Technotronic's "Pump Up The Jam": How Belgium Shocked the World With a Dancefloor Classic

The Twelve Inch 167 : Pump Up The Jam (Technotronic)

As you might know by now, I live in a lovely, small European country called Belgium, famous for its chocolate, waffles, and our many beers. And we should have been famous for “French” fries (which, let’s be honest, the French stole from us 😃). If the Gulf of Mexico can be renamed, surely it’s time we start calling them Belgian fries, or “frites,” as we call them.

Our (un)official national dish: frites served in a classic paper cone, topped with a generous dollop of mayonnaise. There’s never a bad time for them, well, maybe not at 3 a.m. (though some would argue otherwise).

What we’re not really known for, though, is exporting music. At least, not until DJ culture kicked in and some of our dj’s became world famous and we crafted one of the world’s biggest, best and most renowned dance festivals: Tomorrowland. (If you haven’t experienced it yet, put it on your bucket list.)

Before that? It was a musical wasteland. Sure, I’ve written about Patrick Hernandez (another cultural tug-of-war with our French neighbors 😃), and if you go back even further, there’s the unforgettable Jeanine Deckers, aka The Singing Nun (I kid you not) who took “Dominique nique nique” all the way to No. 1 on the Billboard Hot 100 for four weeks. (Just before I was born. Two facts wholly unrelated.) She was a real nun, Sister Luc-Gabrielle. It’s a fascinating, tragic story, sadly outside the scope of this newsletter. (Yes, someone did make a dance version years later, but the only thing it helped with was… constipation. 💩)

But I digress.

The runner-up in Belgium’s contribution to global music culture is a track that fits perfectly within this newsletter’s mission. A song that, against all odds, reached No. 2 on the Billboard Hot 100, at a time when dance music wasn’t really supposed to chart in the American mainstream at all.

Even more remarkably, the act behind it would go on to land two more singles in the US Top 10.

This week, we’re telling the story behind “Pump Up The Jam” by Technotronic, and how Belgium’s New Beat movement set the stage for one of our proudest musical moments.

So who was (or were) Technotronic? Why did they succeed in the US when so many others didn’t? And was “Pump Up The Jam” a 100% Belgian triumph, or did America lend a helping hand?

Let’s pump it up and dive in.

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Welcome, I’m Pe Dupre and I’m really glad you’re here. This is “The Twelve Inch”, my newsletter that tells the history of dance music between 1975 and 1995, one twelve inch at a time.

If you’ve received this newsletter, then you either subscribed or someone forwarded it to you. If you fit into the latter and want to subscribe, please do so. That way you will not miss any of my weekly episodes.

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🏋️ Setting the Scene: 1989

It’s 1989, and the dance music scene is vibrant, fast-moving, and evolving by the week. As I wrote back in episode 158 on “Jack To The Sound Of The Underground” by Hithouse:

Freestyle was dominating dancefloors in New York, LA, and Miami. House music was bubbling up from Chicago and Detroit. Across the Atlantic, the UK was on the cusp of the Second Summer of Love, Acid House was catching fire, and Ibiza’s Balearic influence was starting to reshape Europe’s sonic palette. In the south, Italo disco was still going strong, and in Germany, the early foundations of Eurodance were being laid. And what about Belgium? Well, we had New Beat.

Originating from Belgium, 'New Beat' is an iconic dance music genre that merges elements of acid house, EBM (Electronic Body Music), synth-pop, and film music into a slow, hypnotic rhythm that captivated the dance floors of Europe and beyond. New Beat happened incredibly fast. It only took a few years to get from the underground movement to mass adoption and, ultimately, mass (low quality) production killing of the creativity. It started in 1985 and by 1989 it was all over (more on that in episode 111)

Before 1987, Belgium had, at best, played a supporting role in the evolution of dance music. Even if you were producing tracks locally, breaking into the charts (or even the dancefloors) of neighboring countries felt like a distant dream. When it came to exporting music, especially dance, we had a serious “trade deficit” with the rest of the world.

But that all changed with New Beat.

The smileys, the headdress, the hair, and, most of all, the hypnotic hand and arm moves… New Beat had it all.

Suddenly, young people from across Europe were flocking to Belgian clubs to experience the new sound firsthand. The world began paying attention to what was happening in this little country of chocolate, beer, and frites. Practically overnight, Belgium transformed into a net exporter of dance music.

The only problem? No one here had the infrastructure, or experience, to handle that kind of export boom.

Before we dive deeper into how it all unfolded, let’s introduce the key players in this story.

👤 Meet the Players: The Team Behind Technotronic

Jo Bogaert (aka Thomas De Quincey) A key New Beat producer with hits like "Hiroshima" and "The Dream." He was the brains behind what became Technotronic.

