handle the funk.
Tchukon – Too Late
According to Discogs:
“Canadian modern soul group … one of the finalists for the televised Star Search talent contest in 1986. Tchukon is Warren ‘Slim’ Williams, Kathleen Dyson-Oliver, Harold Fischer, Ingrid Stitt and Eric Roberts”.
So there you go.
‘Too Late’ is a track from their album ‘Here and Now’, released in 1987 on Aquarius Records.
Vickie McKisic – Burnin’ Hot
Released in 1986 on Atlanta-based HoMark Records.
Discogs has a good inventory of their releases, going back to the early 70s, so it seems that this is a soul label that moved with the times and went electro in the mid-80s.
This seems to be Vickie McKisic’s only release, although she is still performing around the Atlanta area today.
Smoke City & Starr – Lots of Love
Chicago-based soul band Smoke City released this in 1986 on Empie Records. Previously they’d had a couple of releases on Epic Records, and they released an album on Epic in 1985.
This was meant to be from a second album, but was never released. The marvels of Facebook mean that we can now find out why, from former bass player Mike Sterling:
“The Epic contract was only for the one LP. Before I left the band in 1986 (the LP was released in 1985), [manager] Emmet Gardner told me that the next Smoke City project would be focused on the female lead vocalist, Starr.
“He said that it is much easier to promote one person instead of a band and at that time many well-known groups were pushing their lead vocalists to solo projects”.
Sadly that second album never came out, and the band appear to have split shortly after this track was released.
The Connection – Keep Your Front Door Open
Three-piece vocal group The Connection hooked up with songwriter John Glover (The Four Tops, The Dells, The Supremes) to produce this soulful slow jam.
Released on Detroit-based R&R Records in 1986.
Monica Mason – No More Weekend Girl
Produced by singer/songwriter Harvey Scales, this track has all the hallmarks of a smash hit.
Released on Georgia-based Gunsmoke Records in 1986, its small-label distribution might help explain why this didn’t get the exposure that it clearly deserved.
Monica Mason is still performing in the Atlanta area today, though, and this track is testament to her vocal skills.
William Bostic – What You Do To Me
Labels from the records featured in December 2016’s mix.
Released on SOR Records (Sound of Richmond Records) in 1983, this is a lo-fi boogie banger. And that’s Richmond, California. Not Yorkshire.
The Futures – Let’s Get To It
Another super-expensive record. Currently, there’s one for sale on Discogs going for just under £500. Which is daft. So here it is on this mix, instead.
Released in 1982 on Warped Records (not Warp!), this features a lot of session musucians who were active in the Philly Soul scene in the mid-70s through to the mid-80s, including some of Dexter Wansel’s backing band.
The ridiculous price is because this has never been repressed, and released on a minor label despite it featuring some big names. It’s also dope. Supply and demand!
Clarence Jackson – Wrap It Up
Like The Connection (track 7), this was produced with Detroit-based songwriter John Glover.
Released on R&R Record’s sister label RR Records in 1984, it’s all about THAT BASS. So deep!
Pause – It’s Just Amazing
It’s just amazing that this was never released on anything beyond a white label. A white label! Can you believe it?
Anyway, this is great soulful jam from the London-based Pause. There’s no information about them anywhere, so here’s a picture of what they looked like in 1987.
13. Ken Chaney – Ready For Your Love
Rapid drum machines, lo-fi production. Released in 1985 on Philly-based Tempre Records. Co-written by Eugene Curry, synth player in Redd Holt Unlimited (before they changed their name to Young-Holt Unlimited).
It should be noted that Eugene Curry, as well as playing on this record, also appears on the classic ‘Love Sensation’ by Loleatta Holloway.
Jed talks us through some of the tracks from this month’s Galaxians mix.
Connie – Experience (Dub) (Sunnyview, 1986)
Connie, aka Consuelo Piriz, was mainly active in the mid-80s, releasing material on the New York-based Sunnyview label. Although it had a NY address, Sunnyview focused its releases on artists from Florida, and this included Connie, a native of the state.
