00:00:00 1 The Beatniks – Le Sang du poête (Graham Massey Pro 5 mix) 00:06:32 2 808 State – Lopez 00:10:36 3 808 State, Art Of Noise – Moments In Love (Massey Mix One) 00:16:00 4 808 State, Art Of Noise – Moments In Love (Massey Mix Two) 00:19:09 5 808 State – Paradan 00:23:46 6 Björk – Army of Me 00:27:33 7 MC Tunes, 808 State – Own Worst Enemy 00:31:04 8 Siouxsie And The Banshees – Face To Face (Catatonic Mix) 00:35:56 9 Massonix – Just A Little Bit More (Electro Instrumental Mix) 00:40:02 10 Massonix – Just A Little Bit More 00:44:02 11 Magga Stína – Phoning 00:46:55 12 Björk – The Modern Things 00:50:35 13 Magga Stína – I Wish … So Listen 00:53:23 14 Sugizo – Next Dimension Beauty (Remix By 808 State) 00:59:32 15 Biting Tongues – Surrender 01:06:30 16 808 State – Yakuza 01:11:12 17 808 State – Control 01:13:46 18 808 State – Ooops (feat. Björk) 01:18:27 19 Biting Tongues – One Angel 01:24:08 20 Candy Flip – Redhills Road (Graham Massey Mix) 01:29:07 21 808 State – Baton Rouge (Cajun Mix) 01:34:43 22 MC Tunes, 808 State – Dub At Its Heights 01:36:13 23 808 State – Ancodia (Taters Deep Nit Funky Beat Mix) 01:41:12 24 808 State – Ancodia 01:46:18 25 Biting Tongues – Double Gold St Paul 01:50:50 26 MC Tunes & 808 State – Primary Rhyming (Instrumental Mix) 01:54:00 27 David Bowie – Sound and Vision (808 ‘lectric Blue Remix Instrumental) 01:57:31 28 David Bowie – Sound and Vision (808 Gift Mix) 02:00:33 29 Quincy Jones – Back On The Block (808 vs Q) 02:04:01 30 808 State – The Chisler 02:08:59 31 808 State – Spanish Heart 02:12:33 32 Locust – Your Selfish Ways (808 State Remix) 02:17:26 33 808 State – Ride 02:22:26 34 808 State – Empire 02:26:03 35 808 State – State Ritual Scam 02:31:21 36 808 State – Compulsion Creed Records 02:36:23 37 808 State – Kinky National 02:39:20 38 808 State – Sunrise 02:44:52 39 Biting Tongues – Increase 02:49:42 40 Blue Pearl – Naked In The Rain (Massey’s 808 Jazz Mix) 02:54:16 41 808 State – Ski Family 02:58:35 42 MC Tunes vs. 808 State – Dance Yourself To Death 03:02:49 43 808 State – 808080808
00:00:00 1 808 State – Flow Coma 00:06:01 2 808 State – Narcossa 00:11:08 3 Primal Scream – Don’t Fight, Feel It (Graham Massey Mix) 00:16:00 4 The Shamen – Human NRG (Massey) 00:20:12 5 808 State – Ooops (Mellow Birds Mix) (feat. Björk) 00:23:44 6 808 State – Ooops (Utsula Head Mix) 00:26:47 7 Blue Pearl – I’m On To You (Instrumental) 00:30:23 8 808 State – In Yer Face (Mancunian Delight) 00:35:10 9 808 State – Dr. Lowfruit (4 A.M. Mix) 00:42:11 10 808 State – Purple Dust 00:45:51 11 Mohamed – Ham Safar (808 State Edit) 00:51:20 12 The Royal Family And The Poor – Motherland 00:56:17 13 Magga Stína – Naturally 00:59:23 14 Magga Stína – Naturally (Massey-remix) 01:05:20 15 808 State – Black Morpheus 01:08:50 16 808 State – Nbambi (March Hare Mix) 01:12:14 17 808 State – King Quill 01:15:41 18 Jon Hassell – Voiceprint (8Mix №2 Latin in It Mix) 01:19:40 19 The Sugarcubes – Planet (Graham Massey Planet Suite Pt. 2) 01:23:25 20 808 State – Moses 01:25:45 21 MC Tunes, 808 State – This Ain’t No Fantasy 01:30:19 22 MC Tunes, 808 State – Mancunian Blues 01:34:10 23 808 State – Cobra Bora (Call The Cops Mix) 01:38:38 24 808 State – Cobra Bora 01:44:22 25 808 State – Europa 01:48:07 26 Björk – Violently Happy (Massey – Other Mix) 01:54:31 27 808 State – Sexy Dancer 01:57:15 28 Magga Stína – In 01:58:42 29 808 State – Southern