Ya Kid K (Manuela Barbara Kamosi Moaso Djogi) A Congolese-Belgian rapper who had lived in the US and was hunting for a studio on a shoestring budget. She became the voice of "Pump Up The Jam."

Patrick Busschots Belgium’s answer to Clive Davis. A record store owner turned mogul with a knack for spotting hits. He had the infrastructure to export records (he’d been doing it for years with the New Beat records) and knew how to navigate international deals.

One of the biggest export successes of New Beat and a Jo Bogaert production

Farley Jackmaster Funk A pioneer of Chicago house whose track "The Acid Life" provided the riff that started it all.

Another key New Beat track, again a Jo Bogaert production

Felly Kilingi (the one on the cover) A Brussels model who became the face of Technotronic, at least at first. But more on that later.

🎧 From New Beat to Global Beat: How It All Started

It was the start of 1989, and things weren’t looking good for Clip Records, the label run by Jo Bogaert. New Beat, once the sound of the moment, had imploded under its own weight. The scene was desperate for something new.

Though New Beat had dominated Belgian dancefloors for years, the local scene hadn’t been entirely disconnected from global trends. Early Chicago house, still an underground movement, blended surprisingly well with New Beat’s signature grooves. For producers like Jo, it was a goldmine of fresh inspiration.

Determined to give it one last shot, Jo launched a project under the name The Pro 24’s, building a track called “Technotronic” around a riff from Farley Jackmaster Funk’s “The Acid Life.” The record sold about 1,000 copies in Belgium, not exactly a hit, but given the state of the scene, not a disaster either.

Listen to “The Acid Life” followed by this one & “Pump Up The Jam”, and you’ll hear exactly how one inspired the other.

Still, outside Belgium, there was zero interest. Or so Patrick Busschots told him.

But Patrick, ever the businessman, sensed there was something there. The recent success of Inner City’s “Good Life” had sparked a growing demand for hip-house, and with the right vocal, Technotronic could fit that mold.

Jo started looking for a singer or rapper and, through a friend in Antwerp, was introduced to Ya Kid K, who was trying to record her first album on a shoestring budget. Jo made her an offer: she could use his studio, if she agreed to rap on his track.

They set a date. Ya Kid K recorded her vocals for “Pump Up The Jam” in just 20 minutes, in Jo’s hallway, no less.

Jo renamed the act Technotronik (with a “k”) and brought the track back to Patrick. As soon as Patrick heard it, he knew they had something. He licensed the single for his own label but had two conditions:

1. There had to be a photo of the singer on the cover, and

2. They needed a music video.

But Ya Kid K wasn’t interested. The project felt too commercial and wasn’t in line with what she wanted to do artistically.

So, they looked elsewhere. Enter Felly, a Brussels model with striking looks (and blue lipstick). She was brought in to be the visual face of the project, a role not unlike that of Milli Vanilli’s infamous frontmen.

The record was officially released in the summer of 1989, and within weeks, “Pump Up The Jam” had stormed into the Belgian Top 5.

🌎 Breaking Around The Globe: The Unexpected Success Story

In the U.S., “Pump Up The Jam” quickly took over the dancefloors of New York’s nightlife scene. The buzz was strong enough to catch the attention of SBK Records, an EMI imprint, which snapped up the U.S. rights.

By that point, Patrick Busschots was already selling the record across the globe. By Christmas 1989, “Pump Up The Jam” had climbed into the Top 3 in most major markets. In the U.S., it came within a hair of hitting No. 1 on the Billboard Hot 100, blocked only by Michael Bolton’s “How Am I Supposed to Live Without You”.

Still, the song did top the Billboard Dance Chart, where it held the No. 1 spot for four weeks.

Sales exploded. The single moved 3.5 million copies worldwide, with half a million in the UK alone, and generated $4 million in U.S. copyright royalties in its first year. It became a cash machine, and it still is. The song continues to earn steady income for those with a stake in it.

And this is where the story gets especially interesting: the royalties are split between Jo Bogaert, Ya Kid K, and… Farley Jackmaster Funk. Though Farley isn’t officially credited as a composer, the team made a private agreement to ensure he received a fair share, recognizing that the song was built on one of his riffs.

In a business not always known for fairness, that kind of gesture stands out. What can I say, Belgians really are some of the nicest people. 😎

🎓 Why It Worked in the US: The Anatomy of a Dance Hit

While on a promotional tour in the U.S., Jo Bogaert explained in an interview with the LA Times “No, Belgium isn’t the dance music capital of the world,” “To make it big in dance music you’ve got to make it in America--where the big dance scene is. That’s what I was trying to do for years.” That kind of ambition, cracking the U.S. charts, is the dream of nearly every European dance music producer. But while many tried, few succeeded. So what made Technotronic break through, when so many other European (and even American) dance tracks couldn’t even crack the Top 100?

