Aleem are a sibling duo of identical twin brothers Taharqa Aleem and Tunde Ra Aleem who scored several hits in both the R&B and Dance markets.
Tunde-Ra (keyboards, vocalist,) and Taharqa (guitar, vocalist) began their careers working, traveling and socializing with such icons of rhythm & blues as Big Mabelle, Bobby Womack, Sam Cook, Sam & Dave, Otis Redding, Clarence “Blowfly” Reid. They then learned the inner workings of the music industry through their close association and friendship with Harlem legend Fat Jack Taylor, owner of the infamous independent label Ro-Jack Records. They would later establish the famous “Harlem World Club” with Taylor, which was ground-zero for a large number of musicians and acts.
The early 80’s found the Aleems forming their own independent label, NIA Records, which would secure their place in black music history, both as producers and music business executives, as well as performers and writers. They recorded several big independent hits for NIA as the Fantastic Aleems and their song “Hooked On Your Love” showcased Luther Vandross’s first recorded work as their backup singer. In this initial period of Nia records, the brothers released a number of early rap songs and artists, such as the Captain Rock series and a duo known as Dr. Jeckyll & Mr. Hyde. Dr. Jeckyll was Andre Herrell, who 10 years later founded UpTown Records and then would, for a short time, become CEO of Motown Records after Uptown was folded into the Polygram organization.
Many of the Aleem singles on the NIA Records featured vocals by Leroy Burgess including the 1985 hit “Confusion” which was written, produced, arranged and mixed by the Aleem brothers. In 1986 “Confusion” was remixed by Frank Poulton & Michael Bona for the TSR label and released in the classy sleeve you see below.
Sheryl Lee Ralph (born December 30, 1956) is an American actress, singer, and activist.
Ralph began her career on the stage and was nominated in 1982 for a Tony Award for Best Actress in a Musical for her role as Deena Jones in Dreamgirls. In 1984, Ralph released her only album In the Evening, in which the title track hit peaked at #6 on the BillboardDance Music/Club Play Singles chart that same year.
The second single to be released from the album was “You’re So Romantic” which reached #37 on the US Club Play Chart and #84 on the US R&B Charts.
These remixes on the TSR label are by Frank Poulton & Michael Bona . TSR also went with a sleeve which was obviously aimed at the male DJ and actually had no relation to the artist at all, more of these gems from TSR coming soon.
TSR stands for “TrendSetteR in the Dance Music Scene”. A German dance-label focussed on livesets and megamixes of American radio stations. In the 80′s TSR also released exclusive extended mixes of dance hit singles, sometimes in retro 70′s type sleeves with nude models. Over the next four days, four of the best TSR remixes will be posted including hits by Aleem, Sheryl Lee Ralph and Le Foxxe but first we have Donna Allen.
Donna Allen is an American dance pop singer, born in Key West, Florida, and raised in Tampa. At one point a cheerleader for the Tampa Bay Buccaneers, she got her start performing in the bands Hi-Octane,Trama and Maxx. During her tenure with MAXX she was courted by Alan Walden (Capricorn Records/Hustler Productions) before launching a solo career.She also sang backup on tour for Gloria Estefan for nine years. Her first disc was the Lou Pace-produced 1986 album, Perfect Timing, and over the next few years she launched several hits on the US Billboard Hot Dance/Club Play chart. She had two Top 10 hits in the UK Singles Chart with “Serious” (1987, #8) and “Joy and Pain” (1989, #10).
Following the release of the Machinations debut album, and an Australian tour support slot with Joe Jackson, the band added Warren McLean on drums; prior to that the band used a drum machine (a Roland CR-78). The band entered Rhinoceros Studios with English producer Julian Mendelshon, emerging with the smoothest and most fully realised album of its career, Big Music, in July 1985. The album produced four hit singles. The third single, “You Got Me Going Again” was released in August 1985, making #39 and featured Naomi Star on backing vocals. The album peaked at #20 on the national album charts, spending several weeks at that position. It was also released in the United States on the A&M label.
You Got Me Going Again (Extended Mix) 8:16
You Got Me Going Again (Sing-A-Long With Naomi) 3:34
Out of all the musical revolutions, the Australian invasion of the early ‘80s is often the most overlooked despite the fact that Men at Work, Midnight Oil, and INXS became international superstars. Furthermore, other regional artists such as the Church, Icehouse, and Pseudo Echo also scored hits of their own. Perhaps they were overshadowed by England’s own new wave chart-toppers at the time even though Australia was easily able to match their output. Lost in the deluge of post-punk acts from Australia was Machinations, a group heavily inspired by the synthesizer-based new romantic sounds emanating from the U.K. Machinations was formed in Sydney, Australia in 1980 by Fred Loneragan (vocals), Tim Doyle (guitar), Nick Swan (bass), and Tony Starr (keyboards). The band released their first single, “Average Inadequacy”, in 1981.