Cross 02:03:09 30 808 State – Magical Dream (Instrumental) 02:07:30 31 808 State – Magical Dream 02:11:03 32 MC Tunes, 808 State – Tunes Splits The Atom (Zero Gravity Mix) 02:14:01 33 808 State – Let Yourself Go (D50 mix) 02:18:18 34 808 State – San Francisco 02:22:35 35 808 State – Lift (7″ Mix) 02:25:33 36 808 State – Lift 02:30:27 37 808 State – Lift (Heavy Mix) 02:34:45 38 808 State – Sync/Swim 02:39:51 39 Santa Cruz – Heaven Only Knows (Ghost of Ivy’s Lips 808 State Remix) 02:44:34 40 808 State – State to State 02:49:23 41 Jon Hassell – Voiceprint (8Mix№1) 02:55:38 42 808 State vs. Zenarchy – Got It Huh 02:59:14 43 808 State – Nephatiti 03:03:43 44 808 State – Qmart (feat. Björk)
00:00:00 1 808 State – Pacific (909 / Mellow Birds Mega Edit) 00:07:01 2 808 State – Techno Bell 00:11:51 3 808 State – Let Yourself Go (303 mix) 00:16:46 4 New Order – Confusion (Acid House mix) 00:21:16 5 Lynda Law – I Don’t Want Your Love (Massey Mix) 00:27:22 6 Shimmer – Take Arms (Graham Massey Salty Dog Mix) 00:31:23 7 The Criminal Element Orchestra Feat. Wendell Williams – Everybody (Ultimate Inst. Mix) 00:36:00 8 A Certain Ratio – Flight (Massey Mix) 00:41:07 9 808 State – State To State 00:46:00 10 Virgo – In A Vision (808 State Edit) 00:50:15 11 808 State – Olympic (Flutey mix) 00:53:44 12 808 State – Olympic (Euro Bass mix) 00:59:05 13 808 State – Plan 9 01:02:40 14 808 State – Lambrusco Cowboy 01:06:17 15 K-Klass – Loafman 01:10:43 16 Yes – Owner Of A Lonely Heart (2 Close To The Edge Mix) 01:15:07 17 808 State – Leo Leo (Poonchanting Instrumental) 01:18:49 18 808 State – Orbit 01:22:33 19 808 State & Robert Owens – Gimme Shelter 01:26:59 20 808 State – Cübik (Pan Am mix) 01:31:34 21 Afrika Bambaataa & The Soulsonic Force – Planet Rock (Planet Rock 2000 Mix) (feat. 808 State) 01:35:46 22 808 State – Pacific State 01:41:57 23 K-Klass – Into The Night 01:47:14 24 808 State – Nimbus 01:51:13 25 808 State – Bond 01:55:52 26 Yellow Magic Orchestra – Light In Darkness (…Spark) (The 808 State Ambient Reprise) 01:57:06 27 Yellow Magic Orchestra – Light In Darkness (The 808 State Remix) 02:01:48 28 2 For Joy – Disco Biscuit (G. Massey Edit) Mercury 02:06:12 29 808 State – Revenge Of The Girlie Men 02:09:46 30 The Future Sound Of London – Papua New Guinea (Graham Massey Mix) 02:13:53 31 MC Tunes, 808 State – The Only Rhyme That Bites (Extended Mix) 02:17:25 32 Electronic – Disappointed (12” Remix) 02:21:54 33 808 State – Reaper Repo (Short Mix) 02:25:28 34 808 State – Femme Deluxe 02:28:21 35 808 State – Stormin Norman 02:31:24 36 808 State – La Donna Bionica 02:36:02 37 808 State – Disco State 02:40:37 38 808 State – Fire Cracker 02:44:32 39 808 State – Open Your Mind (Sound Garden Mix) 02:48:40 40 808 State – Boneyween 02:53:56 41 The Stone Roses – Made Of Stone (808 State Remix)
00:00:00 1 808 State – Pacific (Britmix) 00:04:23 2 808 State – Pacific (303) 00:10:05 3 808 State – Pacific (202) 00:15:17 4 808 State – Headhunters 00:19:41 5 808 State – E Talk 00:23:12 6 808 State – Joyrider 00:27:40 7 808 State – Jerusahat 00:31:55 8 808 State – Crash 00:36:23 9 808 State – Automatic 00:45:55 10 808 State – C.I.S 00:48:45 11 808 State – K.Narcosa 00:51:23 12 808 State – Balboa 00:55:55 13 808 State – Atlas 7 00:59:58 14 808 State – Lemon (Oberheim 4 Mix) 01:04:09 15 808 State – Bird 01:07:00 16 808 State – Joyrider (A Natural Mix) 01:13:47 17 808 State – Icecream On Elm Street (Sex Synth) 01:16:54 18 808 State, UB40 – One In Ten (UB40 Instrumental) 01:20:53 19 808 State, UB40 – One In Ten (UB40 Vocal) 01:24:20 20 808 State – 10×10 (Vox Mix) 01:28:13 21 808 State – Goa 01:30:57 22 808 State – Kohoutek 01:34:40 23 808 State – Colony 01:38:56 24 808 State – Sexy Synthesizer 01:42:09 25 Naomi Campbell – I Want to Live (808 State mix) 01:46:40 26 Finitribe – 101 (303-3D Bass Edit) 01:49:45 27 Biting Tongues – Love Out 01:54:28 28 808 State – Deepville 02:01:08 29 Frankie Goes To Hollywood – Two Tribes (808 State Remix) 02:05:48 30 808 State – Timebomb (Fon Mix) 02:08:34 31 808 State – Techclock 02:10:33 32 808 State – Massagerama 02:15:25 33 Björk – Karvel 02:19:20 34 808 State, UB40 – One In Ten (Edit) 02:21:39 35 Yellow Magic Orchestra – Rydeen (The Graham Massey Remix) 02:26:18 36 808 State – Donkey Doctor (Gmex Mix) 02:30:31 37 808 State – Donkey Doctor 02:35:31 38 808 State – Spanish Marching (Fonphone Mix) 02:41:01 39 808 State – Spanish Marching (Gala Mix) 02:45:20 40 808 State – Black Dartangnon 02:49:54 41 808 State – Kong King 02:55:25 42 808 State – Cassius 03:00:45 43 808 State – Contrique 03:03:44 44 808state – Azura 03:08:47 45 808 State, Art Of Noise – Moments In Love (Massey Mix Three) 03:13:47 46 808 State – Long Orange 03:18:00 47 808 State – Mooz
The DJs of the disco era not only struggled with belt-driven turntables, they also had to cope with live drumming and music arrangements that distracted their crowds. So some of them took scissors and tape and did their own edits. And some were so good at it that they earned a reputation and a studio career with it, and their edits or remixes became as popular as the music they were using, or even more. The first remix service label to gather and publish these efforts was Disconet, as early as 1977. Early remix service releases often contained medleys or little sets mixed by club DJs (foreshadowing the megamixes of the years to come), but more and more the remixes and edits became the centre of attention. In just a few years very many different remix service labels came into being, with different in-house remixers and musical agendas. The appeal of the idea began to fade when labels included their own assigned official remixes on their releases, and an increase in copyright issues in the 90s meant that most remix services went out of business. But even if the legal situation in the preceding years was quite unclear, the creative potential was not. From local to widely acclaimed DJs and from established to emerging studio talents a lot of people had their go at popular or obscure music and came up with lasting results, and they paved the way for the more modern and still thriving edit scene.
Abba – Lay All Your Love On Me (Peter Slaghuis Remix) (Buy This Record, 1981)
This
is actually a remix of a Raul Rodriguez remix originally released on
Disconet. Peter Slaghuis extended the weird start-stop-breaks to
highly irritating three minutes before the song kicks in at last,
like a hymn from the heavens descending onto a crash derby. The
breaks continue to disrupt the song throughout the whole record, the
loops are edited quite heavy-handedly, and the sound quality is
really atrocious. Still this is a remarkable example of how radical
an edit can be, and it was even more radical when it came out. And it
still works a treat on the floor.