In earlier episodes, I’ve talked about the challenges dance music faced in the U.S. during the 1980s. It was largely seen as an urban phenomenon, thriving mostly in major cities and within communities like the LGBTQ+ scene and African American audiences. After disco’s fall from grace, most major labels and radio stations were reluctant to support dance music, turning instead to pop, rock, and live band formats. DJ culture was still an underground movement, especially compared to what was emerging across the Atlantic.

So how did Technotronic manage to cut through?

First, label backing. SBK Records was part of the EMI Group and had the muscle to push “Pump Up The Jam” onto radio playlists and into mainstream visibility. That kind of support made all the difference. Just look at Indeep’s “Last Night a DJ Saved My Life”, a club classic that never reached its potential in the U.S. due to lack of major label backing.

Second, the track itself: an irresistible rhythm and a hook that was both simple and unforgettable, “Pump up the jam, pump it up!” That kind of universal appeal helped it cross over cultural and demographic lines.

Third, the video. This was the first hip-house track to break big in the U.S., and that fresh, genre-blending sound stood out. Many domestic dance acts either didn’t have a music video or couldn’t get into MTV’s heavy rotation. Technotronic did, and it mattered.

Put all that together, and you’ve got a recipe for a pop chart breakthrough.

The mix, made for the US market, was slightly different to the European one

🪨 The Fallout: Felly, Milli Vanilli, and the Truth

When the single hit, Ya Kid K was stunned to see Felly on the cover and video, pretending to be her. Felly even did interviews as the "singer," despite not even speaking English.🫣

A full-blown Milli Vanilli moment? Almost.

But instead of a scandal, Jo and Ya Kid K came to an agreement: She’d get credit, royalties, and join the public face of the project moving forward. Felly faded into the background.

🎤 Life After the Jam: What Happened Next?

Ya Kid K went on to appear on (almost) all future singles and videos, including another major hit: "Get Up (Before The Night Is Over)," which hit #7 on the Billboard Hot 100.

Technotronic opened for Madonna, performed on SNL, and racked up more hits like "Move This" (thanks to a Revlon ad). A side project (Hi Ted 3 featuring Ya Kid K) released "Spin That Wheel" (from the Teenage Mutant Ninja Turtles soundtrack) and it too charted in the US.

But the magic faded. Ya Kid K was replaced for the second album due to label politics (She was replaced by Réjane Magloire, who we met as one of the singers of Indeep). Technotronic continued releasing music but never replicated their early success.

Patrick Busschots became a major force in the European music industry, (eventually) selling his label ARS Records to Universal Music.

Farley Jackmaster Funk kept DJing and producing, comfortably supported by royalties from his two massive hits.

The first hit of Farley Jackmaster Funk. Number 1 across Europe in 1986

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🚀 Legacy: More Than Just a Banger

Today, "Pump Up The Jam" has over 372 million YouTube views and likely over a billion total listens. Its blend of New Beat, house, and hip-hop helped define the sound of a generation. And it opened the door for European dance music to cross into the mainstream.

It wasn’t just a hit, it was a breakthrough.

🙋 Your Turn: What’s Your Memory of "Pump Up The Jam"?

Drop a comment and share where you first heard it. On a mixtape? In a club? At a school dance?

Sharing these stories keeps the beat alive.

Further reading (or should I say watching)

There are a number of interesting video’s/links :

1. The Official video (with Felly)

2. Want to rebuilt Pump Up The Jam yourself? This is how to do it

3. Felly doing a tv show

4. Live on Arsenio Hall

5. live on SNL

So You Wanna Hear More ?

I thought you would !

It’s fun to write about music but let’s be honest. Music is made to listen to.

Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud and Soundcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.

Listen to the Soundtrack of this week’s post on MIXCLOUD

Or on Youtube :

So what’s in this week’s mix ?

This week’s mix dives deep into hip-house territory. We kick things off with a blend of two distinct 12-inch versions of “Pump Up The Jam” : the European and American mixes, spiced up with a sample from the track that inspired it all: “The Acid Life” by Farley Jackmaster Funk.

Next up is another massive Belgian club hit from 1989/1990: Petra & Co’s “Just Let Go.” There’s even a Flemish version, so I had some fun weaving together the English, Flemish, and dub mixes.

The journey continues with acid and hip house-influenced pop from Debbie Gibson, Lisa Stansfield, and D-Mob, along with some classic Italo house courtesy of the 49ers. You’ll also hear a dose of late-’80s/early-house sounds from The Adventures of Stevie V, Funky Worm, and Off-Shore.

We close out the set with a track that bridges eras, a synth-pop gem by the German band Red Flag, remixed by Danny Tenaglia, channeling early ’80s vibes with a ’90s twist, followed by standout cuts from Jimi Somerville and Madonna.

Enjoy

Next week, we’re staying in Europe as we spotlight an Italian disco act that sounded anything but European.