I’ve been thinking about love songs recently-the good, the bad, the wtf… Some of the best songs about love are the lovey-dovey feel good ones. Love involves work–or as Shalamar would say–an active, on-going investment. When it’s going well, love is all kinds of beautiful. When it’s not, the pain can wear you down and out.

What Have I Done To Deserve This – Pet Shop Boys & Dusty Springfield (1987)

Lyric snippet:
Him: You always wanted me to be something I wasn’t.
Her: You always wanted too much.
Together: Now, I can do what I want to forever. How am I going to get through?

Fantastic song about breaking up. The relationship wasn’t going well, neither person was happy. The logical thing to do is break up, right? But that doesn’t make anybody happy either. Confusion, uncertainty, miscommunication, failed expectations, it’s all here.

-

Where Is The Love – Roberta Flack & Donny Hathaway (1972)

Lyric snippet:
Oh, how I wish I never met you
I guess it must have been my fate
To fall in love with someone else’s love
All I can do is wait.

This song is a warning to anyone tempted to fall in love with someone already in a in some type of closed relationship. Stolen moments and promises of a future together can’t sustain an affair forever.

-

Hard Habit To Break – Chicago (1984)

Lyric Snippet:
I was acting as if you were lucky to have me
Doin’ you a favor I hardly knew you were there
But then you were gone and it all was wrong
Had no idea how much I cared

This dude was such a jerk. Years after a breakup, he’s still full of regret and longing. (Yet, for all of his caring feelings–he can’t actually bring himself to say that he loved his ex.)

These songs (and others) really resonated with me growing up because I noticed that the “happily ever after” idea that was promoted everywhere – wasn’t actually true.  I could see in the relationships of the adults around me that love was not a magical, infallible salve that cured everything. Falling in love doesn’t mean that the baggage a person has been carrying automatically falls away.

-

Bonus Song

All Cried Out Redux – Jill Scott

Lyric snippet:
No more tears for you, no baby it’s all over
I’m moving on now, I’m taking over

The original All Cried Out by Lisa Lisa and Cult Jam was a sad ballad full of heartbreak. Jill takes this ode to pain and reshapes it into a bouncy “I’m moving on” tune.

-

*The title Love On Top Of Love is taken from a Grace Jones song. It’s not really a love song–it’s an invitation to a killer kiss…

Bee Gees
The Brothers Gibb (Robin, Maurice and Barry) had incredible success during the 70’s and 80’s with hits like “Staying Alive,” “To Love Somebody” and “How Deep is Your Love.” Sadly, Barry is the only one left, but their music will live on. Let’s hope they get the Mamma Mia treatment and have a musical made from their songs.

The Supremes
Diana Ross, Mary Wilson and Florence Ballard (and later Cindy Birdsong) were the jewel of the Motown label during their heyday. Stylish, sophisticated and classy, these ladies sang some of the most memorable songs of the 60’s and 70’s. “Love Child,” “Stop! In the Name of Love,” and “You Keep Me Hangin’ On” were some of their biggest hits.

Dixie Chicks
Natalie Maines, Martie Maguire and Emily Robison only recorded 4 albums during their career together. They have won 13 Grammy Awards and have been on an extended hiatus since 2008. Let’s hope they get together to record some new music soon. I listened to their debut album again recently, and I really miss their vocal blend. “Goodbye Earl,” “Sin Wagon” and “Ready to Run” are all great songs.

Exposé
Fans of 80–90’s dance music remember this trio from Miami. The brainchild of producer Lewis Martineé, they recorded only 3 albums, before being let go from their label and breaking up. Ann Curless, Jeanette Jurado and Gioia Bruno were the ladies who sang such favorites as “Point of No Return,” “What You Don’t Know,” and “Seasons Change.” They are now back together and performing occasionally.

Rascal Flatts
Country pop trio Rascal Flatts (Gary LeVox, Jay DeMarcus, and Joe Don Rooney) have been one of the most successful country bands of the last decade on stage and the radio. Their hits include “Bless the Broken Road,” “Prayin’ for Daylight” and “What Hurts the Most.”

