In discussion with Aiden d’Araujo on “Rhythm Zone Vol. 1” (1989).
You chose the cassette compilation “Rhythm Zone Vol. 1“. A format that in the 80s was probably still more common for discovering new music than its according CD counterparts. Were you taping radio at a young age, and was this your first foray into purchasing what already had caught your interest?
Yeah taping radio shows was a ritual when I was a kid – got that off my Mum who would tape mixes religiously. In the early nineties around ’92/’93 we had a studio in the loft with loads of gear like Junos and Rolands. The two guys who had the studio (you may have heard one of them under his Deadly Avenger alias who released the ‘Deep Red’ LP and now scores Hollywood films) lodged with us and I remember like it was just yesterday all the trippy, ambient electronica comin’ outta the studio – I would say reminiscent of acts like the Future Sound Of London. No doubt this influenced my Mum and she amassed a series of tapes that had early electronic auteurs on then such as Pete Namlook, Move D and Biosphere (she’s still got ’em!) whose nocturnal opus ‘Novelty Waves’ never fails to transport me straight to my childhood – you remember that iconic Levi’s advert featuring the steam train with that track on it right? Anyway, all these deep as the ocean odysseys would be the soundtrack to when I went to sleep. Warp’s ‘Artificial Intellgience’ comp was another fave, and I’d always be messin’ around with the FM dial to try scope out some more otherworldly obscurities…
Another interesting development was one of my Mum’s mates who when not spraying murals (he was and still is a revered graffitti artist who very kindly sprayed the House Hunting mural for me) would host shows on Birmingham-based pirate radio station Mix FM which he would sometimes transmit from our attic. This would be my introduction to Hip Hop – whether the Britcore of Gunshot and London Posse, West Coast flavour of Snoop Dogg and Souls Of Mischief or the politically-charged Public Enemy and ghetto rap of Biggie and Wu-Tang. GZA’s ‘Liquid Swords’ and Souls Of Mischief’s ’93 Til Infinity’ always on rotation must have proper wore those tapes out on my Walkman. As well as Hip Hop on Mix FM there would be some Soul, Funk, Disco, Electro and House – which when you’re 8 years old listening to all this was a pure mind trip…
So I didn’t really need to buy tapes as there were so many avenues where I was exposed to it. Another influence was my Dad who was split from my Mum so I would stay at his on weekends 10 mile up the road in Leicester. He was in a band that covered a lot of Rock and Blues classics who were a bit of a hit in the mid-nineties with loads of bookings all over The Midlands. Anyway Leicester has a big Afro-Caribbean community and every year hosts the Leicester carnival (second only to Notting Hill in size and scope) with Aba-Shanti representing so Dub and Reggae was also the sound of my Dad’s household – he loves all the Rhythm & Sound albums I’ve got him!
Did you try several compilations and this was the one you liked best, or was this the only one at first, and by coincidence it was also the best choice to get introduced to the US import dance music styles it showcased?
This was the first I bought and I remember clocking the naff early 90s trippy artwork complete with the tag line “A galaxy of imports for under a fiver”. It was a quid so had to be copped – I thought it may be like the deep trips on my Mum’s armada of ambient tapes. It was pure coincidence that the first one I got was the best introduction to Chicago House, Detroit Techno and New York Garage. Not long after I bought ‘The Rave Gener8tor II’ tape where again the cover art enticed me and had some choice cuts on it like the Underground Resistance remix of ‘The Colour Of Love’ by The Reese Project and some Murk flavour via Liberty City’s ‘Some Lovin’. There were only a few decent tracks on this one though as was on a more hardcore tip which I weren’t feelin’ as much. Always went back to ‘Rhythm Zone Vol. 1’. Read the rest of this entry »
RuPaul – Strüdel Model Masters At Work – The Ha Dance (Pumpin’ Dubb) The Ride Committee Feat. Roxy – Love To Do It (Sandy’s Favorite Mix) The Moonwalkers – 10000 Screamin’ Faggots (In The Life Extended Mix) Club 69 – Warm Leatherette (Quick Mix) Rageous Projecting Kevin Aviance – Cunty (Party Mix) G-Bravo Presents Miss Fernando – Serve (Original Dirty Club Mix) Junior Vasquez & The Spastic Babies – Nervaas (Nervaas Dub) Urban Discharge Feat. She – Drop A House (Deep Tribal Mix) Junior Vasquez -X ( Junior’s Dub) Fierce Ruling Diva – Atomix Rageous Projecting Franklin Fuentes – Tyler Moore Mary (Banji Bite Mix) Tronco Traxx – Runway (Grease Monkey Drag Queen Mix) Frank Ski – Tony’s Bitch Track (Original Dirty Version) Tronco Traxx – Walk 4 Me (Wanka Mix) Tronco Traxx – Walk 4 Me Q-Marc – It’s Time 2 Walk The Runway Whatever, Girl – Activator (You Need Some) (Jheri Curl Sucker Wearin’ High Heeled Boots Mix) The Ride Committee Feat. Roxy – Curtains For You Morel’s Grooves – Down To The Waistline (Honey) Boogie Balo – Chocolate & Peanut Butter (DJ Double Dee Hunts Point 7AM Coco Mix) DJ Vibe Feat. Franklin Fuentes – I’ll Take You (The Classic Twisted Mix) Kevin Aviance – Join In The Chant Delicious Inc. – Eau De Chanté (For Men) Uncanny Alliance – I’m Beautiful Dammitt (3rd Vox Floor Mix) A.D.A.M – Children Of The Night (Part 1) The Look Feat. Franklin Fuentes – March (Rave Tip Mix) Moi Rene – Cum 4 Me Bitch (Dub Vocal) Ralphi Rosario Pres. Xaviera Gold – You Used To Hold Me (The Trancesexual