A deep summer cut to cool off to, from Rhythm King in 1990. Dig the Stylophone solo, played live in the control room by Peter.
I mentioned previously that Rhythm King didn’t release much Acid House, but to be fair they did release arguably the most successful UK version of the genre in the form of Baby Ford’s Oochy Coochie. Peter Ford was also a more than respectable white soul singer, as evidenced by this summer stomper, co-produced with Jeremy Healy, with Laurie Mayer, Lorita Grahame and Sonique on backing vocals, and programmer R.Salt’s Roland Jupiter 8 abundantly featured. Also check out the excellent Wigan on the B side.
The Renegades left Rhythm King and were beamed up to the Mute mother ship, fitted with Flood, set for stardom. I still got to do the odd session with them though, and one of the first in the new Mute Studio on Harrow Road was this fab floor filler, which did the rounds as a white label for a while before its official release on the B side of Space Gladiator. A Rico personal fave.
An earlier Rhythm King session from the end of ’87, this featured the late great Matthew Ashman of Bow Wow Wow on guitar*. An interesting mashup of influences, perhaps not altogether successful but I think you’ll agree that an entertaining video came out of it. And who can forget the immortal couplet :
It is the sound of the inner city…it ain’t The Secret Life of Walter Mitty.
*The linked Bow Wow Wow clip is, in my opinion, the best music video of all time.
When I got back to London, after the long stint in France and Belgium in the first months of 1988, it was a different place.
To begin with, after 6 years Guerilla Studio had moved out of Maida Vale and into temporary digs in Hampstead, en route to a 10 year spell in Crouch End. More significantly though, there was a full blown revolution going on, the likes of which hadn’t been seen in over 10 years. I went down to Heaven in Charing Cross, just a few weeks previously a hangout for hipster funkateers. Now the scene was like some futuristic Satyricon, a nightly bacchanal. Most significantly, exclusivity was out, inclusivity was in, and the punters were lining up around the block.
And the music, of course, was amazing. I doubt anyone ever forgets their first blast of Acid House on a big sound system. That shit is so powerful you don’t even need the drugs.
Rhythm King Records weren’t releasing much Acid House but they had already scored a number one hit with the fabulous Theme From S’Express. When I got back to London I wasted no time renewing my acquaintance with label boss Martin Heath, and the first assignment he gave me was with whiz kid DJ Tim Simenon and rapper MC Merlin.
I can’t remember exactly what I did on this session, it may just have been an edit, but a couple of memories have stuck with me. Firstly, this was the first time I felt any kind of generational divide, me having reached the grand old age of 30 and my two clients being in their teens.
My son Tom (who some readers may know as Verb T), 7 at the time, was already a massive hip hop fan. So it was good to show him that daddy-o was hip to the scene.
My second memory is that this was the first time I ever used an Apple computer. I was impressed.
Mute Records launched a new subsidiary called Rhythm King, a label that was to make a lot of noise over the next couple of years. Their message was loud and clear: DJs are making hit records now and they’re here to stay. As a longtime Jeremy Healy collaborator I was of course down with that.
The first signing was this trio of post punk refugees, three of the funniest and most talented characters I ever worked with: Gary Asquith, Danny Briottet and Carl Bonnie. Their song Cocaine Sex really blew the cobwebs out when I first heard it and I couldn’t wait to work on it. It had already been masterfully recorded by Paul Kendall but a bass sound courtesy of the Roland Juno 106 pulled things into focus.