Lady Antebellum
Another country pop trio, but with a guy and girl trading leads. Hilary Scott, Charles Kelley and Dave Haywood have come up with a winning combination. This has brought them legions of fans and few Grammys along the way. They have a new album coming out in 2013. “Love’s Looking Good on You,” “Need You Now” and “We Own the Night” are just a few of their hits.

Lisa Lisa and Cult Jam
Lisa Velez, Alex “Spanador” Mosely and Mike Hughes formed this trio. Created and produced by Full Force, they were responsible for such club and dance hits as “I Wonder If I Take You Home,” “Head to Toe” and “Let the Beat Hit ‘Em.”

The Human League
The ground-breaking group from Sheffield, England wasn’t always a trio, but since 1987, they pretty much have been. Phil Oakey, Joanne Catherall, and Susan Ann Sulley are the group these days. I have seen them a couple of times in concert in recent years and they still put on a great live show.

Pointer Sisters
This real-life sister act (Ruth, June and Anita) conquered the world with their strong vocals and fun dance-pop songs. Sadly, June died of cancer in 2004. But songs like “I’m So Excited,” “Slow Hand” and “Neutron Dance” still sound great today.

More trios to come in Part 2 of this posting coming soon.

Spice69man is a Los Angeles-based writer and designer. Be sure to check out the latest T-Shirts for sale here, including Marriage Equality and  Rock the Kilt lines. They make great gifts for friends, family and loved ones.

The song spent one week at No. 1 on the US R&B chart (September 14,1991) reaching #37 on the Billboard Hot 100.

Watch a LIVE performance below!

After signing to Columbia Records, the three members of Lisa Lisa and Cult Jam, Lisa Velez, Alex Panador and Mike Hughes would embark upon the most successful period of their career. During the four year period between 1985 and 1989, Lisa Lisa and Cult Jam released three albums, two of which were certified platinum and one gold. Oh, and that’s not forgetting two US R&B number one singles Head To Toe and Lost In Emotion. This successful period started with Lisa Lisa and Cult Jam’s debut album Lisa Lisa and Cult Jam With Full Force which will be released on 30th July 2012  by BBR Records. Key to the success of Lisa Lisa and Cult Jam were the production team of Full Force, plus a hugely talented vocalist in Lisa Lisa. Full Force were one of the most successful production teams of this time, working with artists like La Toya Jackson, The Weather Girls and Lil’ Kim. With the help of Full Force, Lisa Lisa and Cult Jam and their fusion of R&B and hip hop burst onto the musical scene. The next four years, would change the lives of Lisa, Alex and Mike, resulting in some memorable music, including their debut album Lisa Lisa and Cult Jam With Full Force.

Now signed to Columbia Records, Lisa Lisa and Cult Jam headed to New York’s Sigma Sound Studios, where they’d record their debut album Lisa Lisa and Cult Jam With Full Force. The three members of Lisa Lisa and Cult Jam lead vocalists Lisa Velez, guitarist and bassist Alex Panador and drummer and keyboard player Mike Hughes cowrote seven tracks, while Lisa Lisa cowrote This Is Cult Jam with Full Force and Howie Tee. Not only would Full Force produce the album, but accompany Lisa Lisa and Cult Jam, including Bow Legged Lou and Paul Anthony adding vocals. A total of eight tracks were recorded, becoming Lisa Lisa and Cult Jam With Full Force.

Before the release of Lisa Lisa and Cult Jam With Full Force, the first single was chosen from the album. This was I Wonder If I Take You Home, released in April 1985. It reached number thirty-four in the US Billboard 100, number six in the US R&B Charts and number one in the US Dance Charts, resulting in the single being certified gold. More success would come the way of Lisa Lisa and Cult Jam when they released their debut album. Lisa Lisa and Cult Jam With Full Force was released in August 1985, reaching number fifty-two in the US Billboard 200 and number sixteen in the US R&B Charts. Having sold over one-million copies, the album was certified platinum. Can You Feel the Beat was released in October 1985, reaching number sixty-nine in the US Billboard 100, number forty in the US R&B Charts and number six in the US Dance Charts. All Cried Out was the final single from Lisa Lisa and Cult Jam With Full Force, released in June 1986, reaching number eight in the US Billboard 100 and number three in the US R&B Charts. Quite simply, Lisa Lisa and Cult Jam With Full Force had been a huge success, but what does the album sound like? That’s what I’ll now tell you.

