#streetwave

[smartfox]

Listen to: Sur la place by Oi Boys

[fuchinobe]

(1996, Streetwave Music, SWM 50005-1)

[streetsamurai]

Techno/electro anyone?

[mobilephonetechnology]

(2024-03-24 image ©strretwave) It is imteresting to see the mobile connectivity along the railway lines you use to work. Streetwave, who do many surveys of mobile connectivity, have produced a map of mobile connectivity on the ThamesLink route from London to Shoeburyness. This is important to those who travel to and from work via train and work on the way. Train WiFi is fuelled by mobile 4G.

No surprises EE comes out best in the survey.

[c-40]

A-T-4 049 The Fantastic Aleems

The Fantastic Aleems were twins TaharQa Aleem and Tunde Ra Aleem, born Albert Allen and Arthur Allen. Their entry into the music business goes back to the 1960s when they sign to 'Fat' Jack Taylor's Rojac Record label in their native Harlem as The International GTO's. They didn't do much on the label but continued to have a friendship with Jack Taylor. Taylor would eventually open the Harlem World nightclub in 1978, the club would become synonymous with hip hop

I'm getting ahead of myself. Before Jimi Hendrix moves to England he's living and playing music with the Allen twins. Hendrix would visit when he was back in New York and suggested the Allen twins start a band called the Ghetto Fighters, they record with Hendrix and he's planning to produce their album but that is suddenly stopped short

By the time Prelude Records put out their eponymous album now as Prana People in 1977 the Allen twins had become the Aleem twins

In 1979 the twins began NIA Records. NIA put out their own records now as The Fantastic Aleems (usually with Leroy Burgess on vocals) as well as early influential hip hop, they produced the Harlem World Crew records and managed Dr. Jeckyll & Mr. Hyde and helped Marley Marl get started

It's 1984 and The Fantastic Aleems are now just Aleem and they put out Release Yourself which is a big hit for them. Leroy Burgess takes up lead vocals again and Marley Marl mixes the dub on the b-side. Paying respects to Tunde Ra Aleem after hearing of his death Marley Marl told the story how “Release Yourself” was his first venture into digital sampling on wax

Aleem - Release Yourself (Dub) For my middle aged UK audience, Electro 5

Aleem follow up Release Yourself with Get Loose. They are clearly similar and I've noticed Get Loose is fairly in the shade of Release Yourself nowadays. Get Loose was huge in the UK thanks to being released on Morgan Khan's Streetwave Records, it was written by Leroy Burgess and his cousin Sonny T Davenport

Aleem - Get Loose

Abiodun Oyewole of The Last Poets recorded a track that has some homophobic lyrics with the Aleems in 1984 as The Last Poet, it's called Super Horror Show - I prefer the instrumental which is ace just not on YouTube

The Last Poet - Super Horror Show

[lboogie1906]

Major Harris III (February 9, 1947 – November 9, 2012) was an R&B singer, associated with the Philadelphia soul sound and the Delfonics (the early 1970s–1974). His biggest hit as a solo artist was 1975 single "Love Won't Let Me Wait". He was born in Richmond, Virginia. Early in his career, he sang with groups such as the Charmers, the Teenagers, the Jarmels, and Nat Turner Rebellion, which featured his songwriting brother, Joseph B. Jefferson, and recorded a few solo 7" records on the Laurie and Okeh labels. In the early 1970s, he took over from Randy Cain as a member of the Delfonics; he quit the group to go solo in 1974. Signing with Atlantic Records, he scored a string of R&B hits in the US, including the top ten single "Love Won't Let Me Wait", which peaked at #5 on the US Billboard Hot 100chart and #37 in the UK Singles Chart in September 1975. Written by Bobby Eli and Vinnie Barrett, "Love Won't Let Me Wait" was awarded a gold disc by the R.I.A.A. on June 25, 1975. In 1984, he recorded the LP I Believe in Loveon Streetwave Records, the title track of the same name which did receive airplay that year on BBC Radio 1 from DJ Robbie Vincent. However, the album had limited success. When his success as a soloist subsided, he returned to the Delfonics and continued to tour with one of two touring ensembles that used the name in the 1990s and 2000s. He was a cousin to the Philadelphia record producer and arranger, Norman Harris. #africanhistory365 #africanexcellence https://www.instagram.com/p/CocWJf7rt3n/?igshid=NGJjMDIxMWI=

[stradarecords]

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ALTON EDWARDS / I JUST WANNA (SPEND A LITTLE TIME WITH YOU) : RIOT (12") 1981年に名門Streetwaveからリリースされていたディスコ・チューンがニュー・リミックスを加えて再登場！ホーンも軽快なアーバン・ブギーのオリジナル・ヴァージョンはインストも収録！そしてそのオリジナル12インチに収録されていた2ヴァージョンに加え、今回新たにFull Intentionの片割れMichael Grayが手掛けた躍動感溢れるブギー・ハウスに仕上がった2ヴァージョンを追加収録！  https://www.stradarecords.com/shop/item/22476/index.php  #altonedwards #ijustwanna #spendalittletimewithyou #riot #streetwave #80s #michaelgray #urbaneboogie #12inch #kobe #motomachi #recordshop #vinyl #vinyljunkies #dj #stradarecords (Strada Records) https://www.instagram.com/p/B2RH5FlAlx3/?igshid=17pp7pa6b3k80

[fuchinobe]

(1998, Streetwave Music, SWM50025-1)

[mobilephonetechnology]

(2024-02-11 image ©british GQ) Surveys about which network is best are fraught with difficulty in getting an accurate answer. Many use consumer testing, such as OpenSignal that use user speeds tests to get their figures.

