I bought this record in December 1985 at an obscure, shoddy used books-and-records store in Toronto. All the used records were inside dusty banker-file boxes. All the genre-labels were written in magic-marker ink on torn pieces of cardboard which were taped onto the front sides of the boxes. Going through the “12 Inch Singles” boxes, I found this gem. Of course I had no idea on who the artist was, but judging from the record’s graphic design, typography and contextual print on the label, it was pretty obvious to me that I had an electro-beat rap record in my hand. At that time, rap records were RARE and EXTREMELY HARD to find in record stores anywhere in Canada. Being only 14 years-old in 1985, the only way for me to get them was by traveling (with my parents of course) to London or New York. So finding this record was really like a gift from God, since I had been eager to get my hands on any rap music, whether on cassette tape, vinyl LP or 12-inch single. Once I got home and played this track, I was very impressed with it. Good drum-machine programming, synth hooks and rolling bassline. Great delivery on the rap vocals. Breakloose leans more towards the lighter side of pop breakdance sound, shies away from getting all too serious, plays it safe within the production methods and keeps its groove tight.

And there’s something abstract and hidden about Breakloose ……. it has some kind of good-spirited ability to connect with on a deep, personal level, which is probably the why I still play this track today.

—– UPDATE – February 17, 2010 —–

I had just received a personal email from Chris Larock who is the writer and performer of Breakloose. It is also an honor to have him post a comment on this very blog/article (read below in the comments section):

Hay dude i am so touch by you for keeping my name alive. yes I am C- waLarock from the younger generation 1984 its been almost 30 something years breakloose was number two on billboard overseas, we didnt made a penny. group broke up and went our own ways. i am back now and ready check out my web site www.c-larockrecords.com keep my name alive lov u man peace

Younger Generation – “Breakloose” (Breakdancin’ Mix)…

Artist: Younger Generation
Title: Breakloose (Breakdancin’ Mix)
Year: 1984
Label: Master Mix Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Younger Generation – “Breakloose” (Breakdancin’ Mix) (mp3)

 

Younger Generation – “Breakloose” (Dub)…

Artist: Younger Generation
Title: Breakloose (Dub)
Year: 1984
Label: Master Mix Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Younger Generation – “Breakloose” (Dub) (mp3)

 

Z3 - Tripple Threat 01

Z-3 MC’s – “Triple Threat”…

Artist: Z-3 MC’s
Title: Triple Threat
Year: 1985
Label: Beat Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

PZ-3 MC’s – “Triple Threat” (mp3)

 

More About Z-3 MC’s…

According to UnKut music blog:

Duke Bootee put in some amazing work following his contributions to both parts of “The Message”, most notably his production and powerful Linn drum programming for a number of Beauty & The Beat (his own label) and Profile singles. Records from the Point Blank MCs, MC Crash, K-Rob, Z-3 MC’s and the Duke himself all bore a common sound – loud drums, heavy scratching and a healthy dose of Shout Rap.

Z-3 MC’sTriple Threat” featured DJ Cheese’s recorded debut, as these youngsters from Baltimore went for theirs with a little help from a human beatbox and a cheesy “King Tut” keyboard riff (which would have been pretty awesome at the time, I guess). “King Kut” soon followed, as New Jersey’s Word of Mouth delivered a more polished though very similar song, replacing the Egyptian tune with an off-key “London Bridge Is Falling Down” melody and focusing more on praising the work of the mighty Cheese than shutting down toy MC’s. Both of these tracks still hit hard, but I’d have to say that I prefer the lesser-known “Triple Threat” if I had to choose between the two.

Music Video: Word Of Mouth f. DJ Cheese – “King Kut”…

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Grandmaster Melle Mel -King Of The Streets 01

I am so glad that I got this 12-inch record back in 1985, because it is a rare and (perhaps) a solo single release of Melle Mel. I have speculated all these years that King Of The Street is the sequel to Beat Street Breakdown track (watch music videos below) by Grandmaster Flash, Melle Mel & The Furious Five.