Steve
Algozino added synth and edited a four minute album track into a
seven minute disco plea for a better tomorrow. For those who like to
compare a good night out to a religious experience, including telling
it from all mountain tops.
Eleven
minutes of drama and a whole lot of thunderous sound effects, of
which the original version inexplicably had none. It is totally
overdone, but it is also quite impressive too. And you might actually
be soaking wet if you dance the whole thing through.
B.B. & Band – All Night Long (Will Crocker & Jack Cardinal Remix) (Disconet, 1982)
An
excellent version of this heavily funked up italo disco sequencer
boogie classic. The changes are mainly in length and structure, but
they sure sound as if they were needed.
Stephanie Mills – Pilot Error (Hot Tracks, 1983)
The
original version on the Casablanca label has a really superior
pressing quality, but the wild flanger action on this more than makes
up for that. It shoots a slightly eerie, but still earthbound boogie
gem into outer space. Flight time also extended.
Lipps Inc. – Funkytown (Bob Viteritti Edit) (Hot Tracks, 1984)
An
anthem at San Francisco‘s Trocadero Transfer club, edited by its
very own resident DJ Bob Viteritti. The spacetastic additional synths
are played by none other than the legendary Patrick Cowley, a regular
at the club, and they open up a whole other universe.
Jimmy Ruffin – Hold On To My Love (Robbie Leslie Remix) (Disconet, 1984)
A
sweet little Robin Gibb co-written soul mover, until New York City‘s
Saint resident DJ Robbie Leslie decided to turn it into an anthem of
epic proportions, particularly by riding the enormous refrain for
five extra minutes. This was actually the last record the crowd ever
danced to at the Saint‘s closing weekend, which really says a lot.
Mari Wilson – Let‘s Make This Last (Razormaid, 1984)
This
track was an unusual release for the Compact Organization label‘s
60‘s beehive pop revivalist diva. But that the Razormaid remix team
completely restructured and improved the original version was very
usual for their standards, resulting in an even smarter take on
Hi-NRG.
Roxy Music – Angel Eyes (Joseph Watt Remix) (Razormaid, 1984)
Needs
more suspense in the first bit and inbetween, thought Razormaid, but
they also added sophistication to the whole song. And bringing one of
the best dressed style icons to the club surely was no mistake
either.
Machine – There But For The Grace Of God (Glenn Cattanach Edit) (Hot Tracks, 1987)
This
just neglects the piano intro, you may think, and instead uses a
looped groove to ease into the song. It also extends the break, and
adds an outro loop at the end. Well, this is not the only blueprint
for the more recent editing of disco tracks for DJ convenience
purposes, but it shows how you achieve better mixability while
leaving all the greatness of the source material untouched. Even
consider it a reminder.
Hard Corps – Lucky Charm (Razormaid, 1987)
A
lot of Razormaid releases are easier to mix than the original
versions, wrecking a lot of intros in the process. Then again
Razormaid were always quite ambitious in terms of restructuring, and
also quite subtle in adding their own trademark sound design without
taking away anything that should not be taken away. And Razormaid
have a cult following for a reason.
Big Ben Tribe – Heroes (Steve Bourasa Edit) (Rhythm Stick, 1990)
I
always felt the dreamy italo disco take on the David Bowie classic
was near perfect, but it should last longer, without risking this
perfection. Thankfully I found this edit by Steve Bourasa, who
apparently thought exactly the same, and he had the skills.
Dead Or Alive – Your Sweetness Is Your Weakness („Silver Bullet“ Mix by Peter Fenton) (Art Of Mix, 1991)
Dead
Or Alive were actually really big in Japan. So big even that they
released some of their music only in Japan, and some of their finest
music too. Buying the original 12“ of this wonderful piano house
romp will not come cheap, but do not worry, as there is this (still)
affordable and fantastic version hidden on a 12“ on the Art Of Mix
remix service, because they are not called remix services for
nothing. The mix merges Dead Or Alive‘s „Son Of A Gun“ from
1986 with their Japanese market stormer, as if they were twins
separated at birth.