Streetwave use a different and arguably better sampling method. They work through the areas street by street and take their own readings of speed for each of the mobile operators.

Their recent survey at the start of 2024 found that EE was the best network. Indeed their headlines state "EE won a clean sweep of Streetwave’s Real-World Mobile Network Experience awards in London in Q1 2024." perhaps not a suprising result but confirmation that a more scientific survey comes to largely the same answer as crowdsourcing surveys.

[c-40]

A-T-4 033 Wish Featuring Fonda Rae - Touch Me (All Night Long)

I've shared several Fonda Rae recordings. Rae had been the lead singer in Patrick Adams' group Rainbow Brown (It Ain't No Big Thing, Let's Go Another Round), after scoring a massive hit with Over Like A Fat Rat written by Adams friends and collaborators Leroy Burgess, Sonny T. Davenport, and James Calloway she is back featuring on a Patrick Adams/Greg Carmichael one off, a studio group they named Wish. Touch Me (All Night Long) (sometimes Tuch Me) might possibly be bigger than Over Like A Fat Rat, both have been heavily sampled but Touch Me has been covered more times. The best known cover I know is Cathy Dennis's pop version of 1990. Of course the positions of the two songs are different Over Like A Fat Rat is about reservations and dreams for some reason in my head I link it to the Burgess/Carmichael et al Bearly Breaking Even like there's an internal conflict happening, I think it's the 'getting over' bit I dunno, Touch Me (All Night Long) speaks for itself

The 1984 mixes were made by Bruce Forest

The original on Spotify and Bandcamp

In the UK Wish was dropped and Touch Me came out under Fonda Rae's name. Streetwave put out out a special version for breakdance which was a little more freestyle, in other territories it was just the dub mix (I think)

and here's footage of Fonda Rae performing Touch Me on US TV

[thriftstorerecords]

Let The Music Scratch Various Artists Streetwave Records/UK (1984)

[streetsamurai]

Come to the underground rave with me 💊

[oldadvertising]

Let The Music Scratch by Bart Solenthaler

Various Artists Streetwave Records/UK (1984)

[blackkudos]

Edwin Starr

Edwin Starr (born Charles Edwin Hatcher; January 21, 1942 – April 2, 2003) was an American singer and songwriter. Starr was famous for his Norman Whitfield-produced Motown singles of the 1970s, most notably the number-one hit "War".

Starr was born in Tennessee and raised in Ohio, and later lived in Detroit while singing for Ric-Tic and Motown Records. He was backed by the band that would become known as "Black Merda". Hawkins and Veasey of the group played on most of his early hits on the Ric Tic Label. Starr's songs "25 Miles" and "Stop the War Now" were also major successes, in 1969 and 1971 respectively. In the 1970s Starr's base shifted to the United Kingdom, where he continued to produce music, and resided until his death.

Early life

Charles Edwin Hatcher was born in Nashville, Tennessee, in 1942. He and his cousins, soul singers Roger and Willie Hatcher, moved to Cleveland, Ohio, where they were raised.

In 1957, Starr formed a doo-wop group, the Future Tones, and began his singing career. Starr lived in Detroit in the 1960s and recorded at first for the small Ric-Tic label, part of the Golden World recording company, and later for Motown Records (under the Gordy Records imprint), after the latter absorbed Ric-Tic in 1968.

The song that launched his career was "Agent Double-O-Soul" (1965), a reference to the James Bond films popular at the time. Other early hits included "Headline News", "Back Street", and "S.O.S. (Stop Her on Sight)". While at Ric-Tic, he wrote the song, "Oh, How Happy", a #12 Billboard Hot 100 hit in 1966 for The Shades of Blue (he would go on to release a version of the song with Blinky in 1969) and sang lead for the Holidays on their #12 R&B hit, "I'll Love You Forever". At Motown he recorded a string of singles before enjoying international success with "25 Miles", which he co-wrote with producers Johnny Bristol and Harvey Fuqua. It peaked at #6 in both the Hot 100 and R&B Charts in 1969.

It was when Motown's Berry Gordy became frustrated with smaller labels like Ric-Tic stealing some of the success of his company that he bought out the label. Many of Starr's Ric-Tic songs (subsequently owned by Motown) like "Back Street" and "Headline News" became favored northern soul classics. His early Ric-Tic hit "Stop Her On Sight (S.O.S.)" was reissued in Britain (with "Headline News" as its B-side) in 1968, and it performed better than the original release on the UK Chart, surpassing the original #35 and peaking at #11. His 1970 song "Time" also helped to establish him as a prominent artist on the northern soul scene.

