RECORDS!5

Whoops, had a couple month long break there...
Continuing with the series of boompin 12"s, here's Oliver Cheatham's "Get Down Saturday Night." This track resurfaced thanks to a couple of recent UK house hits, although Daftpunk's Something About Us (assuredly titled after the record's B-side "Something about You") was where I first heard the smoove Saturday worthy groove. The track seems to be the work of Al Hudson, and the song was co-written with Kevin McCord, also of One-Way, previously mentioned here.
Pictured below is the label to the same Euro 12" I've been rubbing out (no difference to the US 12" I think). I'm sure yous know it, but here's a decent rip at 256kbps--although my cartridge might ride a bit heavy.

Oliver Cheatham: Get Down Saturday Night (Extended Version) [MCA Records; 1983] 256k

Dee Dee Ramone Not A Negro

Since we're on the subject of famous white people making horribly bad rap songs, I thought I should post this clip from the Ramones documentary End Of The Century. Here is a clip from the movie where everyone (including Dee Dee) takes a moment to rip on how bad Dee Dee's rap days were.

RECORDS!4

I've actually managed to do four of these boners more or less on schedule. Unbelievable! I don't really know much about Unlimited Touch aside from they are Crown Heights Affair affiliated, and put out one LP on Prelude. They've got two other mother-falcon jams that I know of, the more known "Searching to Find the One" and the B side to this record, "In the Middle."
I've had that LP for a while, but was psyched to get this 12" because I rearry ruv it and play it all the time. A Francois Kevorkian mix.
\\WARNING: RADICAL DISCO BREAKDOWN BASSLINE WITHIN//

Unlimited Touch: I Hear Music in the Streets (Prelude Records; 1980)

RECORDS!2

In 1980 Alicia Myers left One Way ("Cutie Pie," "Push") but continued to work with the group's masterminds, Kevin McCord and Al Hudson (One Way used to be Al Hudson & the Partners!) on her solo records for MCA. One Way records had pretty poppin' production which explains the awesome crisp (early digital?) sound on this 12" "You Get the Best From Me (Say, Say, Say,)" and it's magically mechanical (LinnDrum?) beat break down towards the end. Josh has recently taken that beat out for dinner, talked it into bed, and slyly yet gracefully impregnated it with his digital finger fuck (somehow). But he can tell you about that--and that's not why we're here today: the B side has the real beauty. So much more immediate and sincere--although your initial impression might be "melodramatic R&B boogie ballad," give it a fucking chance you asshole!
This is one of my favorite songs of alls the times--deal with it.

Alicia Myers: I Want to Thank You (MCA Records; 1981)