P.M. Dawn – Set Adrift On Memory Bliss (Bradley Hinkle & Tim Robertson) (Ultimix, 1991)
P.M.
Dawn did not win many hearts in the hip hop scene when they sampled a
very popular blue-eyed soul ballad, and used the same seriously dope
beat Eric B & Rakim on their seminal „Paid In Full“. Rakim
and Prince Be are really hard to compare, I admit. This remix even
only slightly alters the original. Well until there is a break and
then the second half is Spandau Ballet‘s song in its entirety
riding the very same seriously dope beat. Which is one of the
greatest things ever.
Culture Club – Time (Clock Of The Heart) (Chris Cox Remix) (Hot Tracks, 1994)
I
realized I am now old enough to accept that I will probably never
find the vinyl with this remix for a price I can live with. So I
might as well show it to anybody else. Culture Club‘s arguably
finest moment, and in my humble opion one of the 80s finest pop
moments as well, in a superlative remix that manages to double both
length and listening pleasure. I would not change a second of it.
I loved a lot of David Bowie songs throughout my life. His landmark albums from the early 70s were still a staple of the radio shows I recorded to cassettes from the mid 70s on. Glam anthems, way ahead to my ears then what became of it in the charts around that time. Glam outfits that were equally way ahead. David Bowie was already somewhere else, of course, anticipating the Disco phenomenon I would soon so love, with Philly’s finest. Then following that up with the Berlin trilogy that would inspire legions to create something great, and look great while doing it, too. Then, when I ran around in 60s clothes in my early 80s coastal smalltown youth, I discovered that he already had been there in the best way imaginable, and his early Pye singles were exactly the attitude and sound I was looking for. He was the definite face. He made no mistakes. He even descended to the kids he created with „Ashes To Ashes“, and he blessed them, as they worshipped him. He was a terrific actor on screen as well, making good use of his ever magnetic charisma and sexually confusing identities there, too. Whatever he did, you watched him very closely, else you could have missed out on crucial developments.
When „Let’s Dance“ was announced as being produced by Nile Rodgers, another inerrable hero of mine, I had the highest expectations, but then could not help feeling let down. There were moments, but not enough of them. And in the period of the mid 80s shortly after, pop’s most successful stars could earn a fortune without even the slightest vision (let alone sound), and David Bowie simply became one of them. As soon as he was dancing in the street with Mick I was just embarrassed. Even his outfits were embarrassing. I was really surprised that this could happen. Enter the years of hit and miss. For every glimpse of his former cool self resurfacing, „Absolute Beginners“ or „Hallo Spaceboy“ for example, he took decisions that were unforgiveably below his par, think Tin Machine, among others. Given, you cannot be visionary forever, however visionary you once were. And David Bowie was more constantly visionary than anybody else, for a long time. But the visions at one point were had by others. Not surprisingly he displayed a clever instinct for picking the right ones to utilize for his purposes, but still they were attached. I did not mind, he was performing the elder statesmanship with grace, and as so many artists were still working ideas he already had before, there was nothing left to prove, only if he wanted to. So screw the stock bonds. I sincerely felt happy for him and his family. He deserved it. Then he kind of disappeared.
When he reappeared in 2013, it felt like out of the blue. „Where Are We Now?“ was the first song of his in years I listened to repeatedly. It was beautiful and it felt good to have him back. I was slightly surprised by its sadness, but I thought it was quite a statement to base its sentiment about the most lauded creative period of your career. It challenges comparisons, and I was sure he was still creatively ambitious enough to try and deal with them, no matter what he achieved before. „The Next Day“ was a good album, too. He did not try to reinvent himself, he looked back on what he invented. I visited the Bowie exhibition that was doing the same in Berlin, just in time before it closed, and I enjoyed it very much. It all came back, rather predictably. His stage outfits on display proved he was a small man, but he surely did not have a small mind.
