vastar iner
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Post by vastar iner on Apr 13, 2010 18:44:09 GMT 1
MC Duke (11 March 1989)
I actually remember seeing this at the bottom of the charts in Melody Maker and wondering if it would get any higher...it didn't. Same week as "The King Is Here/The 900 Number" by The 45 King entered at number 100; the latter made the charts after 19 weeks shuffling between 76 and 100, anyone know if that's an all-time record? (All told it spent a whopping 26 weeks bubbling under...)
Anthony Hilaire's story starts in 1987, when he went to Buzby's nightclub in Charing Cross Road. The previous night the venue had held the D.M.C. world championships and many of the head honchos were still there. Including the battle champion, who challenged anyone in attendance to out-rap him. Hilaire - aka Duke, UK body-popping champion and rap dabbler - stepped forward and showed promise as an MC.
Good time to show promise, as Derek B was there; B was just breaking through into the mainstream and invited Duke to Music Of Life records to talk things through. There, Duke met producer Simon Harris, who asked for a demo; Duke instead just freestyled there and then and was promptly signed up.
The now MC Duke went to the States on tour with many big names - Public Enemy, LL Cool J - and came back full of experience and new skills; he ended up producing for Shut Up And Dance, appearing on Norman Cook albums and even started a couple of labels himself.
After a break from the industry, Duke returned to rapping and producing, with a track "Still Riffin" released last year and an album due in May.
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Post by Shireblogger on Apr 14, 2010 2:34:30 GMT 1
I continue to be in turn enthralled and appalled by this thread.
I'm surprised by Expose and Melissa Manchester's appearances - I'd assumed both had been far more successful here.
I like The Like, apart from their horrible name. It was their War Child contribution which first alerted me to their existence. I think you're right to predict their forthcoming disqualification from the 75 club.
Explosion - not actually a bad song at all. But a prime example of bandwagon jumping several years after the conveyance pulled out of town.
Appreciate being reminded of the epic "Cry Freedom" film - I will look out for it next time it is on tv. Alongside the unwelcome return of Eugene Terreblanche to the news, my memories of campaigning to bring down Apartheid have been reactivated.
I've been waiting for a lost classic to emerge. So far, the closest has been ILS. This track aside, what a tiresome cacophony of talentless dj noise you have presented to us.
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vastar iner
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Post by vastar iner on Apr 14, 2010 8:48:02 GMT 1
Well, I did warn way back that there were a lot of almost indistinguishable bleepy dance acts...and now there's another one. Mr Scruff (14 December 2002) At least the video's quite interesting, and that was drawn by Stockport's Andy Carthy, aka Mr Scruff, himself. His scruffy drawings lent him his DJ persona name. And given his more wide-ranging influences - he was a fan of Madness and Blue Beat before starting mixing - some of his other samples are a bit more eclectic than standard dancefloor fodder. Indeed, his shows are marathon affairs that can go on for six hours to allow him to widen the Northern Soul experience (have a look at his last setlist here - Sergio Mendes, Mr Fingers, Pigbag, Parliament, Fela Kuti...). He started mixing vinyl as a teen in 1987, but was solely a bedroom warrior submitting cassettes to radio stations until he got his first live show in 1994. The lengthy practice must have helped, as he has been in demand ever since. Has a wide range of fans; "Get A Move On" (used on a number of adverts) was one of Victoria Wood's Desert Island Discs. And in the album charts he's the second most successful of the acts on the list. 2002's "Trouser Jazz", third of his six albums to date, reached number 29. Oh, and he also sells tea.
