Today, we lost a true hip-hop pioneer. Rob Base has passed away at the age of 59 after a private battle with cancer.
For many of us, Rob Base wasn’t just part of the soundtrack of the late 80s; he was the soundtrack. When “It Takes Two” exploded in 1988, it changed everything. The energy, the beats, the call-and-response vocals, the pure party atmosphere, it became one of those rare records that crossed every line. Hip-hop, dance clubs, radio, roller rinks, house parties, cars with booming bass, everybody knew it. Decades later, the moment that beat drops still fills dance floors instantly.
Alongside DJ E-Z Rock, Rob helped bring hip-hop into the mainstream while keeping the music joyful, raw, and authentic. Songs like “Joy and Pain,” “Get On The Dance Floor,” and of course “It Takes Two” remain woven into pop culture and DJ history.
What made Rob Base special was that his music never felt dated. It still sounds alive. It still sounds fun. That kind of magic is rare.
It’s especially heartbreaking knowing he joins his longtime musical partner, DJ E-Z Rock, who passed away in 2014. Together, they created records that defined an era and continue to inspire artists, DJs, and music fans around the world.
Thank you, Rob, for the music, the memories, and for giving us some of the greatest party records ever pressed onto vinyl.
Rest in peace.
Robert Ginyard
May 18, 1967 – May 22, 2026
As Memorial Day weekend arrives in the US, marking the unofficial start of Summer, I thought it would be fun to showcase one of the ultimate late-80s Summer anthems, “Cars With The Boom” by L’Trimm. Few songs capture the feeling of cruising around with friends, windows down, and giant speakers rattling the neighborhood quite like this Miami bass classic.
Released in 1988, “Cars With The Boom” by American hip hop duo L’Trimm became one of the defining records of the Miami bass explosion. Issued on Atlantic Records and Time-X Records as the third single from the duo’s debut album Grab It!, the track was a playful, bass-heavy anthem that perfectly captured late-80s car audio culture and street party energy. Produced by David Stone Klein, the single became L’Trimm’s biggest commercial success, peaking at #54 on the Billboard Hot 100 and #39 on the Billboard Hot R&B/Hip-Hop Songs chart.
Consisting of Bunny D and Lady Tigra, L’Trimm emerged from Miami, Florida during a period when the city’s booming bass scene was starting to gain national attention. Their music combined 808-driven beats, playful rhymes, dancefloor hooks, and enough low-end to rattle car trunks for blocks. “Cars With The Boom” leaned fully into that culture, celebrating loud stereos, customized rides, and neighborhood cruising with an infectious sense of humor.
The track’s minimalist production is pure Miami bass. Heavy Roland 808 drums, simple synth stabs, and repetitive chants created a hypnotic groove that worked as well in clubs as it did blasting from car speakers. Unlike many hip hop records of the era that focused on lyrical complexity, L’Trimm delivered something intentionally fun and carefree. That approach helped the single stand out on radio and in clubs nationwide.
What made “Cars With The Boom” especially memorable was its personality. Bunny D and Lady Tigra traded playful verses and chants that felt spontaneous and unpolished in the best possible way. The chemistry between the two gave the song an authenticity that connected with listeners immediately. Even decades later, the hook remains instantly recognizable.
The music video became equally iconic. Filled with neon colors, customized cars, oversized fashions, and exaggerated humor, it perfectly reflected late-80s street culture and MTV aesthetics. Over time, the video became a cult favorite online and introduced the duo to a new generation of listeners.
The success of “Cars With The Boom” also helped push Miami bass further into the mainstream. At the time, the genre was still largely regional, thriving in Florida clubs and car culture scenes. Songs like this helped pave the way for later bass artists and Southern hip hop acts that would dominate throughout the 1990s and beyond.
The single appeared on the album Grab It!, originally released by Time-X Records before being licensed to Atlantic Records. The album itself reached the Billboard 200 and became a solid representation of the late-80s Miami bass sound.
For collectors, the original 7-inch and 12-inch singles remain sought-after pieces of late-80s hip hop history. The U.S. 7-inch, and 12-inch single featured “Don’t Come To My House” on the B-side.
So as Summer unofficially kicks off this Memorial Day weekend, crank up the volume, roll the windows down, and enjoy one of the most fun and unforgettable bass records of the 1980s. “Cars With The Boom” still sounds like sunshine, hot pavement, and giant speakers shaking the neighborhood.
SIDE A: Cars With The Boom (Hot Summer Boom Remix) 3:54
SIDE B: Don’t Come To My House (Cool Summer Remix) 4:27
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Chart Performance — L’Trimm: The Cars With Boom (1988)
Chart
Peak Position
Date
US Billboard Hot 100
#54
1988
US Billboard Hot R&B / Hip-Hop
#39
1988
RELEASE INFORMATION:
Label: Atlantic – 0-86506
Format: Vinyl, 12″, 33 ⅓ RPM
Country: US
Released: 1988
Genre: Electronic, Hip Hop
Style: Bass Music, Electro
In 1987, American R&B vocalist Meli’sa Morgan returned with one of the sassiest and most confident singles of her career, “If You Can Do It: I Can Too!!” Taken from her second studio album, Good Love, the track showcased Morgan’s fiery personality and commanding vocal style, continuing her successful run on the R&B charts.
