Boogie'S Gonna Getcha - 80'S New York Boogie

This is Volume 4 in an (initially) projected 10 Volume series "conceived and compiled with love by Ian Dewhirst". The stated aim of the collection being to "offer some of the best music in the world from some of the greatest independent labels over the past 50 years..(using)...only the full 12" or album versions". This is a sentiment previously expressed by Dewhirst in his previous role as conceiver and compiler of the 'Original Mastercuts' collection - a series that provided a musical education in quality black music. Since the demise of the 'Original Series' Dewhirst has continued his engaging in the issuing of quality driven music compilations, always displaying the light touch expertise and willingness to guide, in a manner that is never patronising.

For this edition Dewhirst looks to the period after the commercial emergence and acceptance of Disco, which had resulted in a highly commercialised 'feel good' aesthetic, of which underground audiences and dance floors had quickly begun to tire. Drawing predeominantly from New York's 'Easy Street', 'SAM' and 'Streetwise' Record labels, and the period between 1980 and 1986, this collection offers an opportunity to hear the slower, bass driven street style that is often generically termed 'Boogie' or '80s Groove'.

Opening with World Premier's 'Share The Night' (1983), the exaggerated bassline, programmed drum machine ryhthms and marriage to soulful vocals is immediately beguiling, offset with a rising piano motif similar to that used by D-Train. 'Please Don't Break My Heart' by The Affair (1985) features the vocals of Alyson Williams, who would later achieve notable (but short lived success) on Def Jam through the late 1980s (with the album 'Raw'). 'Main Thing' by Shot (1986) has been featured previously by Dewhirst (in the Original 'Mastercuts' series) and it still sounds as good as ever - a slow shuffling rhythm allied to the vocals of Kym Marsh. 'The Beat Is Mine' by Vicky 'D' (1982) is clearly influenced by D-Train, with a bouncing, big sounding groove (arguably of a commercial sensibility), whilst 'Just How Sweet Is Your Love' by Rhyze (1982) is most obviously looking back at Disco and R&B, merging a male group vocal to a driving rhythm and wonderful orchestrated string stabs. A record you will hear at any Soul Weekender worth attending...

Other standout moments include 'Just A Groove' by the Glen Adams Affair (1980), a slow groove reminiscent in production of Chic, and the funk driven 'On The One' by Lukk (featuring Felicia Collins) (1985). The inclusion of 'Rapper's Revenge' by Mike Gee (1984) features a writing credit to the legendary Leeroy Burgess, but sadly this isn't one of the finer moments in Hip Hop, sounding anachronistic when compared to the predominant Electro Funk trend and post-Run DMC drum machine influenced efforts (1983) of the period. Convention's 'Let's Do It' (1980) is an absolute classic, again featuring the vocal and production talents of Leeroy Burgess.

So. Do you buy?

For music fans looking to explore the early 1980s this collection offers a narrow but interesting view of the music emerging at the time, when the drum machine and synthesised sounds came to increasingly replace live instrumentation (for good and ill). For fans of black club music this collection features enough records not included on many other compilations to warrant purchase, and should be considered (unsurprisingly given Dewhirst's involvement) a solid 8/10 collection.

At this price you would be very wise to buy before deletion.

Recommended.

Wow, when I picked up this cd, I had a heart attack, yes, those boogie tunes I had on vinyl were on cd, and at a such a low price. Yes, other CD compilations either are no longer unavailable or ask for too much money. eg. check out 'Sam records extended play' compilations.
This CD will go for some serious money, as other counterparts in this backbeats series will follow too. So, 80s boogie fans, buy now, you have been warned, otherwise, you can't blame it on the boogie!

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