You Wonder If I Take You Home opens Lisa Lisa & Cult Jam With Full Force. Not only was this the lead single from the album, and was certified gold, but saw hip hop, R&B dance music and pop combine. Lisa’s vocal combines R&B and pop, while Cult Jam and Full Force fuses hip hop and dance music. Stabs of keyboards and crispy beats precede Lisa’s emotive, needy vocal. As backing vocalists augment Lisa’s vocal, swathes of keyboards combine with crunchy, spacey beats. During a breakdown, Lisa’s vocal dances above Cult Jam and Full Force arrangement, before Mike lays down his rap. For seven minutes, Lisa Lisa & Cult Jam With Full Force create a groundbreaking, innovative and genre uniting track. In doing so, they paved the way for a wave of similar artists and in the process, laid down a marker.

You’ll Never Change opens with a dialogue between an errant boyfriend and his frustrated girlfriend. Then comes Lisa’s frustrated, angry vocal. It’s delivered against pounding beats, as stabs and layer upon layer of keyboards provide the mainstay of the arrangement. Backing vocalists sympathize and empathize with Lisa, reflecting her frustration and disappointment. Meanwhile, drums crack, providing the track’s angry heartbeat, as keyboards add to the sadness of Lisa’s weary vocal. Key to the success of the track is Lisa’s vocal. Without her vocal, this track wouldn’t be half as good.

All Cried Out was the third single from the album reaching the top ten in the US Billboard 100 and US R&B Charts. It’s quite different from the two preceding tracks. The reason for this is the use of a piano, guitar and bass. They give the track a much more R&B sound. Lisa’s vocal is accompanied by just the piano, as again, she demonstrates just how talented a vocalist she is. Her vocal is full of sadness and regret. Later, Paul Anthony delivers the male lead vocal, adding to the emotion of the track. The addition of a searing, rocky guitar solo adds drama, and is the finishing touch to one of the highlights of Lisa Lisa and Cult Jam With Full Force.

This Is Cult Jam was one of only two tracks not written by Cult Jam. Here, a haunting, sinister sounding male vocal is fused with crunchy hip hop beats, synths, scratches and Mike’s rap. Lisa’s vocal drifts in and out of the track, while Cult Jam and Full Force combine, scratches, samples, sinister vocals, melodic harmonies and Mike’s punchy rap peerlessly. The result is a pioneering, innovative track, from true musical pioneers.

Can You Feel the Beat sees another change in style, with the track more dance-floor influence. The tempo is quicker, Lisa’s vocal dropped in, before the track reveals its secrets. Marauding beats, a pounding bass, multilayered synths and guitars create a track where hip hop, dance, R&B and pop unite. Lisa’s vocal is R&B and pop combined, while the arrangement would prove a template for later dance music producers. Even many years later, Lisa Lisa and Cult Jam With Full Force’s influence could be heard, with another generation of artists and producers using their pioneering sound and moving it forward.

Stabs of squelchy synths and drums accompany Lisa’s anguished vocal as Behind My Eyes opens. Background vocals from Full Force accompany her, while an infectiously catchy arrangement unfolds. Guitars and electric percussion are added, providing a contrast to the rest of the arrangement, as Lisa’s vocal becomes sassy, brimming with confidence, before she dramatically half-sings, half-speaks the vocal. Again, it’s Lisa’s vocal that’s the clincher. It takes the track the next level, as hip hop, dance, R&B and pop hooks melts together seamlessly,

Private Property opens dramatically, with piano opening the track, before crunchy, punchy beats and synths are added. They give the track a hooky, melodic sound, before Lisa takes charge. Her vocal is powerful, laden with emotion. As her vocal drops out, the piano reenters, adding a new dimension to the sound. So do the backing vocals that accompany Lisa, as she struts her way across the track, mixing bravado with a sassiness. Although Lisa Lisa and Cult Jam With Full Force all play their part in the sound and success of the track, it’s Lisa that plays the starring role.

