Let's go back to October 1986 to see what's happening in the music business those days. These Liners are from a populair magazine from the UK.

Niemand in Nederland heeft zo'n grote betekenis voor het fenomeen remixen gehad als Ben Liebrand. Hij is de pionier, de uitvinder en de grootmeester. Hij was een van de eersten ter wereld die als man achter de knoppen op de hoes en in de titel van een nummer werd vermeld. De toevoeging The Ben Liebrand Remix' werd op een zeker moment een garantie voor verkoopsucces, waarbij de naam van de artiest nauwelijks meer ter zake deed. Inmiddels heeft de remix een andere betekenis voor de popmuziek gekregen, en heeft Liebrand zijn werkterrein uitgebreid naar grafisch werk. Maar hij maakt nog steeds muziek, en heeft er veel over te vertellen. We hadden een inspirerend gesprek over de invloed van de Minimix, hardware versus software, en de gevolgen van zijn succes.

BELIEVE me, it's just a matter of time before Glenn Jones breaks through and enters the proverbial winner's circle for life! I've been saying this for two years now and felt it was timely now that RCA has just released Glenn's third LP, entitled "Take It From Me".

To say Freddie Jackson is at the cross roads of his career would be something of an understatement. As far as cross roads go, Freddie's reached his spaghetti junction    .. . in the rush hour! A slew of silky smooth hits in the eighties, kick started with undoubtedly his best collection to date, the two million selling "Rock Me Tonight" in '85, which of course, contained the monstrous title track along with the likes of "Calling" and "You Are My Lady", has, over the course of nine years and five albums gradually slowed down along with record sales. As the era for the smooth candlelight and champagne crooners in the '80's has given way for the riff happy, baggy jeans, bandana and Timberland hip-hop/soul homies in the '90's, naturally many of the older guard have been left concerned with the change of pace of their careers.

OFTEN, when a lead vocalist leaves a successful group, it comes as surprise to the rest of the world. However, there are usually very strong underlying reasons that simply didn't come to the attention of the public. Certainly, that was true of the Lionel Richie-Commodores and Jeffrey Osborne-LTD splits. And, to a lesser degree, it's the case in the {safm}Howard Hewett{/safm}-Shalamar parting of ways.

WITH their new album "Burning Love" already proving very 1 popular on import, it would I seem Con Funk Shun have joined the ever-increasing ranks of veteran R&B/funk bands who are really coming to | grips with the new music | technology while at the same time retaining the original qualities that established their status in the first place.

LEROY burgess latest return to public awareness is a double-headed affair ? first as co-writer, with his regular partner Sonny Davenport, on the new single from Intrique (he also wrote their 1985 debut, "Fly Girl") which is entitled "Together Forever" and released on the Cooltempo label while, secondly, he teams up with his two old buddies the Aleem brothers for their new album together on Atlantic entitled "Love Shock". Aleem aside for one moment ? something that is a bit too easily done on the new album for my liking ? the Intrique project is a classic example of how Leroy has used his wealth of experience and talent to keep his name buzzing around the R&B scene to good effect for such a long time.

The music we listen to is an ever-changing thing with shifts and moves that can be as logical as they are confusing, but there will always remain throughout the evolution certain constants ? things that will remain familiar and reassuring.

Grover Washington Jnr's music is one of those constants and for well over a decade the great saxophonist has been creating a sound that has transcended fads and fancies and remained simply ... Grover.
Grover is currently plying his music around a good proportion of his country's fifty-two States and it was the morning after one such date in Georgia that we caught up with the Buffalo, New York native to discuss a brand new album for a brand new label.

If you've been a funk lover for at least ten years, you will no doubt remember George and Louis as the two brothers who got you out on the dance floor with a string of hits for A&M that included "I'll Be Good To You", "Get The Funk Out My Face", "Ain't We Funkin' Now", "Stomp!" and "Light Up The Night".

Charlie Singleton has finally stepped out of his Cameo role and become the Modern Man he always wanted to be. As cryptic as that may seem, it is, in fact, pretty much the scenario of the career of the singular Mr. Singleton thus far ? one that took off when he became an integral part of the Cameo set-up at the turn of the decade, registered a false start for his solo career with his debut album for Arista and is now truly a force to be reckoned with as his second album, this time for Epic, begins to bite hard.

The group name Slave has been with us a long time but not necessarily so the new personnel and the new direction. However, latest recruit Keith Nash explains why the 'new' Slave are ready to carry on the tradition.

IT'S been three years since her last album . . . but now she's back! "Watch Out" is the title of the new album and single and judging by the response so far, both will be big sellers. Yes indeed, Patrice Rushen has returned with a vengeance. The album, incidentally, is all her own work except for three tracks ? "Somewhere", "Anything Can Happen" and "Long Time Comin'" ? and the project is a direct cross between dance and ballad.