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vastar iner
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Post by vastar iner on Apr 14, 2010 13:58:37 GMT 1
OBI Project featuring Harry, Asher D and DJ What? (4 August 2001) OK, this and Dtox are the closest I get to total failure. Let's just splurge what I have and see what we can make of it. 1. This seems to be the only production from OBI Project. The track was originally released in 2000 on the Paper Money label. Paper Money was a label started by So Solid Crew for their own releases; the other dozen releases from Paper Money that I can find were all SSC records, barring one Asher D track, so perhaps OBI Project was basically a subset of SSC. Certainly one of the single mixes was by PDS of the Crew, so... 2. Harry is Harry Wilkins, a songwriter first and foremost, who has written for Lisa Maffia (another SSC link), Blue, Friday Hill and Studio B. 3. Asher D is Ashley Walters, ex-SSC member, who was sent to prison for 18 months for carrying a loaded weapon, and is now an actor (as he was before SSC, he was in Grange Hill). 4. I have no idea who DJ What? is. That name does not appear anywhere else as far as I can see. I am guessing that this was an early(ish) Crew experiment that got a very limited release (after being on Paper Money, it was reissued on Uptown Records, a record shop based in Soho whose vinyl output is confined to this one record), and, as SSC were about to make a number one debut literally a fortnight later and were picking up airplay, this was rush-released by EastWest to capitalize on the Crew's new national fame. I can't find the video for this song; I'm hoping to get a copy of it soon. You can at least hear it on the Chemical Records site.
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vastar iner
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Post by vastar iner on Apr 14, 2010 19:46:13 GMT 1
Just noticed we're in the second half of the alphabet, but we're well into the second half of the 75ers. Note to self: if starting a band, choose from one of the later letters for more success.
John Parish And Polly Jean Harvey (23 November 1996)
The most successful album act on the list, as last year's "A Woman A Man Walked By" entered the charts at number 25, albeit with the credits reversed. Even the parent for this single reached the top 50.
No need to discuss Polly Jean, as the frontwoman of P J Harvey (and she seems to be using that name as a soloist) she has had lots of hits. John Parish though is a bit more of an unknown (indeed many people know him as actress Sarah Parish's brother), although he has been involved in making music for thirty years.
His first venture was as the drummer for new wave band Thieves Like Us, who released an EP in 1980 before imploding, and then formed Automatic Dlamini (named after someone they knew from Swaziland with an unusual name) with some fellow Yeovilites, releasing a debut album in 1987. The Yeovil music scene at the time had expanded beyond the Wurzels and fellow indieheads The Chesterfields had him produce heir debut single; the success of this (number 19 in the indie chart) propelled him into more full time production. Something else which started in 1987 was Parish's friendship with Polly Jean Harvey - she knew the Dlamini guitarist, invited them to play at her party, and she started to give Parish some of her demos, in return for which he taught her to play the guitar. By the next year Harvey was in the band; two years later PJ Harvey was formed with a couple of the Dlaminis doing double duty. By 1993 Dlamini was no more, but Parish was doing more and more production work and in 1994 Harvey asked him to produce "To Bring You My Love". Which he did. Also playing on every track.
Parish played with PJ Harvey on the supporting tour, and when she heard some music he had been preparing for a choreography piece she asked if she could write vocals for it. This became the album "Dance Hall At Louse Point" and provided the hit single. Since then Parish has been more in the background, producing and playing, working with Harvey ever since - to the extent that even when not working together, each would send the other their demos for feedback - culminating in the completion of the long-term writing project "A Woman A Man Walked By". Parish has also worked with other well-regarded groups (Goldfrapp and Eels being the most notable), as well as moving into film scoring; his most recent work (for the Xiaolu Gu film "She, A Chinese") being released in February.
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vastar iner
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Post by vastar iner on Apr 15, 2010 17:31:16 GMT 1
Jonathan Peters Presents Luminaire (24 July 1999) Hm, I suppose this could have gone under L, but given that the latter part of the alphabet has so few I can give it its full title. Besides which, Luminaire, as an act, appears not to exist; it is merely an extension of Mr Peters. Who is apparently one of the leading DJs in the world; he was the American champion in 2006, according to DJ Times magazine. And if Mr Scruff's sets are lengthy, Peters' are epic; he has been known to run 20 hour sets. Peters started DJing in his native New York at the age of 17, at a cafe that hosted after-hours dancing; his job was to get the clientele out and the clubbers in. And he's still New York based, 24 years later, although he frequently heads off on world tours. After 11 years of playing any old nightclub that would take him on, he became Friday night DJ at the Sound Factory for its 1997 opening, and proved such a hit he took over Saturdays as well; Sound Factory has now been taken over by Pacha, and Peters did the New Year gig there. Hugely in demand as a producer and remixer, with giant hits by Whitney Houston, Sisqo and Nelly Furtado amongst many others under his belt. But nothing under his own name has made the charts, other than this revamping of the Delibes tune from his 1883 opera "Lakmé" (if you're interested, it's sampled from the 1962 performance by the chorus and orchestra of the Théâtre Nationale de l'Opéra Comique, conducted by Georges Prêtre, featuring Jane Berbié and Glanna d'Angelo, who technically might all be considered part of Luminaire). Preferred it when Malcolm McLaren sampled it. How does one become a superstar DJ? From the evidence in this thread, it's money for old rope.