Closing Lisa Lisa and Cult Jam With Full Force is Take Me Home, a two minute rap by Mike of Full Force. Crispy beats crack, reverberating, while Lisa adds a dramatic vocal. Mike literally struts in, his vocal full of bravado. Keyboards, percussion and crunchy beats accompany as Lisa Lisa and Cult Jam With Full Force bring their debut album Lisa Lisa and Cult Jam With Full Force to a dramatic, machismo-fueled close.

When Lisa Lisa and Cult Jam With Full Force was released, little did Lisa Lisa, Cult Jam or Full Force realize the impact of the album would have. With its fusion of R&B, hip hop, dance and pop, artist had managed to bridge the gap between the various genres. This made Lisa Lisa and Cult Jam With Full Force musical pioneers, boldly going where no artist had gone before. Where Lisa Lisa and Cult Jam With Full Force first walked, other artists stepped into their shoes and walked even further. They took over the baton from Lisa Lisa and Cult Jam With Full Force, whose music became a template for a new generation of artists and producers. What Lisa Lisa and Cult Jam With Full Force had seemed almost impossible back in the early eighties, artists and producers now take for granted. Maybe they should tip their hat to true musical pioneers, Lisa Lisa and Cult Jam With Full Force. Without Lisa Lisa and Cult Jam With Full Force’s debut album Lisa Lisa and Cult Jam With Full Force, which will be rereleased on 30th July 2012 by BBR Records, then much of the music we take for granted wouldn’t have happened. So, maybe the artists and producers who’ve benefited from the pioneering music on Lisa Lisa and Cult Jam With Full Force, should give thanks to Lisa Lisa and Cult Jam With Full Force for paving the way for them and in some cases, the untold riches that has come their way. Standout Tracks: I Wonder If I Take You Home, You’ll Never Change, All Cried Out and Private Property.

LISA LISA AND CULT JAM WITH FULL FORCE-LISA LISA AND CULT JAM WITH FULL FORCE.

What I didn’t know about Full Force is they are a music industry power house writing for or creating acts like: UTFO, Lisa Lisa and Cult Jam, James Brown, The Backstreet Boys, uhh… alright they’re evil.

These guys wrote “Roxanne, Roxanne”! I can’t believe Full Force wrote that song. Anyway these guys are a pretty positive; so unlike many other Unsung biographies there’s no drug addictions or murders to report.

One member of the band is fighting cancer but the energy these guys give off I think cancer is sorry it stepped into his body.

Rating: 10/10

Link: http://goo.gl/dIvu6

Please visit TV One @http://www.tvoneonline.com/

Having a song in my head is a very common occurrence in my life as I am sure it is for all music lovers. Most days I will hum along in my head to a variety of songs that usually come from my most current iPod playlist. Other days I will hear some random song by Supertramp on the radio and I will be singing “Give a Little Bit ” for 2 days. Occasionally my subconscious will throw me for a loop and I will suddenly become aware that I have been humming some long lost artifact of a song for the last 3 hours. When this happens I usually have to stop and access the situation.

Me: How did that song get in there?

My Brain: I don’t know.

Me: How long have I been humming it?

My Brain: I don’t know.

Me: Bald men are considered sexy right?

My Brain: Todd… You are the bald George Clooney.

Me: I knew it!

Today was one of those weird days. I realized after several hours at work that I had been singing Lisa Lisa & Cult Jam’s “Lost in Emotion”. How odd. I wasn’t listening to music at all this morning. Nor was I debating with any co-workers that age old question:

Question: Which was the superior Lisa Lisa lineup?

A: Lisa Lisa & Cult Jam

B: Lisa Lisa & Cult Jam with Full Force

C: A and B

D: Lisa Lisa & Cult Jam’s Train Would Reach the Station in 3.25 Hours.

E: None of the Above

Answer: I think the answer is obvious. Who would want their Lisa Lisa & Cult Jam with zero or even partial Force? I want my Lisa Lisa & Cult Jam with Full Force baby!

