The phone rings at exactly 2:30pm on a sunny L.A. afternoon, and for any interview to begin precisely on time is, to say the least, unusual. On the other end of the line is Reginald McArthur, lead singer of The Controllers, the Alabama-based group whose recording career began in 1975 with the ever-soulful "Somebody's Gotta Win, Somebody's Gotta Lose".
Minutes later, we're joined by baritone Lenard Brown for a three-way conversation centred around the release of the quartet's first album for Capitol Records, appropriately entitled, "Just In Time".

To soul fans, and particularly Soul and Funk Music.com visitors, Alyson Williams is no newcomer. Featured on duets with Def Jam labelmates Tashan, Chuck Stanley and Oran 'Juice' Jones and part of the "Soul Songs" tour in 1987, the soulful lady left an indelible impression on European music lovers through her varying different musical excursions.
Now, you'll be pleased to know, you can get a whole album which features (for the most part) the truly amazing vocal talents of Ms. Williams: her debut LP has finally been released in the States, where only the more discerning record buyers have noted her name hitherto.

I'd say my new album is all about getting to basics, back to square one, to what people want to hear from me." So says Stephanie Mills and the young lady's got a valid point, given that her current single "I Feel Good All Over" is truly leaping up the black music charts in the States and her album, "If I Were Your Woman" is turning into one of her biggest sellers.

" WHEN Club Nouveau first hit the scene at the end of last year, the pundits were quick to dub them copycats of the Timex Social Club, whose "Rumors" hit was one of last summer's biggest and perhaps most unexpected. So, let's put the record straight here and now by pointing out that Club's leader, Jay King, was in fact the man behind Timex Social Club and "Rumors". However, as soon as "Rumors" made its staggering climb to the top, Timex fell apart ? literally! In fact, at the time of this writing, I'm not even sure if the group actually exists any longer.

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.

"AFTER a series of near misses during his Arista years, 35-year-old {safm}Jeff  Lorber{/safm} has attained that elusive crossover hit first time out on Warner Brothers. "Facts Of Love" is the record and it not only provides Jeff with a slab of gold, it also welcomes two exciting new vocal talents to an unsuspecting world ? Karyn White and Michael Jeffries.

Maybe we're not in the mood for message records right now. Even so, "Crack Killed Applejack" is a powerfully persuasive insight into the tragedy of American basketball star Len Bias, who, after a distinguished high school record, becomes addicted to crack, thereby ruining his life. It eventually killed him.

"{safm}Peabo Bryson{/safm} was far more involved with this album than he was with "Take No Prisoners". That was a successful album but he felt his biggest successes have always come on his own. I think that my songs best reflect my personality and that's when I fell the most comfortable.

This week I saw a nice interview with Teddy Riley in a music magazine of 1992.  He talks about  Michael Jackson, Guy, {safm}Bobby Brown{/safm} and the keyboards, drum computers he used in various New Jack Swing productions. A nice interview to read. Especially if you like Teddy Riley.

 Mark

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.

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.

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.