Dillon, Rozalla, Sledge Top the List

The stars in this edition of Gotta Dance--a periodic survey of dance-oriented singles and collections of alternate mixes--range from Jamaican newcomer Clifton (Specialist) Dillon to dance diva Rozalla to Sister Sledge alumna Kathy Sledge.

WIND AND JUMP UP

Cobra’s “Flex” (Columbia). This Jamaican-produced slice of dancehall naughtiness is currently dominating turntables on the East Coast and has already won a climactic spot on the playlist at Kingston 12, L.A.’s reggae dance spot. Arranger Clifton (Specialist) Dillon has cannily paired Cobra’s gruff, masculine rap with a swooning female chorus and instrumentals fired by slow-burning riddim.

Rozalla’s “Everybody’s Free” (Epic). This audacious recycling of the hit of a few months ago is already riding high once more on the dance charts. And why not? Few efforts since have its driving exuberance. New mixes from the latest crop of mixing-board whizzes eager to prove themselves on a classic, as well as Rozalla’s gutsy vocals, keep it fresh and new.

Rozalla’s “Are You Ready to Fly?” (Epic). As the Donna Summer of the ‘90s, Rozalla has the right to flood the dance floor. Slightly less transcendent and a bit more reflective than “Free,” this entry features lyrics with more poetry than usual for the genre. That soaring voice dueling with indomitable instrumental tracks delivers what most dance music only promises--a five-minute escape from the prison of the body.

Kathy Sledge’s “Heart” (Epic). Peppy arrangements stutter-step over the requisite pounding beat, but this single is blessed with an inventive difference. A bluesy chorus wails in front of the lead vocals rather than backing them up, giving an extra push to Sledge’s orgasmic ululations.

DON’T SIT JUST YET

Information Society’s “Peace & Love Inc.” (Tommy Boy). “I’m not exactly in the mood for Mozart,” a man announces just before a battalion of instrumental effects barges into the mix. The title describes this dance tune for intellectuals: a mellow ‘60s message ranted by a chorus of alternative rockers to the nettled beat of ‘90s techno.

Ryuchi Sakamoto’s “Heartbeat” (Virgin). A savvy Japanese take on a bubbling hip-hop/dance formula, this entry blends intricate drum rhythms with breathless vinyl scratching and a volcanic bass challenge to your speakers. The charging arrangements more than compensate for the indifferent lead vocals.

Juliet Roberts’ “Free Love” (Warner Bros.). Another of that rare breed, a dance diva who actually sings. Roberts’ powerhouse, blunt alto tangles neatly with the real star here, the magnificently plush back-up chorus.

Malaika’s “So Much Love” (A&M;). The promising 20-year-old strains to be exciting, delivering forced growls and a few sour notes. The first mix, featuring softly thudding congas and Malaika’s ghetto-tough love rap, is the best.

REST YOUR TOOTSIES

Lil Louis & the World’s “Saved My Life” (Epic). When you have to check to see if you’ve mis-set the turntable speed, something’s wrong with the music. Even the highly promoted “Life Saver” mix is a disaster.

Inner City’s “Follow Your Heart” (Virgin). Dragging beats and tuneless melodies stamped from a played-out dance-music cookie cutter.