I had no idea how the song got there. Having grown up in the 80’s I have heard that song dozens of times.  Maybe it was just some weird subconscious blip. Maybe I sneezed and some wires temporarily crossed in my brain. Apparently, I decided to lock it away in the darkest recesses of my mind. Only to be brought to light when I least expected it. Some people have life altering ideas pop out of their heads at these moments. I have Lisa Lisa.

To quote said artist from said song,

“Que Sera Que Sera.
Baby, whatever will be.”

All Cried Out – Lisa Lisa & Cult Jam (1986)
This American band, one of the first to bring freestyle music to a national audience, reached their commercial peak the year after this hit was popular. They released four studio albums before calling it quits in 1991. Front-woman Lisa Velez launched a solo career and delivered her solo debut in 1994. She diversified into acting, appearing in musical theater and television. She returned to music in 2009, when she released her most recent album.

I hung out with my friends, had a consequence free life and chased boys. We got cable TV and I was instantly hooked. I had a whole year to study for my GCSEs, right? MTV Europe and Studs, Full House and Sally Jessy Raphael on Sky One. Getting the new series of Beverly Hills 90210 less than a year after its US airing…

Summer 1991 - listen at last.fm

I hung out with my friends, had a consequence free life and chased boys. We got cable TV and I was instantly hooked. I had a whole year to study for my GCSEs, right? MTV Europe and Studs, Full House and Sally Jessy Raphael on Sky One. Getting the new series of Beverly Hills 90210 less than a year after its US airing…

Summer 1991 - listen at last.fm

]]> http://justwilliam1959.wordpress.com/2010/07/04/toss-you-in-the-trash-then-reduce-you-to-an-acronym/ Sun, 04 Jul 2010 17:45:06 +0000 justwilliam1959 http://justwilliam1959.wordpress.com/2010/07/04/toss-you-in-the-trash-then-reduce-you-to-an-acronym/

I would like to wish a very happy 4th July to all my American readers. I thought I would choose my top 5 songs by American artists to celebrate, but then I decided that it would take me way too long. So I put the iPod on shuffle and here are the first five US artists to pop up.

“Crazy” – Gnarls Barkley. This act is one of the many collaborations that have involved DangerMouse (aka Brian Burton). This time he pairs himself with Cee-Lo Green (aka Thomas Callaway). The song was a worldwide hit and comes from their debut album ‘St Elsewhere’

“Diamonds And Pearls” – Prince. As a boy Prince Rogers Nelson’s nickname was Skipper and he released his first album ‘For You’ way back in 1977. Apparently he is planning to give yet another album away with a UK newspaper later this year

“LOL” – Little Jackie. Sadly Little Jackie is not a part of the band, it is in fact the band’s name. It comes from the Lisa Lisa And Cult Jam hit from 1989 “Little Jackie Wants To Be A Star“. The band is made up largely of Imani Coppola and Adam Pallin. This song comes from the album ‘The Stoop’, probably my favourite R & B album in recent years by a long way.

“Refugee” – Tom Petty and the Heartbreakers. Tom Earl Petty will reach the grand old age of 60 later this year. He was also Charles T Wilbury off of the Travelling Wilburys. He also appeared in the 1997 Kevin Costner movie, ‘The Postman’ apparently appearing as his future self having become the Bridge City Mayor

“Shoorah Shoorah” – Betty Wright. The first Betty Wright song I ever heard was also the first one I ever bought, it was “Clean Up Woman” from 1971. It was a massive US hit but didn’t really trouble the UK charts, sadly.

I will close with a song which made me want to visit America back when I was a teenager, it was Mr Bowie’s Plastic Soul adventure “Young Americans”

So once again, it’s Thursday. New Thursday, new throwback. Today it’s Lisa Lisa and Cult Jam’s “I Wonder If I Take You Home.”