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vastar iner
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Post by vastar iner on Apr 15, 2010 20:07:49 GMT 1
Pretty Boy Floyd (10 March 1990)
Hair metal was very big in the States in the late 1980s; out of that scene emerged Pretty Boy Floyd, formed when Ariel Stiles, the songwriter/guitarist in disintegrated metal band Doll, advertised in BAM magazine in California for a new group. Only they cranked up the androgyny machine to eleven. Would have been interesting, only Twisted Sister had had that shtick for a decade, so it was not quite as fresh as it could have been.
But record companies are always looking for the last big thing; as poodle perms took off, labels fell over themselves to sign up anything with hair and guitars. PBF were signed by MCA after a mammoth 8 gigs and released the Ronseal-titled "Leather Boyz With Electric Toyz" album within a couple of years - mostly made up of Doll songs, which was ironic as by this time Stiles had been eased out and replaced by Kristy Majors. It made 130 in the Billboard, missed the UK charts, and provided their one UK hit single. Not enough.
MCA had missed the boat as the market moved away from metal towards more R&B-oriented material, and had expended more on PBF than on most other bands. PBF's name in theory comes from the nickname of a 1930s bankrobber, although a drummer claims that when rang the advert number to ask where they got their name, he was told "we stole it from a Canadian band". That drummer was the drummer of said Canadian band...MCA had to pay to settle the claim brought by the Canadian PBF (who renamed themselves Tommy Floyd). PBF-USA were dropped and disbanded.
They were back recording by the end of the decade (well, 75% of them) and re-gigged on the underground scene. PBF still tours, with two of the original recording members (vocalist Steve Summers and Majors), and sometimes original drummer Kari Kane helps out. Their last original release was the album "Dirty Glam" in 2004, although an expanded version of their debut was released last year on the back of a world tour. Perhaps the group is more known nowadays for being the oppositely-derived inspiration behind the name Ugly Kid Joe.
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Post by Earl Purple on Apr 15, 2010 20:21:37 GMT 1
I imagine the one I am waiting for (from 2001) is coming up next.
I looked up BellRays - it was They Glued Your Head On Upside Down that was their #75 hit. Fire On The Moon was better though and a bigger hit in my chart. The next band also had their bigger hit in my chart with an earlier single (that didn't reach the UK chart at all).
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vastar iner
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Post by vastar iner on Apr 16, 2010 8:27:35 GMT 1
Yeah, it should be that track that's the first one linked in the BellRays bit.
Anyhoo, the one you've been waiting for is indeed up next.
Proud Mary (25 August 2001)
The influence of Oasis was so all-pervading for a while that it got to the point where bands Noel Gallagher said he liked suddenly found attention thrust upon them, a phenomenon known as "Noelrock". The most egregious example of this was The Verve, ironic given that their sound was fairly different, but Gallagher used his influence to form his own label (Sour Mash) and sign up a bunch of acts he liked.
The first recruits were Proud Mary, named after a Creedence Clearwater Revival song. Gallagher knew the band from their origin; their guitarist was Paul Newsome, a friend of Oasis from days when Newsome was a member of The Ya-Yas whom Oasis occasionally supported, and drummer was Craig Gill, ex-Inspiral Carpets, the group for whom Gallagher roadied pre-Oasis. Which was a double-edged sword. As Gill soon left his own band. Allegedly because Gallagher would not sign him to his label, in revenge for being fired as a roadie...
First release was a limited-to-500 version of "Very Best Friend"; after a follow-up, and the release of album "The Same Old Blues" (a reference to Man City? Certainly it was produced by Noel and Gem Archer), it was re-issued on CD single with proper distribution.