Career

The biggest hit of Starr's career, which cemented his reputation, was the Vietnam War protest song "War" (1970). Starr's intense vocals transformed a Temptations album track into a number one chart success, which spent three weeks in the top position on the U.S. Billboard charts, an anthem for the antiwar movement and a cultural milestone that continues to resound in movie soundtracks and hip hop music samples. It sold over three million copies, and was awarded a gold disc. "War" appeared on both of Starr's War & Peace album and its follow-up, Involved, produced by Norman Whitfield. Involved also featured another song of similar construction titled "Stop the War Now", which was a minor hit in its own right. Music critic Robert Christgau called the latter album "Norman Whitfield's peak production".

Moving to England in 1973, Starr continued to record, most notably the song "Hell Up in Harlem" for the 1974 film Hell Up in Harlem, which was the sequel to Black Caesar, an earlier hit with a soundtrack by James Brown. In 1979, Starr reappeared on the charts with a pair of disco hits, "(Eye-to-Eye) Contact" and "H.A.P.P.Y. Radio". "Contact" was the more successful of the two, peaking at #65 on the US pop charts, #13 on the R&B chart, #1 on the dance chart, and #6 on the UK Singles Chart. "H.A.P.P.Y. Radio" was also a top ten hit in the UK, reaching #9 on the chart in mid-1979. By now, he had joined the well-established disco boom and had further singles on 20th Century Records. Over the years, he released tracks on a variety of labels, including Avatar, Calibre, 10 Records, Motown (a return to his former label for a 1989 remix of "25 Miles"), Streetwave and Hippodrome. His Starr café empire still enjoys success in and around Essex.

In 1985, Starr released "It Ain't Fair". Despite garnering the attention of many in the soul and dance clubs, it fell short of becoming a major hit (managing a #56 on the UK Charts). Starr appeared on the charity number one single "Let It Be" by Ferry Aid in 1987. Later that year, Starr teamed up with the Stock, Aitken and Waterman production company for the club hit "Whatever Makes Our Love Grow". In 1989, a number 17 UK hit by the Cookie Crew called "Got to Keep On" sampled a portion of "25 Miles". This track was then featured on a 1990 dance medley made for the BRIT Awards, which made number 2 in the UK Singles Chart. A club mix of various artists, it included the previous years remix of "25 Miles".

In 1989, Starr also joined Ian Levine's Motorcity Records, releasing six singles and the album Where Is the Sound, as well as co-writing several songs for other artists on the label. Starr resurfaced briefly in 2000 to team up with the UK band Utah Saints to record a new version of "Funky Music Sho' 'Nuff Turns Me On". He appeared again in 2002 to record a song with the British musician Jools Holland, singing "Snowflake Boogie" on Holland's compact disc More Friends; and to record another track with Utah Saints, a so-far-unreleased version of his number one hit "War"—his last-ever recording.

In late 2002, Edwin Starr appeared with many R&B stars on the "Rhythm, Love, and Soul" edition of the PBS series American Soundtrack. His performance of "25 Miles" was included on the accompanying live album that was released in 2004.

Starr remained a hero on England's northern soul circuit and continued living in England for the remainder of his life.

Edwin Starr was inducted into the inaugural class of the Official Rhythm & Blues Music Hall of Fame at Cleveland State University in August 2013.

Starr was inducted into the Michigan Rock and Roll Legends Hall of Fame in 2017.

Death

Starr died on April 2, 2003, from a heart attack. He was 61.

Discography

Albums

Soul Master (1968)

25 Miles (1969) (#73 US, #9 R&B)

Just We Two (1969) with Blinky

War & Peace (1970) (#52 US, #9 R&B)

Involved (1971) (#178 US, #45 R&B)

Hell Up in Harlem (Soundtrack) (1974)

Free to Be Myself (1975) (#210 R&B, #43 R&B)

Clean (1978) (#80 US, #22 R&B)

Happy Radio (1979) (#115 US, #44 R&B)

Stronger Than You Think I Am (1979) (#203 US)

For Sale (1983)

[pompeyproductions]

@dank_luciano personally thanks all the ppl supporting his music @shebloggin @musiclinkup1 @musiclinkup @hiphoprapscene @hiphopandhype @industriesmostwanted @digitaldope360 @mysticsent @starlightpr1 #Repost @dank_luciano (@get_repost) ・・・ #Shebloggin #MusicLinkupGlobalArtistSpotlight #HipHopRapScene #Bars&Mixtapes #Streetwave #HipHop&Hype #Built4HipHop #PostMyFresh #IndustriesMostWanted #HoodX #DigitalDope #MysticsEntertainment #StarlightPR #BusinessIsBusiness Follow @xrostudios Follow @pompeyproductions To hear my new sounds, visit Www.pompeyproductions.com To book studio time or for mixing and mastering services, visit www.xrostudios.com #dedication #integrity #hardwork #success #music #musicbusiness101 #xrostudios #PompeyProductions #musicproducer #producergrind #producerlife #motivation #lifehacks #yepyep https://www.instagram.com/p/BvRs-z9gJue/?utm_source=ig_tumblr_share&igshid=1dqr1iln34gd1