I LOOOOOOOVED this song. I loved this band. Don’t let the pink fool you. Lisa, you were brave for wearing this much pink but you know what, you rock it. I still don’t know what a Cult Jam is.. Can you spread it on bread? Can you spread it on bagels? Whatever the case, it sounded great. And the drums..oh the drums to this song are SO SO LOUD. She might look like a pink marshmellow puff, but it’s all good. It’s all good Lisa. We miss you. You want you to come back. They don’t make voices like hers anymore. And I also chose it because how many of us ladies tried to get our makeup right to match hers? C’mon. I know you know I’m right.

Love the hangover hair too. I also tried to copy that. But thank the baby buddha those pics will NEVER be seen. Don’t even try it people.

And seriously…what the hell is a Full Force?

So so so good. So watch and enjoy.

See you next Thursday.

Lisa Velez, American vocalist of Lisa Lisa and Cult Jam fame

I made this mix about 4 years ago.
This was made entirely piece by piece in my home studio. It took about a month to put together. Its probably one of my best mixes…Fans of Hollertronix or anyone that went to lots of 80s quincinearas and weddings like I did will enjoy this one…

BTW, anyone know GOOD acapella sites for the next mix? I’m collecting them for the PT.2 mix…Thanks

TO DOWNLOAD JUST RIGHT-CLICKAND CHOOSE “DOWNLOAD LINKED FILE AS” OR “SAVE FILE AS” : hilltoplabmix_80s-freestyle-hiphop-MasHuP miX

Wait did you see that cat’s headgear? Had the curl/sash combo. Now was he from Cult Jam or Full Force? I could never tell. And yes, Lisa Lisa (why the double name?) could have GOTTEN it back then. Oh and look at Lake Sr. getting in there with Lisa..now see, that’s how you know it’s the 80′s… Now that I think about it, that’s kind of terrible. They just had homeboy laid back in the cut, sittin on swole wondering why the smooth YT/ambiguous latino cat got to lay down with Lisa Lisa.

Corny curl/sash/suit combo notwithstanding, this cat was MURDERING this song! That cat’s adlibs were spot on. Tender and thoughtful (no homo) but powerful:

Dude: Oh nooooo, I’m soooo sorry

Lisa: Apology not accepted, add me to the broken hearts you collected!!! Eyeeeeee!

Perfection.

Whoooooooooooooooooooo weeee. That’s crazy.

- Lake

————UPDATE——————

Yo, I can’t stop playing this video.  You talked about the brother with the sash…let’s talk about this other cat.

First of all he has the jheri curl with the beaded rat tail on the left hand side.  But my favorite part has to be that blinged out treble clef broach that cat is rocking on the lapel.  Is that the early precursor to the jesus piece?  Did he walk into a jewelry store and say, “Hey, hey there brother.  I’m going to need you to make me a three and a half inch tall, diamond studded, lapel pin.  Can you put a pin in the top and the bottom so it doesn’t spin around?  Yeah, thanks.  I wan’t to make sure I keep it on the angle.  Yeah, that shit will be fly”.  Then he gets to the set and rocks it with his suit and wife beater combo.  That is fully ridiculous.

Also, you have to let the track run until at least 3:51 when my man from Full Force gets so worked up that he hits you with “I left ya SO confrused”.  Yeah, he sounds confrused as hell.

-Brock

i love this show. it does for people today what the wonder years did for us in the early 90s.

ten things i miss from the 80s that kids don’t do or have now:

1. rotary dial phones
2. smash hits
3. vinyl records
4. walking to school
5. sugar puff stickers
6. smelly erasers
7. grange hill
8. freedom
9. bags of sweets from jars
10. rollerskates

download here

al b sure – night and day

billy ocean – caribbean queen

cameo – candy

kurtis blow – if i ruled the world

lisa lisa and cult jam – i wonder if i take you home

ll cool j – my radio

mary jane girls – in my house

newcleus – jam on it

run dmc – it’s like that

teena marie – square biz

whodini – friends

zapp and roger -  i wanna be your man

Lisa Velez’s last name was forgotten after the single “I Wonder If I Take You Home” elevated Lisa Lisa & Cult Jam into the national spotlight. Her voice had the perfect mix of uncertainty, irony, and edge, while Full Force‘s production was state-of-the-art for the time. There was also a fine ballad on the album, “All Cried Out,” presenting Lisa Lisa’s vulnerable side, and is arguably still her finest performance. Lisa Lisa and company eventually earned a platinum album and were on their way.