“Experience” was Connie’s second single, released in 1986. It was produced by Amos Larkins in Miami, and features elements typical of the ‘Miami bass’ sound from the period. Connie still performs around the US today.
Craig Paradise Cooper is actually Italy’s Simone Vescovo. Harking back to the classic drum machine/Juno synth production methods of Trax Records, this track was released on Japan’s brilliant Boogie Paradise Records in 2014.
Circuitry – The Firm Funk 11:18 (Unknown; maybe – but probably not – 1985-86)
Who are Circuitry? As far as I can tell, someone uploaded this to the internet, claiming that was an “a demo instrumental from studio sessions in 1985-1986”. Discogs isn’t much more help, either. Maybe it’s always going to be a mystery. My money’s on it being a modern production. Either way, it’s great – 808s, synths and reminiscent of Dam Funk.
Kylie Auldist feat. King Merc – Good Time Girl (Original Mix) 14:25 (Freestyle Records, 2016)
Australian vocalist Kylie Auldist released her album “Family Tree” on London’s Freestyle Records this year, featuring this track with King Merc. Her previous album ‘Still Life’ came out on Tru Thoughts in 2012, which is also home to superb Australian funk band The Bamboos. And as chance would have it, both Audlist and Merc have previously worked with The Bamboos. So it’s good, is what I’m saying…
Gina – Hooked On Your Love 18:38 (NIA Records, 1984)
Cover of the classic Fantastic Aleems track of the same name. And also on the same label, NIA, as the original release. Not as raw as the original 1979 recording, but a great take nonetheless on a boogie classic.
NIA Records were based in New York and basically existed to showcase the many talents of the legendary Leroy Burgess, a central figure in the history of the development of funk, disco and dance music from the 70s through to the 90s.
Although Leroy was in the Fantastic Aleems, and despite being a multi-instrumentalist and immensely talented songwriter, he didn’t write “Hooked On Your Love”. That honour falls to brothers Albert and and Arthur Allen (Arthur sadly died in 2014). Although their names are actually recorded as Taharqa Aleem and Tunde Ra Aleem on the credits for this record, which I think everyone can agree is way cooler.
Who was Gina though?
Gus Pirelli feat. Andre Espeut – Meet In The Middle 24:44 (Gutterfunk, 2015)
Bristol-based DJ Die’s label Gutterfunk released this in 2015. Long sold out, it’s a modern funk masterpiece. Fellow Bristolian producer Gus Pirelli and superb vocalist Andre Espeut pull out all the stops with this shuffling, synth-driven groove – apparently all recorded with original equipment and no samples in sight. If it was 1982, this would be on Top of the Pops…mark my words.
Sho-Nuff – Hold On For Love 29:48 (Jamila Records, 1984)
This 7”, released on Jamila Records in 1984, would set you back about £200 if you looked for it on Ebay. And there’s plenty of reasons why: that synth bass, the super-tight horn section, that vocal hook – it’s all great. And really obscure, which is what we like, obviously.
Sho-Nuff were actually a fairly big band in the 70s – they had albums out on Stax – but by the mid-80s they’d faded from their former glory. Jamila Records was a really minor label, so it must have been a bit of a change to go from the dizzy heights of Stax to issuing the odd limited-press 7” once a year – with it all wrapping up by 1985. And it’s undoubtedly for those reasons that this production sounds so raw, which only adds to its appeal. A great and very underrated track, with exemplary musicianship.
Joan Bibiloni – Migas 34:02 (Blau, 1987)
Joan is a Spanish jazz guitarist, and this track is part of a soundtrack album for an 80s Spanish TV series called ‘Silencio Roto’ (‘Broken Silence’). Released in 1987, this track features tasty DX7s, drum machines and an acceptable amount of synth-jazz-fusion. I’ve no idea what ‘Silencio Roto’ was about, but this track gives my imagination plenty to go on…
Zenit – Waitin’ 38:10 (Spray Records, 1986)
Zenit were an Austrian jazz-funk band, who – of course – were particularly popular in the mid-80s. “Waitin’” is the final track from the 1986 album “Straight Ahead”, written by Zenit’s keyboardist, Hannes Treiber. Treiber actually worked with Donna Summer in the late 80s, with writing credits on her album “All Systems Go”.