Grandmaster Melle Mel – “King Of The Streets”…

Artist: Grandmaster Melle Mel
Title: King Of The Streets
Year: 1985
Label: Sugar Hill Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Grandmaster Melle Mel – “King Of The Streets” (mp3)

 

“Beat Street Breakdown” - Grandmaster Flash, Melle Mel & The Furious Five…

“Beat Street Breakdown” (live performance) – Grandmaster Flash, Melle Mel & The Furious Five…

http://youtu.be/_krJT3otj-E

The Latin Rascals - Beyond The Future

The Latin Rascals…

Artist: The Latin Rascals
Title: Beyond The Future
Year: 1986
Label: Sutra Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

The Latin Rascals – “Beyond The Future” (mp3)

 

More About The Latin Rascals…

I find The Lastin Rascals to be class-act with stellar production and rich sound, standing on their own plateau. Just take a listen to their remix production on the following blogs which I’ve posted here previously:

According to Music Guide and The Latin RascalsMySpace page:

Producers/DJs Albert Cabrera and Tony Moran — collectively known as the Latin Rascals — got their start as movers and shakers on the budding early-’80s New York City club scene, hosting an influential continuous-mix show on local dance radio. The duo went on to mastermind a number of Latin freestyle dance tracks, including work for TKA and The Cover Girls, among others. In 1999, the collection Mixmasters Vol. 1 was released, featuring reworkings of various Latin Rascals mixes by an array of DJs.

According to Answers.com about Albert Cabrera:

Better known as one half of The Latin Rascals, Albert Cabrera, along with partner Tony Moran, helped create the mid-’80s, edit heavy genre of dance music known as freestyle. Working as DJs in the early ’80s, the duo realized that after the disco backlash dance music wasn’t the most popular of genres. Still, they were working in the U.S. capital of club culture, New York, and after much hustling they were able to score a high profile gig as mix masters on WKTU’s popular “lunch time mix” program. It was there that they unleashed their bedroom edits, songs by acts like Bruce Springsteen and the Rolling Stones that had been re-mixed and lengthened. Cabrera and Moran were then tapped by Fever records to produce The Cover Girls and the resulting single, “Show Me,” became a club hit. For the next few years the duo had a good little run, releasing their own dance singles, as well as re-mixing many a popular rap, rock, and R&B act. Their success was based largely on re-tooling other artists’ hits, though, and eventually the public’s interest in this format diminished and the duo parted ways.

The following FAQ about The Latin Rascals is cited from the Freestyle Dance Party site:

How did they meet?

Albert Cabrera was selling tapes of music he liked for $10, and walked into Dowtown Records, where Tony Moran just so happened to be working. Cabrera played some of his mastermixes for Moran, and on one occasion, Carlos deJesus was there.

Who was Carlos deJesus?

Carlos deJesus was a radio personality on WKTU. He overheard one of Cabrera’s mixes and asked him for a copy. The problem was, all of Cabrera’s mixes were on cassette, while the station needed them on reel to reel.

Well, guess who had a reel to reel?  Who?

Tony Moran, of course, and he let Albert Cabrera borrow his, for which he gave him due credit.

How did they get their start?

They shook up the New York club scene in the early 1980s by hosting an influential continuous-mix show on a local dance radio station, WKTU. They would take other artists’ already popular songs and splice them together. They later moved to Kiss-FM.

Then what happened?

Arthur Baker contacted them.

Where have I heard his name before?

Well, he was the producer of “Planet Rock” and “I.O.U.” amongst many other hits. Arthur Baker gave the Latin Rascals their first editing job on the song “Breaker’s Revenge.” Soon, Aldo Marin from Cutting Records hired the duo to edit “B-Boy’s Break Dance” for which they were paid, to the surprise of the duo, who only wanted the experience and opportunity.

Then what happened?

Arthur Baker was so pleased with the results that he sent more remixing and editing work their way, including work on recordings by Hall and Oates, Diana Ross, and Brenda K. Starr.