Even with Gallagher making guest appearances on some of the tracks, it was not enough. The album missed the top 75, the single only just made it. And that was almost it for Sour Mash, the label only being revived five years later for Shack, as Gallagher seemed to lose interest in the project. Proud Mary themselves ended up with Redemption Records for an even less successful follow-up, and then disbanded, Newsome playing bass with Oasis for a time (PM's latterday drummer Terry Kirkbride went with him and now plays with Noel Gallagher full time) and providing guitar session work for all sorts (including Happy Mondays) before moving to LA to work in film scores, and is recording a solo album; singer Greg Griffin has continually performed solo gigs and beat Newsome to a solo release with the album "Glass Bottom Boat".
However, in 2009 Proud Mary reunited, released a download EP and are working on a third album, due out this autumn. Odds on Gallagher taking an interest?
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vastar iner
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Post by vastar iner on Apr 16, 2010 13:51:03 GMT 1
Quench (17 February 1996)
"Earthlings, the planet Zarg is dying..." Oh no, wait, that was Quosh.
OK, you know the drill. Deep house, DJs, only chart hit out of dozens of mixes and remixes. There are two very similar acts with the same name, the more recent one being the Dutch Funcken brothers who now usually record under the name Funckarma, but this is the earlier one; Melbourne house from Aussie MC champion CJ Dolan and Sean Quinn.
Quench (squint at the name - Quinn-CJ) came together in 1994, firstly as a duo, then as a trio with Quinn's friend Kasey Taylor, and touted around a demo EP that got picked up by Pulse8 Records for a semi-successful UK release. Infectious picked them up and, as a duo, they produced "Dreams", a monster hit in France, a bit less so in Britain.
As well as working on Quench, Quinn reverted to working with Taylor under the name Our House and hit the charts later in the year with "Floorspace"; eventually Quinn left Quench to Dolan, who still occasionally records under the name, but spends most of his time DJing and remixing; Taylor now lives in Portugal and DJs, as well as runs his label Vapour; Quinn, like Dolan, remains in Melbourne, also DJing and remixing.
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Post by Earl Purple on Apr 16, 2010 17:19:35 GMT 1
Proud Mary's other single that was a hit in my chart was called "All Good Things" and was a much better song than "Very Best Friend". You can find a clip of them playing "All Good Things" live on a youtube clip in 2009. Little chance of them ever getting back into the top 75 though.
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vastar iner
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Post by vastar iner on Apr 16, 2010 19:59:48 GMT 1
Ramsey & Fen featuring Lynsey Moore (10 June 2000)
You know, I can't imagine anyone ever hearing this and saying "listen, darling, they're playing our tune".
If I told you their surnames were Remzi and Fenman, you might be able to guess how they got their DJ names. Ramsey started off as a dancer on the Channel 4 show "Solid Soul" in the mid-80s and only turned to DJing when he was made redundant. Fen used to spin discs at Shaman Mr C's nightclub. Both became more widely known via pirate radio and the two came together professionally via a friend in a phone shop. Ramsey invited Fen onto his Freek FM show and it took off from there; indeed, they started their own pirate radio station (London Underground)
In 1996 they founded BUG [British UnderGround] Records and their third release (in January 1998, and with a little help from MJ Cole) was "Lovebug". Not a hit, but it percolated upwards to the overground and EMI licensed the track for its Nebula label, getting it into the charts. Back to real life, they have released (so far) twelve follow-ups without repeat success.
The two still occasionally work together, including remixing "Lovebug" for an unsuccessful 2008 reissue, although Ramsey's interests lie more in promoting festivals in his ancestral home of Cyprus, originally on the Ayia Napia scene and now in the north. Fen runs Push Records as well as DJs.
As for Lynsey Moore...no idea. She was signed up to Concept for a couple of singles (one a cover of Eurythmics' "Here Comes The Rain") in the late nineties, and featured on a Futureproof track, and that's it. There is a Lynsey Moore in Texas band Silvered but I don't think that's her...
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Post by andrew07 on Apr 16, 2010 22:33:27 GMT 1
I'm sure some have noticed that Proud Mary's song bears a striking resemblance to "Salt Of The Earth" by the Rolling Stones, the very song that Proud Mary also covered for their Same Old Blues album. I bought that album for a pound once, quite good, some of it wouldn't have sounded out of place on SOTSOG.