Pink Rhythm – Melodies Of Love 43:46 (Beggars Banquet, 1985)
Some of the members of London funk band Freeez formed Pink Rhythm in the mid-80s. “Melodies Of Love” came out in 1985 – it sounds quite Italo in places, but keeps hold of that minimal bassline/drum motif for long enough to drag it firmly back into boogie territory.
Produced by Mark Seven and released on his Stockholm-based label Parkway Records in 2015. A seamless blend of old and new, with nods to classic ‘FM’ sounds produced by keyboards such as the DX7, old drum machines and strings, but with a modern production aesthetic. Actually a B-side to ‘The Feeling’, this one gets my vote over the A-side.
Tabu Ley – Haffi Deo 55:12 (Genidia, 1985)
Tabu Ley was a singer-songwriter, dancer and later politician from the Democratic Republic of the Congo. He was an extremely prolific songwriter, known as the African Elvis because he was so famous at the height of his popularity in the 70s.
This ‘soukous’ style track is just so infectious and danceable – Elvis himself should have released something like this and then maybe he’d be on here. The call-and-response vocals, drum machine, synths, horns and guitars are all just spot on. It seems like it could never end, and you could dance forever.
1) Get It //FRANCISCO (Slow Motion 2016)
2) So Let It Be House (Featuring A.M.O.R, Alinka, Coco Solid, Debonair, Nightwave) //VIOLET X ELLES (no label 2016)
3) Dub The Tension //J-A GROOVE (Studio 1986)
4) Somehow, Someway //VISUAL (Prelude 1983)
5) Dubbing In Sunshine // ROCKERS REVENGE Featuring DONNIE CALVIN (Streetwise / London 1982)
6) I Need A Freak (Black Freak Mix) //S.L.Y (Elite 1988)
7) Don’t Turn Your Love (12″ Dangerous Mix) //PARK AVENUE Featuring TONY JENKINS (Movin’ 1987)
8) Circles //MIKE HUCKABY (Sounds of the Universe 2015)
9) Real Love (Paradise Garage Mix) //MAN FRIDAY Featuring LARRY LEVAN (Nite Grooves 2007)
10) Take Ya Pik, Nik!!! //OMAR S (FXHE 2016)
11) I’m In Love // SHA-LOR (Gertie 1988)
12) Don’t Let It Be Crack //CLAUSELL (Easy Street 1986)
FRANCISCO – Get It
On first listen you might be forgiven for assuming this super-tight minimal house jam to be a Larry Heard production from his mid-90s period. It is, in fact, the work of Italian DJ and producer Francesco De Bellis aka Francisco / Mr Cisco, founder of the Edizioni Mondo label, and forms part of Slow Motion Records’ third outing in their “strictly retro” Lineabeat 12” series. Francesco’s career spans over a decade and during that time he’s been prolific in his field running labels, organising radio shows and parties, and penning little-known gems like this one.
I’m not an advocate of the mindset that new dance music has to always push the envelope to be interesting, or that the four-to-the-flour house jam has become something to avoid. Put simply, a good song is a good song, whatever compositional form it takes and how it’s made. Exhibit A, right here.
VIOLET X ELLES – So Let It be House
Made solely by female producers and artists in celebration of International Women’s Day 2016, this cover of Mike Dunn’s Chicago house classic on Westbrook includes vocal performances by A.M.O.R., Alinka, Coco Solid, Debonair, Elles, and Nightwave and helped raise money for Equality Now, an NGO (a non-governmental organisation) fighting for gender equality around the globe.
It’s a tasteful version (and I’m not a fan of covers, usually) with some fresh vocal performances and a subtle revision of the song’s core framework and sounds.
I struggled to find anything online for A.M.O.R (little help here?), but I can tell you that Chicago DJ (and now Berlin resident) Alinka has a prolific and impressive CV including live sets at Berghain, a multitude of successful remixes, and a long-lasting musical partnership with Hercules & Love Affair singer Shaun Wright. Coco Solid aka Jessica Hansell is more familiar, an emcee and writer and one half of disco-not-disco duo Parallel Dance Ensemble (I’m a fan of their first EP Pizza Turtle Cadillac on ISM 2009).