Soon the Latin Rascals were a big hit on the dance floor. The Latin Rascals are often credited with making hits out of early freestyle artists TKA, Safire and the Cover Girls. Riding on the crest of their success as producers, Cabrera and Moran released their own material as the Latin Rascals.

But did they still produce for others?

Oh yes. In fact, Show Me was Tony Moran’s first top 40 gold record and really started the Freestyle movement in music. Many of that genre’s biggest stars, from TKA, Safire, and Lisette Melendez, all benefited from the talented duo.

What music did they make for themselves?

They made two instrumental albums, Macho Mozart and Bach To The Future, making classical music rather dance-able. Even “Arabian Knights” was originally an instrumental, but it did so well that the Latin Rascals decided to improve upon it by laying down a vocal track headed by Tony.

What was the effect of that?

Well, fans ate it up. That record put the duo in demand for shows nationwide, where the crowds would sing along to the words.

Wasn’t one of them married to someone else in freestyle?

That’s right! Albert Cabrera married Safire, who was greatly successful with “Boy I’ve Been Told.” Unfortunately, their synchronized success was also the undoing of the marriage, due to conflicting schedules and outside influences.

Well, I guess Albert still had Tony.

Yeah, but that professional pairing ended by growing apart. Tony was more into singing while Albert was into freestyle. Still, the breakup of Latin Rascals was amicable and each partner remains grateful to the other.

Then what happened?

Albert Cabrera wanted to keep making freestyle music but, by this time, its popularity had fallen just as disco had years before. He tried to update freestyle by blending it with the trendy trip-hop genre in his album Trip Hop Dance 2000. It featured the voices of Judy Torres, Corina, Lil’ Suzy, Joey Kidd, Sam Savon and Brenda K. Starr, while Tony Moran came back in to re-record an updated version of “Arabian Knights.”

Since then, what has Cabrera been doing?

He went to school for 5 years and began producing bass music, as he saw it as the closest to freestyle. He re-teamed with freestyle legend “Little” Louie Vega, creating “Rascal Dubs” in house music. He’s also been working with artists as musically diverse as KC and the Sunshine Band, David Morales, Mariah Carey, and Tori Amos.

CyberPeople 02

I want to thank and give credit to Beat Electric blog from which I’ve borrowed/cited the following information (as well as for the provision of the track):

Driving drums with a lot of reverb, check; electronic toms, check; simple well executed melody, check; incredible vocoded vocals, check. This is an italo electro track that does everything that Chris Menace and Fred Falke want to do, but did it in 1985. Produced by Italian dudes A. Zanni (who was also in Faxe) and S. Cundari (who produced Hipnosis, Koto, and a Ken Laszlo track which was previously posted here). This must have blown people’s minds when it came out. …

…Get a sped up version at The Red Room here.

Cyber People – “Void Vision” (Slow Version)…

Artist: Cyber People
Title: Void Vision (Slow Version)
Year: 1985
Label: Blanco Y Negro
Media Source: Recorded straight from 12-inch record to enhanced digital.

Cyber People – “Void Vision” (Slow Version) (mp3)

 

Tommy Musto - CT Satin - Friend

Tommy Musto :: C. T. Satin – “I Found A Friend”…

Artist: C. T. Satin [Tommy Musto]
Title: I Found A Friend
Year: 1987
Label: Underworld
Media Source: Recorded straight from 12-inch record to enhanced digital.

C. T. Satin [Tommy Musto] – “I Found A Friend” (mp3)

 

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Will Downing - A Love Supreme

Will Downing – “A Love Supreme” (Jazz In The House Mix)…

Artist: Will Downing
Title: A Love Supreme (Jazz In The House Mix) [ Produced by Arthur Baker ]
Year: 1988
Label: 4th & Broadway
Media Source: Recorded straight from 12-inch record to enhanced digital.

Will Downing – “A Love Supreme” (Jazz In The House Mix) (mp3)

 

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