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borneoman
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Post by borneoman on Apr 16, 2010 23:22:40 GMT 1
I admit I only know like 3 songs on that list but PJ Harvey's That Was My Veil is one of my fav tracks of hers!! I saw The Live a couple of times opening for Tori Amos and they were terrible, so it's a miracle they managed a top 75 and of course Exposé... her up-tempo songs like What You Don't Know weren't that bad, but the ballads were just too sappy
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vastar iner
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Post by vastar iner on Apr 17, 2010 8:49:54 GMT 1
Remady (27 February 2010)
The newest act (so far) in the club. Although it could have been released in 1991 by the sounds of it.
Remady is a Swiss DJ who started mixing when he was just 9, after his older brother bought some DJ equipment. His first professional show (under the name DJ Evol) came in 1994, and from 1998 moved into 2step, changing his name to Remady (simply the word "remedy" he had nabbed from dancehall lyrics, helvetified), and worked most often in collaboration with DJ Player as Player & Remady. Remady claims that by 2008 they had just grown apart and so split to concentrate on solo ventures. The two had significant success in Switzerland, although Remady's first solo release for a decade brought him international kudos. Tends to do DJ sets with his fiancee (they get married in summer, if anyone wants to buy a present). Very popular in eastern Europe, but then again so is concrete.
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vastar iner
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Post by vastar iner on Apr 17, 2010 10:55:57 GMT 1
Cheryl Pepsii Riley (28 January 1989)
Was this a Christmas campaign that peaked a bit late? At the time preacher's daughter Cheryl Riley was a Brooklyn nurse working with handicapped children who sang with a gospel in her spare time, and was talent-spotted by Full Force, which offered her "I Wonder If I Could Take You Home"; she declined, not wanting to leave her group. It became a hit for Lisa Lisa, and her loyalty was repaid when her group dissolved, but Bowlegged Lou of Full Force did not forget and wrote this song for her. They even gave her the name Pepsii based on her bubbly personality. It became a significant hit in the States, reaching the top forty and being the number one R&B single for the week of 26 November 1988. Incidentally, the video was directed by future Oscar laureate Forest Whitaker.
Follow-up singles were also about social issues ("How Can You Hurt The One You Love" is self-explanatory), but her label Columbia was taken over by Sony and Tommy Mottola preferred to promote less challenging artistes like, er, his wife. So Riley moved into musical theatre, with a play per year under her belt since 1990. Still an active writer and performer, she has provided film soundtracks, backed J-Lo and C-Dion amongst others on record and Missy Elliot and Mary J Blige on tour. Her last recording appears to have been the self-released "Let Me Be Me" three years ago.
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vastar iner
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Post by vastar iner on Apr 17, 2010 21:00:50 GMT 1
Ruthless Rap Assassins (19 June 1990)
Late 1980s Manchester was one heck of a music scene, to the extent that when I was starting A-levels the pass rate required for the universities there rocketed to AAB for some subjects. Everyone remembers the baggy scene (Stone Roses, Happy Mondays, Inspirals); less remembered is the electronic hip-hop scene, taking its cue from New Order and the Hacienda (808 State, A Guy Called Gerald, Shine MC). And this lot; the Ruthless Rap Assassins.
Hacienda's resident DJ, Greg Wilson, was anxious to promote the local hip-hop scene and in 1984 he produced a number of tracks for a StreetSounds compilation. Problem was, about the only local group he knew was breakdance outfit Broken Glass, so he got their DJ Kermit Le Freak (Paul Leveridge, sister of Christine, the C of Kiss AMC) to produce a number of tracks under different names.
It could not continue like that, and so Kermit collaborated with his neighbours the Dangerous 2 - brothers Anderson and Carson Hinds, Carson on the decks, Anderson as a toaster of long standing - with the idea of something more interesting. As the Ruthless Rap Assassins they first committed themselves to vinyl in 1987, on a split single with Kiss AMC, although the name was a bit misleading, they had some Public Enemy in them but also some De La Soul.
This single came from their first album, "The Killer Album", segued without pauses, lots of Kiss AMC included, and served up with a huge amount of critical praise; John Robb in Sounds called it an "astonishing album, a collision between the gobsmart trios hard-assed rap stylee and mixer man Greg Wilson's interwoven sample and guerilla tape loop patterns", The Face mag called it "the best rhyme record Britain has ever produced", and even Richie Blackmore of Rainbow was a fan.
Start of something much bigger, wasn't it?