Looking forward to some further digging on Debonair, Elles (Legendary Children?) and Nightwave….
J-A GROOVE – Dub The Tension
Yes, the a-side (Release The Tension) is superior but it’s always nice to mix things up…
An interesting tale behind this one. It was originally demoed by Colonel Abrams – the version of which was recently released on Rush Hour – and also appeared in 1984 as a 12” by Circuit on 4th & B’way. This is by far my favourite version though. It’s a real fist pumper and the a-side always makes it into my DJ sets. A prime time 2am cut which always makes people dance without fail.
More interesting though is that this is a Boyd Jarvis tune, through and through. No biggie, but Boyd is only one of the originators of house music and something of an industry legend. An innovator in music production techniques, he also trained himself in applied Synthesis architecture and has worked with industry icons Prince, Madonna and Herbie Hancock. Not bad.
VISUAL – Somehow, Someway
…..and on to the next Boyd Jarvis track. Less well-known than The Music Got Me for sure, but great nevertheless. What I love about this song and other BJ compositions of this era is that they transcend sub-genre tags and show the transition from disco, to boogie, to garage, and then finally to house. There’s an experimental approach at play in many post-disco tracks from the early 80s and here it all sounds pretty effortless and organic. We all know the mega-hits of their 70s output but Prelude Records definitely had it going on in the post-disco, pre-house years, too.
ROCKERS REVENGE – Dubbing In Sunshine
In Walking On Sunshine – arranged and produced by Arthur Baker, engineered by Bob Blank, and mixed by John “Jellybean” Benitez – New York City gave us one of the finest post-disco club tracks EVER, in my humble opinion. It’s hard to over-emphasise my love for this song and it continues to be a song-writing benchmark to aspire to. Interestingly, it’s a cover of an Eddy Grant song (sorry, Eddy, this version is better) and for me is one of the finest examples of what became known as proto-house. Simply put, it has everything I love from this period – elements of disco, boogie, and house, and combines live instrumentation with those classic early drum machine sounds.
Love the London Recs sleeve design on this one. And yes, this is the b-side because why not?
S.L.Y – I Need A Freak
Having recently discovered this one (like, literally a couple of days ago) and having trawled the internet for info about it I’ve drawn a bit of a blank, other than to say it was S.L.Y’s only record and features Jackmaster Black on Piano, aka Chicago house artist Peter Black. I’m not super-keen on some of the synth sounds used on this, but that’s beside the point. It’s a super-tight jam with a sweet groove and has all of the early ingredients of a classic early house banger.
PARK AVENUE – Don’t Turn Your Love
It’s fair to say – and has been said several times – that I have something of an obsession with New York, and I do admit to having a fondness for studio projects from the disco and post-disco eras named after places; Crown Heights Affair being a personal favourite. It just sounds so glamorous!
Aaanyway, Park Avenue was the writing duo of Rico Tyler and Todd Jackson who are arguably more well known for writing and playing on Adeva’s In And Out Of My Life (Easystreet 1988) and for their work with high-profile mainstream acts such as Kool & The Gang and Hugh Masekela. Again, this one is just a fine example of early house, with all of the musical motifs, sounds and compositional trademarks of the style. Above all else it’s super-soulful, and that’s what tweaks the emotions isn’t it?
MIKE HUCKABY – Circles
This one is from the recent Soul Jazz Records double vinyl comp Sounds of the Universe (Art + Sound) (2015) and along with the Golden Teacher track it’s a standout on the album for me. It’s nothing groundbreaking but it has a smooth, economic simplicity and a tasteful vibe, which as we all know, are common features of the Detroit style. Mike is a busy chap too – DJ, producer, sound recording teacher, lecturer…..who in the 1990s also used to work in the renowned Record Time music shop in Roseville, Detroit, alongside Rick Wade and others.