I did not expect that he would follow that retrospective phase so soon, if at all. And I absolutely did not expect that he would follow it up with an album like „Blackstar“. As before, David Bowie chose to remain silent, relying on producer Tony Visconti to reveal the news of its release. I read his trusted cohort doing that in an interview while travelling. He spoke of references like Kendrick Lamar, Death Grips and Boards Of Canada, and that rock and roll was to be avoided. David Bowie recruited a potent jazz quartet from a New York bar for the recordings. It was all rather promising. When I got asked to write these lines I initially wished I could have listened to the entire album when he was still alive, as I was already overwhelmed to the point of numbness by the reactions to his sudden demise. But when I then listened to it, it became obvious very quickly that he was fully aware that he would have passed away once the public would be fully exposed to it. And that it is pivotal to picture the dying artist for the whole experience. The songs are brilliant. Complex and dense, or just stunning, indeed avoiding rock and roll stereotypes, even if the jazz only adds to the picture instead of dominating it. The mood is intense, but it is not entirely dark. Thinking of the motivation behind this album, David Bowie sounds astonishingly swinging, his beloved voice delivering clever lyrics ranging between the horror of his own decay and the feeling of arriving there content, at ease with himself, with truths simultaneously personal and universal. The video to „Lazarus“ is frightening to watch, but comically absurd as well. The last photographs of him taken show him in a sharp suit, lauging. The way he orchestrated his own requiem is incredible, exactly as he wanted to, and as only he could. Being David Bowie, setting lasting examples yet again. Superior, even in death.
Skatt – Walk The Night (Disconet) September – The Lover In Me (Razormaid) Sharon Brown – I Specialize In Love (Disconet) Nathalie – My Love Won’t Let You Down (Razormaid) Hazell Dean – They Say It’s Gonna Rain (Razormaid) Brenda Taylor – My Heart’s Not In It (Disconet) Janet Jackson – When I Think Of You (Disconet) Stephanie Mills – Pilot Error (Hot Tracks) Donna Garraffi – I’ve Got You Covered (Disconet) Regina – Baby Love (Disconet) Skyy – Show Me The Way (Disconet) B. B. Band – All Night Long (Disconet) Chas Jankel – Glad To Know You (Disconet) The Human League – Fascination (Hot Tracks) The B-52’s – Girl From Ipanema Goes To Greenland (Hot Tracks) Tanz Waffen – Subversion (Razormaid) David Bowie – Let’s Dance (Disconet) Kid Creole – Caroline Was A Drop-Out (Razormaid) Telex – Raised By Snakes (Razormaid) New Order – Bizarre Love Triangle (Hot Tracks) Depeche Mode – Strangelove (Razormaid) Vivien Vee – Blue Disease (Razormaid) Section 25 – Looking From A Hilltop (Razormaid) Tantra – A Place Called Tarot (Disconet) The Love Unlimited Orchestra – Welcome Aboard (Hot Tracks)
M.K.-Allstars – Bohemian Rhapsody (Acapella) Betty Boo – Catch Me (12“ Version) The Other Two – Selfish (That Pop Mix) Propaganda – Your Wildlife (Wet N Wild Mix) Led Zeppelin – Babe I’m Gonna Leave You Elton John – Rocket Man (Junior Vasquez Vocal Remix) Cher – Walking In Memphis (Shut Up And Dance Mix) New Order – Round & Round (Detroit Mix) Billie Ray Martin – Your Loving Arms (Tee’s Miami Club Mix) La Rissa – I Do Both Jay & Jane (Original Rave Mix) Freddie Mercury – You Don’t Fool Me (Queen For A Day Mix) Whitney Houston – The Greatest Love Of All (Club 69 Remix) Sybil – The Love I Lost (Unrequited Mix) Mama Cass – Make Your Own Kind Of Music (Yum Club Mix) John Paul Young – Love Is In The Air (Strictly Dance Mix) Jamie J. Jones – Why (Extended Club Mix) Deacon Blue – Will Will Be Lovers (DB Mix) The Sugarcubes – Hit (Pinstripe Mix) Betty Boo – Thing Goin’ On (MK Underground Mix) Saint Etienne – Who Do You Think You Are (Strobelight & Platform Shoes Mix) D:ream – U R The Best Thing (Def Klub Mix) Rozalla – Faith (In The Power Of Love) ABC – Love Conquers All (The Morales Mix) Gloria Estefan – Tradición (Musto Traditional Mix) Bee Gees – Paying The Price Of Love (The Ocean Drive Mix) Michael McDonald – All We Got (Never Enough House Mix) The Party – Free (Hurley’s 12“ Without Rap) David Bowie – Real Cool World (Cool Dub Overture) Commanding Language – Einsamkeit (Peter Alexander Mix)