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Post by vastar iner on Apr 17, 2010 23:12:54 GMT 1
Ruthless Rap Assassins featuring Tracey Carmen (1 September 1990)
Not quite. The album missed the chart. And the follow-up single to their one chart hit only just avoided the same fate.
For follow-up album "Th!nk, It Ain't Illegal Yet" drummer Ged Lynch was acquired to add a different impetus to live shows, but it didn't work either. Again, critical acclaim; again, missed the chart. Disillusioned with the whole business and the backstabbing on the UK rap scene, the three split. Anderson became a teacher, Carson stayed with the decks, Kermit (and Ged) struck gold - they became part of Black Grape. Kermit is still with some BG members recording under the name Big Dog.
Tracey Carmen incidentally is a Liverpudlian singer/songwriter, for whom working with the RRA was one of her first professional jobs. She was the featured vocalist on Lange's "Happiness Happening" last year and teamed up with Greg Wilson, Blockhead Chas Jankel and Croatian Ilya Rudman under the name Yolanta Sy for a one-off in 2008. More well known as a voice coach. She trained Atomic Kitten before they became famous (I assume they went feral) and wrote their single "Be With You". She also coached Genie Queen, who included WAG Abby Clancy and Shipwrecked sexpot Anna Ord. (In any girl group, there is always one who is an actual singer, like Nicole Scherzinger and Mel C; in Genie Queen, the singer was Ani Saunders, sister of Gwenno and current Pipette.)
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Post by vastar iner on Apr 17, 2010 23:13:13 GMT 1
Seduction (21 April 1990) It's Rubettes Time. In 1989, producers Robert Clivillés and David Cole - aka C+C Music Factory - broke through with a commercial house sound that struck a chord with the public, and started having hit after hit after hit. One of their major successes was "Gonna Make You Sweat", a US number one, featuring the powerful vocal of Martha Wash, 50% of the Weather Girls and a Ton Of Fun. For some unearthly reason Wash was not in the video, her part lipsynced by Zelma Davis. Who was a model. Thing is, this wasn't the first time C+C had stiffed Wash, so to speak. Earlier in 1990 they had released the tune "(You're My One And Only) True Love", also featuring Wash, to various clubs; it became unfeasibly popular and headed for the charts, so C+C assembled singers to front the non-existent band Seduction. One Hispanic, one white, one black for that authentic multi-ethnic feel. There would have been an Asian one as well but C+C were dissatisfied with the auditions. They discovered club singer Idalis DeLeon, who invited her friend Michelle Visage along to try out, and she also passed with flying colours (ahem). After the failure of various other auditions Cole recruited childhood friend April Harris as the video version of Wash. They ended up with a number 2 hit Stateside with "Two To Make It Right", and "Heartbeat" - a cover of a Taana Gardner disco song, which also provided the hook for Ini Kamoze's reprehensible "Here Comes The Hotstepper" - was also top twenty. It provided Seduction with their one UK chart hit; the vocal abilities of the three front girls are perhaps demonstrated by them appearing on the single cover all somewhat moist and clad solely in bikinis. After their one album, DeLeon, fed up with the infighting between Visage and Harris, left to become a VJ on MTV and followed this up with a decent acting career. A new singer was brought in but the new Seduction did not last long before splitting, Visage joining another C+C project The Soul System before becoming a VJ on VH1 and radio DJ, Harris going to university before re-emerging under the Seduction name with two other stochastic singers (one of whom just happened to have been a beauty queen) to have a minor dance hit.
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Post by vastar iner on Apr 18, 2010 12:56:57 GMT 1
Simone (23 November 1991)
To these ears the backing track sounds almost identical to "Gypsy Woman". Not actually sure who Simone is, there are too many around (a Brazilian, a German, a Dane and the daughter of Nina Simone - it's none of them), but the track itself is a production of well-known DJs George Morel (vice-president of Strictly Rhythm Records at the time, in charge of A&R, and a production associate of C+C Music Factory), Jimmie Wilson and Steve Grant (AKA Wilson & Grant Productions). The only other record I can trace to this particular Simone is follow-up "Hey Fellas" which was unsuccessful. Given the preponderance of sampled house records, I can only assume Simone was an otherwise anonymous backing singer, promoted temporarily to the front, who probably wasn't even called Simone and would have been lipsynced by some random model.
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