MAN FRIDAY Featuring LARRY LEVAN – Real Love
Not officially released until 2007 unless I’m mistaken and who wouldn’t be glad to see it see the light of day on vinyl? It’s impossible to say anything about LL that hasn’t been said already so I’ll just say that this has a deep, druggy, sexy vibe, which pretty much describes many of Larry’s mixes (and by all acounts his character, too). I recommend also checking out the more recent Man Friday 12 also released by King Street Records, which features two demos of the songs ‘Winners’ and ‘Groove (Larry’s Yaw)’ – both interesting if you’re a big fan of the MF stuff. And who isn’t?
OMAR S – Take Your Pik, Nik!!!
Gotta love Alexander Omar Smith. A former street racer and employee at the Ford factory in Detroit, Omar has released five albums and over thirty EPs on his FXHE Records Detroit label, as well as a number of mix albums. My favourite of his album titles has to be It Can be Done But Only I Can Do It. Genius.
This one is from his most recent album The Best and is possibly my favourite on the record, alongside On Your Way. It’s pretty typical of his style really – stripped back, minimal, raw-sounding, solid. The kind of jam you’ll always want to include in a late night set. The bass line is where it’s at.
SHA-LOR – I’m In Love
Otherwise known as Sharmelle Jon and Lori Maynard, with Ben Cenac (also of Dream 2 Science and Newcleus). I picked up the Rush Hour reissue of this a couple of years ago, but the original came out in 1988. Although I don’t tend to play it out it definitely has its charms and whenever I do put it on it never fails to reel my attention in pretty quickly. Ben’s Dream 2 Science mini-LP (also reissued on Rush Hour) is something of a New York deep house gem and is also well worth checking out.
CLAUSELL – Don’t Let It Be Crack
One of the less well-known Easy Street Records releases, this one. Or at least I never see it on playlists or hear it in mixes, but that’s probably more to do with the fact that most of my favourite Easy Street records are the least famous ones (Orlando Johnson’s 1983 Italo-disco gem Turn The Music On being another favourite of mine). I think that’s part of the appeal involved with digging for records and having a passion for labels in that one develops an interest in trying to track down some of the more obscure or less-talked about releases.
Clausell is in fact Clausell Hickenbottom, which sounds a somewhat unlikely name for a suave disco producer. This one is a Paul Simpson mix, I believe. The lead vocal is undeniably soulful and the drum and percussion is chunky and pounding. It’s typical of a mid-80s NYC house jam really, and that pretty much means a) it doesn’t fuck around and b) you might hear the odd sample key hit repeatedly which might be a human voice or dog bark.
It’s that time again! Jed’s done some digging with this month’s mix. Enjoy – and maybe learn something. We have, for sure!
Stephane Deschezeaux & Enois Scroggins – She Played You (Springbok Records, 2016)
Hailing from Tulsa, Oklahoma, Enois Scroggins has been in the business for over 30 years.
Some of the artists he’s worked with during that time include Ronnie Wilson from The Gap Band, Charlie Singleton, lead singer and guitarist for Cameo, and saxophone player Branford Marsalis. He’s also had success with several gospel groups and appearances on US religious TV programmes.
This track with producer Stephane Deschezeaux comes from Stephane’s digital release Prime Time, released on French label Springbok Records this year. Harking back to classic 80s bangers by the likes of Colors or D-Train, Enois’ soulful hooks grab a-hold of that groove and just keep it bumpin’.
Tomorrow’s Edition – In The Grooves (Atlantic Records/RFC, 1982)
In the GROOVES, plural. That’s how much funk is in this track. This was produced by Adil Bayyan, who also wrote for the Chi-Lites, LaToya Jackson, Candela and Richard Jon Smith. So it’s no mistake that this track has got that unmistakably chunky production you’d associate with those artists. Plus the album A Song For Everyone (which this track is from) is totally banging, too.
In-Sync – Sometimes Love (Easy Street Records, 1987)
That’s IN-Sync, who are in all possible ways better than that other similarly named band. Using that 80s AKAI sampler repeat-voice thing to the max at the start, this track quickly settles into a drum machine-driven groove, backed up with a thick Juno bassline. Typical of Easy Street’s releases during this period, this track perfectly blends elements of boogie with early ‘garage-style’ house.