Following the massive success of her breakthrough hit “Do Me Baby,” Morgan quickly established herself as one of the premier female voices in contemporary R&B during the mid-to-late 1980s. “If You Can Do It: I Can Too!!” carried that momentum forward with a bold message of independence and equality wrapped inside a slick funk-driven production.
Produced and written by Paul Laurence Jones, the single blended hard-hitting drum programming, punchy synth bass, and layered backing vocals into an irresistible club-friendly groove. Morgan delivers the lyrics with attitude and confidence, responding to a nightlife-loving partner with a clear statement that she can play the same game just as well. The song’s assertive theme fit perfectly within the era’s growing wave of empowered female R&B anthems. The Los Angeles Times described the track as a “funky bill of rights” aimed at her wandering mate.
“If You Can Do It: I Can Too!!” became one of Morgan’s biggest hits. The single climbed to #2 on the US Billboard R&B chart in 1987, while also crossing over onto the Billboard Dance Chart, where it reached #27. Internationally, the song found success in the UK, peaking at #86 on the UK Singles Chart.
The parent album Good Love further solidified Morgan’s place in late 80s R&B. Released on, the album reached #11 on the US Billboard R&B Albums chart and also included the hit duet “Love Changes,” with Kashif.
Today, “If You Can Do It: I Can Too!!” remains a favorite among fans of classic 80s R&B and dance music. Its infectious groove, sharp production, and Morgan’s powerhouse vocal performance capture everything that made urban contemporary music during this period so exciting. More than three decades later, the song still sounds fresh, fearless, and unmistakably 1987.
SIDE A: If You Can Do It: I Can Too!! (Extended) 4:50 If You Can Do It: I Can Too!! (Radio Edit) 3:54
SIDE B: If You Can Do It: I Can Too!! (Club House Mix) 5:02 If You Can Do It: I Can Too!! (Dub Version) 4:25
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Chart Performance – Meli’sa Morgan: If You Can Do It I Can Too!! (1987)
Chart
Peak Position
Date
US Billboard Hot R&B / Hip-Hop
#2
1987
US Billboard Hot Dance Music / Club Play
#27
1987
UK Singles Chart
#86
1987
RELEASE INFORMATION:
Label: Capitol Records – V-15345
Format: Vinyl, 12″, 45 RPM, Single
Country: US
Released: 1987
Genre: Electronic, Funk / Soul
Style: Contemporary R&B
German producer Frank Farian struck gold again in late 1988 with the release of “Baby Don’t Forget My Number,” the second single by pop-dance duo Milli Vanilli. Following the success of “Girl You Know It’s True,” the track helped catapult the group into international superstardom and cemented their place as one of the biggest pop acts of the late 1980s.
Released in December 1988 from the European debut album All Or Nothing, and later included on the U.S. counterpart Girl You Know It’s True (1989), “Baby Don’t Forget My Number” blended infectious dance grooves, catchy hooks, and polished production that dominated radio and dance floors alike. The single became Milli Vanilli’s first U.S. Billboard Hot 100 number one in 1989, beginning a remarkable chart run that would eventually produce three consecutive U.S. chart-toppers.
Produced by Frank Farian, the mastermind behind acts such as Boney M., the song featured the signature late-80s Euro-dance sound that defined the era. Pulsating synths, heavy drum programming, and slick vocal arrangements made the track irresistible to pop audiences worldwide.
In the United States, “Baby Don’t Forget My Number” became a massive commercial success, earning a gold certification from the Recording Industry Association of America. Internationally, the single reached the Top 10 in seven countries and performed exceptionally well in Australia, where it remained on the charts for an impressive 36 weeks and also achieved gold certification.
The 12-inch single remains a favorite among collectors and club music fans, especially for its extended dance mixes that fully embraced the high-energy production style of the period. These longer versions stretched the groove into pure dancefloor bliss, giving DJs plenty of room for seamless club mixing during the peak of the late-80s dance-pop explosion.
Despite the controversy that would later surround Milli Vanilli, there is no denying the impact their music had on pop culture. Songs like “Baby Don’t Forget My Number” captured a specific moment in time when dance-pop ruled the airwaves, MTV was king, and extended 12-inch mixes were essential listening for club kids and radio fans alike.
Today, “Baby Don’t Forget My Number” stands as a nostalgic reminder of an era filled with flashy fashion, massive hooks, and larger-than-life pop production. Whether spinning on vinyl or blasting from a retro playlist, the track still delivers the same infectious energy that made it a worldwide smash nearly four decades ago.
SIDE A: Baby Don’t Forget My Number (Pennsylvania Six-Five-Thousand Heart Line Mix) 8:56
Written-By – B. Nail, F. Farian