Glenn Gregory – Perfect Day Joe Jackson – A Slow Song Material – Memories Yvonne Elliman – I’ll Be Around Carly Simon – Coming Around Again Maria McKee – Show Me Heaven The Fifth Dimension – Magic In My Life Hot – Angel In Your Arms The Motels – Total Control Claudja Barry – Love For The Sake Of Love Billy Idol – Eyes Without A Face Delegation – 12th House Helen Reddy – Trying To Get To You Melissa Manchester – Talkin’ To Myself Odyssey – Don’t Tell Me, Tell Her David Bowie – Right Johnny Bristol – Do It To My Mind The Spinners – One Of A Kind Love Affair Al Wilson – Show And Tell Tony Silvester & The New Ingredient – Verry White Grace Jones – La Vie En Rose Squeeze – Last Time Forever Samantha Sang – Emotion Labi Siffre – My Song Carol Williams – You’re So Much A Part Of Me Bionic Boogie – Hot Butterfly Phyllis Hyman – Kiss You All Over Lulu – You Win, I Lose Lamont Dozier – Take Off Your Make-Up Carly Simon – Why Rhetta Hughes – Throwin’ It All Away Phyllis Hyman – Loving You Losing You
In discussion with Rusty Egan on “Low” and “Heroes” by David Bowie (1977).
I assume you got into the albums “Low” and “Heroes” at the time they were released, but were you already a fan of his before that?
Yes, since Ziggy Stardust.
David Bowie was always famous for continuously reinventing his career, but did this phase particularly appeal to you?
Bowie’s Berlin Years I believe were the foundation of The Blitz Club playlist. Via Bowie I found Kraftwerk, and that lead to Neu!, Can, Cluster and Krautrock as it was called, Bryan Ferry then led to the work of Brian Eno, and his Ambient series …all this music lead to the basis of my collection. If you join the dots Bowie, Eno, Iggy, Kraftwerk, Mick Ronson, Lou Reed. Read the rest of this entry »
Druffmix quarantuno !!! Un ballo nuovo porta ritmo nei fiancho della cittá. Ci vendiamo, trovimo, chiediamo che cosa si fa. Ma non cercate die volori, e magari sensation La notte e’nostra fin al mattino abbiamo illusion no. E’la fine del viaggino, ce’ sempre un domani e. Ci sono dimensioni, con illusioni e sensazioni. Give me more … Young romans – there is a night before each day and that price is still to pay. Never stop this old erosion phantastic voyage…
Altered Images – Love To Stay Icehouse – No Promises (Special US Club Mix) Naked Eyes – Promises Promises Climie Fisher – Love Changes Everything (The Love Mix) Fleetwood Mac – Seven Wonders (Dub) Xymox – Imagination (Dance Mix) Shock – Dream Games Clive Griffin – I’ll Be Waiting (Dance Mix) Jean Paul Gaultier – How To Do That (In A New Way) Bobby Womack – Living In A Box (Paradise Mix) Elton John – Nobody Wins Tom Hooker – Looking For Love Big Ben Tribe – Heroes Stephanie Mills – Pilot Error (Club Mix) The Men – I Don’t Depend On You Was (Not Was) – Robot Girl (L.A. Mix) Falco – Junge Roemer Fehlfarben – 14 Tage Dolly Parton – I Wanna Fall In Love Paul Simon – Late In The Evening Voyage – I Love You Dancer Carolyne Bernier – Hold Me, Touch Me Billy Ocean – European Queen (Special Mix) Wham! – Everything She Wants (Remix) Time Bandits – I’m Only Shooting Love Orchestral Manoeuvres In The Dark – Secret Marcel King – Reach For Love Carol Douglas – My Simple Heart Change – The Very Best In You Jean Carn – Time Waits For No One Bill Harris – Am I Cold, Am I Hot Fern Kinney – Love Me Tonite David Bowie – Absolute Beginners (Full Length Version) Seals & Croft – You’re The Love (Disco Mix) Andy Gibb –After Dark Anne Murray – Shadows In The Moonlight