Dub) The Look – Glammer Girl (Bochinche Prelude Ballroom Mix Moog Reprise) Hex Hector Presents Pres. Ground Control – Absolutly Fabulous (The Full Runway Mix) Temple Of Vinyl – C’mon Miss Thang (Fierce Mix) Byrd Bardot – Bardot Swing (Ralphi Rosario’s Cha Cha Mix) Roxy & The Effects – The Art Of Sampling (Dub) The Ride Committee Feat. Roxy – Accident (Todd Edwards Dub) The Ride Committee Feat. Roxy – Get Huh RuPaul – A Shade Shady (DJ Pierre Club Mix) Jack And Jill – Go Miss Thing (Club Mix) Jack And Jill – Work It Girlfriend (Morning Mix) RuPaul – Back To Roots (Murk’s Curl Activator Mix) Fierce Men On Wax – Go Girl (Fierce Groove Mix) Uncanny Alliance – I Got My Education (Ken Lou Extended Mix) Karen Finley – Tales Of Taboo (80 Factory Mix) DJ Sneak – Fierce (Queen’s Anthem) Danny Extravaganza – Love The Life You Love (Le Palage Mix) Miss Tony – Release Yourself (Funky Fingers UK Master Mix) I.M.T. – I.M.T. Theme (Miss Girl Hopes 2 Become Mix) The Daou – Surrender Yourself (Factory Reprise) Size Queen Feat. Paul Alexander – Walk (Paul’s Groove) RuPaul – Supermodel (Couture Mix) Bette Midler – I’m Beautiful (Brinsley Evans Back To The Scene Of The Crime Mix)
For many years it almost seemed as if Patrick Cowley appeared from nowhere, then achieved a stellar career in music in the brief period of only a few years, tragically cut short when he passed away due to AIDS, only 32 years old. There must be millions who danced or listened to his music, and he was most deservedly hailed as one of the most important artists in the history of club music ever since. Still, Patrick Cowley the person remained strangely unexplored. There were countless entries in books and websites specializing on Disco, yet they all used the same few photographs of him, and the same scarce biographical details. There were no interviews, no friends and collaborators were asked to tell stories. He dropped his musical vision, which was way ahead of its time, arguably still is, leaving only speculation as to what might have been, and where it actually came from.
Admittedly it was not that easy to find out when it actually happened, pre-internet, but when his fame as the synth wizard in the aftermath of the classic Disco era skyrocketed in the early 80s, he was also producing the first album by Indoor Life, the band of his friend Jorge Socarras. It was not music destined to shine under the glistening mirror balls of the hedonistic palaces of that time, it was dark and edgy. It was more Post Punk than Disco. Wait, I meant New Wave, nobody said Post Punk then. By all means it should have been proof enough that there was more to Patrick Cowley than the music he became famous for. Read the rest of this entry »
In discussion with Roual Galloway on “Garageland” by the Clash (1977)
So what was your first encounter with ‚Garageland‘? Listening to the radio as a teenager?
I got a copy of the first Clash album in 1979 from a record shop in Edinburgh called GI Records, aged 11. My dad had done some work for the owner and payment was made to him in vinyl. Which meant that my sisters and I all had three records each to choose from the stock. I can’t remember what my sisters chose, but the three I selected were The Ramones “It’s Alive,“ The Skids „Scared To Dance,“ and the self titled Clash album. At the time we lived in a Scottish newtown called Livingston. In later life you realise that all newtowns are built in three stages, which are in the following order of building houses, attracting people and offering jobs. We moved there in ‘78 in between stage 1 and stage 2. This meant that unemployment was high and the youth were left disenfranchised. Like most newtowns it was badly designed and architecturally awash with concrete grey. Punk seemed like a natural rebellion against the injustices imposed on the youth of Livingston and had a massive following there. A local punk band called On Parole used to cover it and I suppose it became ingrained in my consciousness from that. I saw them live for the first time in 1979. I’ve always liked the sentiments of the lyrics, of standing up against selling out and of doing things for yourself.
Have you ever heard something like it before, or was this your first experience with Punk?
I was aware of punk in 1977, but I was too busy kicking a football about and chasing girls at the time. One of the first records I bought in 1978 was „Denis“ by Blondie, unfortunately the other two were „The Smurf Song“ and the Official Scottish World Cup Song of 1978. I bought these whilst I was living in Nottinghamshire just before we moved to Livingston, Scotland. There was no escaping punk in Livingston.
I have to ask this question. Why The Clash, and not The Sex Pistols?
The Sex Pistols released one proper studio album in 1977 and then Rotten left. They were never the same after that, although the cash-in albums were hugely influential at the time of release. The Clash on the other hand released six studio albums in their existence. They matured with each album, apart from „Cut The Crap“. The one regret that I have is that I didn’t see them at the time. If I had to choose between the Pistols and the Clash it would have to be the Clash every day of the week.
„Garageland“ was published as last song of their debut album. Did you like the album as a whole, or is this their standout track?
The first album is filled with classic song after classic song. From the opening with „Janie Jones“ to „Garageland“ it’s all thrillers with no fillers. How can you not like an album that’s as strong as this! Read the rest of this entry »
Recent Comments