“Jumping The Gap” was the follow-up to the hit single “Pressure Sway”, the 12″ added a US club mix of their first single “Average Inadequacy” and like “Pressure Sway” remix duties were again handled by Steve Thompson at Media Sound Studios in New York.
Esteem was the debut full length album for Australian synthpop band Machinations. The album was released in April 1983 on White Label Records,a subsidiary of Mushroom Records. Esteem peaked at #54 on the Australian album charts. It was also released in the United States by A&M Records. Musically, the album contained synthpop with dark overtones, except for the single “Pressure Sway”, a bright funk/pop song that was a dance-floor favourite.
The second single off the album, “Pressure Sway”, was released in June, 1983 and reached #21 on the Australian singles charts during July 1983. It was released as both a 7″ and 12″ version. “Pressure Sway” also made an impact in the United States reaching #40 on Billboard’s Club Play Singles chart.
“Pressure Sway” received some additional mixing polish courtesy of Steve Thompson.
“Cool It Now” is a 1984 hit single by R&B/Pop group New Edition, and is the first single from their eponymous second album, New Edition. The song peaked at #4 in January, 1985 on the Billboard Hot 100 chart.
With the group now signed to MCA Records, “Cool It Now” (and the album from which it came) was given more extensive and widespread promotion than any single from their previous album (which had been released through a smaller, independent label), and helped bring the group a bigger fan base. The song was the group’s first top 10 pop single, peaking at number four on the pop chart, and their second number one R&B hit.
The song is notable for a midsection rap recited by lead singer Ralph Tresvant, which calls out the rest of the group: “Ronnie, Bobby, Ricky, and Mike.”
The UK were treated to remixes by John Morales & Sergio Munzibai for their 7″ and 12″ release of the single while the 12″ also added the original extended mixes by Louil Silas Jr.
After many months of complaints about the service at Rapidshare, they have decided to reward it’s paying customers with the following:
Dear RapidShare Customers
Kindly we would like to inform you that by 15 April 2014 new prices for our services will be applied. Our new pricing plan as of this date is as follows:
STANDARD remains for free.
STANDARD PLUS will cost 49.99 € per month
PREMIUM will cost 99.99 € per month
The data traffic limitation policy of their own files will be discontinued.
If you have any questions, please do not hesitate to contact us via email@example.com
Thank you for your understanding.
For comparison, I have been paying 9.99 € per month for the STANDARD PLUS account, an increase of 500% !!!
As I am funding the cost of file hosting and all the other normal associated costs of cleaning and restoring these vinyl masterpieces personally, I will not be paying 49.99 € per month for a service that has been sub-standard at best.
I’m currently looking at other providers such as Rapidgator or Uploaded and will need to transfer all my files to the new host, if any of you have any recommendations for a new provider, please post a message in the comments.
My guess is Rapidshare will not survive much longer with this current business model so better that I move now before its too late.
Starship was an American rock band popular during the mid to late 1980s. Although a continuation of Jefferson Starship, its change in musical direction, loss of key Jefferson Starship personnel, and name change sparked a new identity.
In June 1984, Paul Kantner, the last remaining founding member of Jefferson Airplane, left Jefferson Starship, and then took legal action over the Jefferson Starship name against his former bandmates. Kantner settled out of court and signed an agreement that neither party would use the names “Jefferson” or “Airplane” unless all members of Jefferson Airplane, Inc. (Bill Thompson, Paul Kantner, Grace Slick, Jorma Kaukonen, Jack Casady) agreed. The band briefly changed its name to Jefferson Starship while legal proceedings occurred, but ultimately the name was reduced to Starship.
For the second album by Starship “No Protection”, the band recorded a cover of the 1984 single by English singer-songwriter Johnny Warman “Beat Patrol”.
“Beat Patrol” was the third single to be released from “No Protection” after the mega-hits “Nothing’s Gonna Stop Us Now” and “It’s Not Over (‘Til It’s Over)”, but still managed a respectable #46 on the Billboard Hot 100.
“Beat Patrol” was remixed by Steve Thompson & Michael Barbiero.
Is this the Phil Harding remix that will never appear on any retrospective of his work ? Would Trevor Horn ever admit to being Executive Producer on this 12″ single ? A record that has probably disappeared from most of the participants resumes but can it ever truly be forgotten ?
The song that made Gary Glitter’s name and career began as a 15-minute jam, whittled down to a pair of three-minute extracts released as the A and B sides of a single, called “Rock and Roll, Parts One and Two”. “Rock and Roll (Part Two)” proved to be the more popular side in many countries, although it took about six months before it made its full impact, going to number two on the British pop charts and reaching the Top Ten in the United States, one of the few British glam rock records to do so. “Rock and Roll (Part One)” was also a hit: in France it made number one, and in the UK both sides were listed together on the charts.
Like all great tunes, many decided this track needed an 80s makeover and Phil Harding & Trevor Horn agreed.