Man kann es nicht schönreden, in der Musikgeschichte sind die New Romantics nicht wohlgelitten, und vor allem Visage hat das Urteil der Nachwelt hart getroffen. Nun findet man die fast zwanghafte Paradiesvogelhaftigkeit von Steve Strange lächerlich, der Camp ist ins Tragische übergekippt, die sexuelle Ambivalenz überholt, der Glitzer vertrocknet. Dabei sah das alles am Anfang sehr viel versprechend aus. Steve Strange war Ende der 70er das maßgebliche Gesicht der noch jungen Szene um den Londoner Blitz Club, wo man sich nach dem Vorbild von Kraftwerk, David Bowie und allem was im Post Punk Glam hatte eine neue Bewegung bastelte. Bowie erkannte das natürlich schnell und castete seine neuen Jünger für den Videoclip zu „Ashes To Ashes“, Japan griffen als erste auf was in der Luft lag, und gingen mit Giorgio Moroder ins Studio. Doch das erste hörbare Ankunftssignal der New Romantics waren Visage, die 1980 mit ihrem ersten Album und vor allem „Fade To Grey“ den Kult zu Pop machten. Midge Ure (sonst Rich Kids/Ultravox), Rusty Egan (sonst Rich Kids/Blitz-Club-DJ), Billy Currie (sonst Ultravox), Dave Formula und John McGeoch (sonst Magazine) sowie Barry Adamson und eben Steve Strange waren die Supergruppe und schafften es, alle Einflüsse und Themen zwischen artifiziellem Pathos, Pierrot-Pomp und kalter Endzeitromantik mit Image und Musik auf den Punkt zu bringen. Und plötzlich konnte alles in den Charts gar nicht mehr überschminkt genug sein. Visage selbst waren nicht so erfolgreich, wie es alle Beteiligten für selbstverständlich gehalten hatten, und eine Vielzahl von anderen Elektronikbands war entweder im Startblock oder schon vorbei gerannt. Also wurde 1982 bei „The Anvil“ nochmal alles mobilisiert was ging. Design Peter Saville, Inszenierung Helmut Newton, Steve Strange gab als visueller Hingucker alles, und die Band stellte wesentlich stringenter als auf dem Vorgängeralbum eine wirklich sehr moderne bis kühne Vision von dekadenter Discomusik auf die Beine. Aber es hat nichts genützt. Midge Ure, seine Gitarrenparts ließen teilweise schon erahnen zu welchen musikalischen Schandtaten er bereit sein würde, wurden Stranges divaeske Eskapaden in der Tat zu strange (dessen Drogensucht hat auch nicht geholfen), die anderen Mitglieder fremdelten in anderen, weniger imagelastigen Projekten, und das Gesamtkonzept erwies sich in der Euphorie eines der besten Popjahrgänge überhaupt als zu wenig euphorisch. Man wollte den schattigen Zwielichtschick der ersten Jahre nach Punk nicht mehr, verabschiedete sich vom Gebot kühler Oberflächlichkeit und Clubs voller starrer Posen, und ehemals vernachlässigte Figuren der Szene wie Boy George rächten sich mit hohen Chartsnotierungen für Musik, in der auf einmal einer blauäugigen Neueinschätzung von Soul Platz eingeräumt wurde, was noch kurz zuvor völlig undenkbar und höchst verachtenswert gewesen war. Strange drehte noch eine Ehrenrunde in der Hi-NRG-Szene der schwulen Metropolenclubs und ging dann über Jahre an der Nadel verschütt. Die musikalische Hinterlassenschaft von Visage sollte man trotzdem keineswegs unterschätzen. Die 1979er B-Seite „Frequency 7“ ist ein vor allem in Detroit gewichtiger Techno-Prototyp, der Nachzügler „Pleasure Boys“ wurde zu einem Electro-Klassiker, und der sequentielle Funk der Single „The Anvil“, vor allem im Mix vom legendären John Luongo, ist immer noch eine zwingende Pracht (man beachte auch die sehr abstruse deutsche Version „Der Amboss“), und das gesamte Album gehört sowieso überall da eingesetzt, wo man der Beliebigkeit des zeitgenössischen Discogrinsens mal einen ordentlich dominanten Hieb mit der Neunschwänzigen versetzen muss.
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