Uku Kuut – Ralph (People’s Potential Unlimited, 2013; originally recorded 1989)
Uku Kuut is the son of Estonian jazz singer Marju Kuut. During the 80s and 90s, Uku released lots of jams like ‘Ralph’, a good number of which have been collected and re-released by People’s Potential Unlimited. He also recorded a few tracks with his mother on vocals. ‘Ralph’ was originally recorded in 1989 and is featured on the PPU compilation and retrospective Grand Hotel.
Universe – Every Single Night (Instrumental) (MBT Records, 1984)
Formed in 1983, Universe were a British funk band of four young lads, who all seemed in their early twenties to be capable of knocking out a stone-cold classic boogie banger. This seems to have been their only release – but excellent nonetheless. You can hear the excellent arranging in this instrumental version. Some session musicians helped out with their release: assisting with guitar arrangements was J.J. Belle, best known as the guitarist for the Pet Shop Boys, plus notable for working with Grace Jones, George Michael, Madonna and Tina Turner.
The Snapp – You Knock Me Out (Beat Street Records, 1985)
The Snapp’s ‘You Knock Me Out’ was written by keyboardist Ray Miles, who also wrote some tracks for Con-Funk-Shun. Lead singer Calvin Tillery was in Bill Summers & Summers Heat and appeared on Coke Escovedo’s 1975 album ‘Coke’, before fronting The Snapp. Funky dudes.
MSQ II featuring Jeffrey Cheatham – Too Much (Just Enough Mix) (Easy Street Records, 1987)
Another track with that classic Easy Street vibe. Produced by Michael Cameron, who also produced Adeva’s classic ‘In And Out Of My Life’. Before that, he acted as percussionist for George Benson, and wrote Michael Watford’s classic ‘Holidin’ On’ (see Galaxians Mix 8 for details of how much we love that particular track!). Seems like Michael Cameron is responsible for a range of total classics.
Fonda Rae – Heobah (Hey-O-Bah) (Instrumental) (Posse Records, 1983)
Fonda Rae’s probably most famous for ‘Over Like A Fat Rat’ (written by Leroy Burgess), but ‘Heobah’ has got that kind of 80s tropical excitement vibe going on. The instrumental version keeps the groove going with no distractions; dig, if you will, that crisp Linndrum tom in the background, and that chacka-chacka thin guitar riff over the wavy synth lines. Instant party.
James Mtume wrote a lot of what one might now call ‘G-Funk’ and ‘slow jams’. This is definitely a slow jam. In fact, some people have possibly been born as a result of this track. By the way, C.O.D. means ‘cash on delivery’, so we can only speculate as to what exactly is going on here – possibly something rude. But check out that dub delay over that bass, and those sweet DX7 electric piano chords. DAYUM.
Tramaine – The Rock (Larry Levan Instrumental Dub) (A&M Records, 1987)
This is totally Larry Levan. A Paradise Garage classic, Tramaine’s release also comes with a Shep Pettibone vocal mix, which is nice – but this is better. Larry’s mix just takes a bit of the groove, ditches most of the vocals, and keeps it banging all the way through. There’s nothing even wrong with the vocals. But Larry had the insight – keep the groove going. In fact, you wonder if it’s ever going to stop. But, sadly, it does. And we’re out!
Hey! We’ve put together another mix for you this month via our Mixcloud channel. This month, Jed’s been the DJ and has gone for some quite bass-driven, rhythmical jams, moving into early deep/vocal house influenced tracks, before settling on some classic boogie bangers to finish.