originating from miami in the mid 80s, freestyle can best be described as a straight mashup of electro, hiphop, r&b, house…anything goes. hence the name. it became hiphop for girls. yes, female rappers such as roxanne (both of them) salt-n-pepa and jj fad were doing their thing, but this was much sweeter and more accessible.sometimes, it was so plaintive as to be almost offkey and out of tune but I think that adds to its charm, and is more honest than giving cassie, britney and mya recording contracts and manipulating their weedy warblings. freestyle sounded like it had been made on a casio keyboard, and it most probably had been. the studio version without the ‘wake me up before you go go’ demo button though. vocals that sounded like they had been recorded into a handheld tape deck gave the whole affair a more dangerous edge.

the look? quintessential late 80s styling with a latin edge. big backcombed curls, big earrings…and relaxed pastels for the heat. freestyle itself could perhaps be summarised with the above image – aspirational neon cocktail. totally 80s, totally miami.

when I visited florida a few years ago, I didn’t expect to hear any freestyle. i thought that one of the things that had made me want to visit miami for so long would be long gone, a distant memory of twenty and thirtysomethings now fully immersed in the house or r&b scenes. but it was everywhere!

crunk had just exploded but from the local radio stations, you’d never guess. we cruised happily up and down the a1a, and in and out of walgreens and taco bell, to the sounds of freestyle for two weeks. i highly recommend florida to anyone needing some sunny late 80s nostalgia…

ten sounds of party 93.1 south florida – download here

lil suzy – take me
well, if i hadn’t known this track before i went to florida, i certainly did by the time i arrived home. played about four times a day and considering we didn’t spend that much time in the car listening to party 93.1, you can safely assume this was a dj favourite…

stevie b – spring love
uk peeps may only know stevie b for his dreary 1991 hit ‘because i love you’. it seems the only reason he got away with releasing that dirge was that he had already established some credibility on the freestyle circuit. and promptly flushed it down the toilet.

expose – let me be the one
i do remember expose being hyped as the next big thing in smash hits in the late 80s. well, they didn’t take off in the uk but appear to have done well natively and are fondly remembered. i think when en vogue arrived i was slightly confused then realised they were a completely different group.cover girls – show me
like expose, touted as the next big thing but the uk didn’t really get freestyle so they sank without trace until they shifted direction. i seem to remember they covered ‘wishing on a star’ so they must have had some success over here.

lisa lisa and cult jam – i wonder if i take you home
electro favourite that was hard to categorise at the time. lisa lisa and cult jam continued to have success, with ‘all cried out’ (later covered by allure and 112) and c&c music factory remixed ‘let the beat hit em’ (heard that on the radio last week – still sounds amazing). lisa went solo in 1994 with album ‘LL77′ to rapturous reviews but uh, it was all a bit alternative and grey for me…i much preferred the colourful nonsense of the 80s.

shannon – let the music play
perhaps the first freestyle hit, apart from freeez‘s ‘iou’, which i’m not sure counts as they were from london, not miami. plus, ‘iou’ was a wedding reception favourite even back in the day, which surely disqualifies them. anyway, this track along with madonna’s poppier ‘holiday, changed the face of dance music in 1984.

joyce sims – all and all
this song was doing nothing and going nowhere until kurtis mantronik picked it up and laid the vocals over his ‘bassline’ instrumental. suddenly it was everywhere and not everyone realises its a remix – a bootleg at that.

debbie deb – when i hear music
one of the biggest freestyle hits. i had to include a more recent photo of debbie as she looks awful in her 80s shots. circulation defying skintight bleached jeans, sausage in a condom style boob tube, blonde hairdo that looks like it would come off in one piece…ick…sometimes i’m glad i wasn’t really old enough to pick all of my own clothes in the 80s. 

seduction – two to make it right
much like expose and the cover girls, assembled to cash in on their success. probably wore the least clothes out of the three and had the least hits as well…