1. Chanelle – One Man – Profile Records, 1989
2. Omni – Body Groove (Dub) – Mercury Records, 1983
3. Peewee In The Newz – Keep Dancin’ (Instrumental) – N.A.M.E. Brand Record Company, 1983
4. Tom Noble – Malaco – Future Times, 2011
5. Andras Fox feat. Oscar S. Thorn – What They Say – Dopeness Galore, 2013
6. Michael Watford – Holdin’ On (Original Shelter Mix) – EastWest, 1991
7. Bas Nor – I’m Glad You Came To Me – Nu Groove/10 Records, 1989
8. Lee Prentiss – Love This Way – MSB Records, 1983
9. Mtume – Tie Me Up (Extended Version) – Epic Records, 1984
10. Hot Cuisine – One Night Stand (Dub) – Vinyl Mania, 1986
11. The Whispers – Tonight – Solar, 1983
12. Dayton – Out Tonight – Capitol, 1983
13. Deco – Fresh Idea – Qwest Records, 1983
14. Powerline – Journey – Prelude Records, 1981
Some interesting points on the above:
Chanelle’s classic ‘One Man’ was produced by a surprisingly large team, including Bob Blank, Frankie Knuckles and David Morales (later to have huge success in the 90s with ‘Needin’ U’). Chanelle herself is a native of New Jersey and still releases house tracks. She remains a powerful house vocalist.
Omni were also known as Unfinished Business and scored a big hit in 1987 on the garage house scene with ‘Out Of My Hands (Love’s Taken Over)’, produced by Frankie Knuckles, which was a cover of their song released as Omni in 1981.
Michael Watford was also in a group produced by Roger Sanchez known as Brotherhood of Soul, and featured fellow soul/house singers Colonel Abrams (Morris Abrams) and Jay Williams. Strictly Rhythm put out ‘I’ll Be Right There’ in 1995. Watford’s career has spanned at least 25 years, and ‘Holdin On’ was his first release, originally on EastWest, before being picked up by Atlantic.
Bas Noir‘s name means “black stocking” and is pronounced “bah-nwah”.
Lee Prentiss‘s ‘Love This Way’ was written by Michael Garvin, who has also written for Sister Sledge, Tammy Wynette and George Benson among many others. This track was mastered by Herb Powers Jr, who worked on our own release ‘Personal Disco Component’ in 2013.
Hot Cuisine was producer Kevin Roberts, who also worked with 80s acts Netwerk and Linda Lewis.
Produced by Quincy Jones, Deco’s ‘Fresh Idea’ is super-tight and contains all the musical wizardry you’d expect from arguably the world’s best producer. Keyboard player Phillip Ingram is now a session musician and has worked with Janet Jackson, The Commodores and provided backing vocals on a bizarre album by Bruce Willis (yes, Bruce Willis) in 1987 called ‘The Return of Bruno’.
New Galaxians album track ‘Street Level’ debuted on KMAH Radio, Leeds 31 March, by resident Steven Nuttall (Nope).
The song is the first to be debuted on radio featuring the band’s new line up of Emma Mason (voice), Jed Skinner (synths & programming) and Matt Woodward (drums & programming), and will feature on upcoming new album ‘Let The Rhythm In’.
GALAXIANS Boogie Mix I // compiled by Matt Woodward
The first in a series of mixes of some of our favourite boogie jams.
The term ‘boogie’ was used to describe the soulful, often down-tempo post-disco music, prevelant in US cities such as New York in the early ’80s, and characterized by a blend of acoustic instruments, early synthesizers and drum machines such as the Roland Juno series and TR-808 Rhythm Composer.
For an in-depth look at the boogie genre check the following links:
1) Word Up – LEGACY // Brunswick 1982
2) Can’t Get Away (From Your Love) (Instrumental Version) – CAROL WILLIAMS // Vanguard 1982
3) Am I Gonna Be The One – COLORS // First Take 1983
4) Hot Summer Nights – LOVE CLUB // West End 1983
5) Infatuation – UP FRONT // Silver Cloud 1983
6) Just In Time – RAW SILK // West End 1983
7) Lay It On The Line (John Morales M&M After Session Mix) – LOGG // BBE // Salsoul 1981
8) Nice And Soft – WISH Featuring LA-RITA GASKIN // Perspective 1981
9) Seventh Heaven – GWEN GUTHRIE (Larry Levan Remix) // Island 1983
10) U Turn Me On – TOMORROW’S EDITION // Atlantic // RFC 1981
ROCKERS REVENGE – Dubbing In Sunshine
