00:00:00 1 Pet Shop Boys – My October Symphony (Live – Performance) 00:05:50 2 808 State – Spanish Heart 00:09:24 3 400 Blows – Let The Drums Speak (Live Mix) 00:12:11 4 Bomb The Bass – Understand This 00:16:59 5 Black Radical MKII – Sign Of The Beast 00:20:54 6 HardNoise – Mice in the Presence of the Lion, Pt. 1 00:24:53 7 Gunshot – Interception Squad 00:28:11 8 Massive Attack – Unfinished Sympathy (Instrumental) 00:32:07 9 Massive Attack – Unfinished Sympathy 00:36:39 10 Wolfman – Consciousness (Rob Davis Mix) 00:41:02 11 Electronic – The Patience Of A Saint 00:45:05 12 Chapter & The Verse – Stealth (Fixed Wing Mix) 00:49:17 13 Pet Shop Boys – DJ Culture (Extended Mix) 00:55:44 14 Caveman – You Can’t Take It 01:00:33 15 Rebel MC – Afrikan 01:02:40 16 Mark Samson featuring Sharon – Love Come Down (Big Beat Mix) 01:07:54 17 Chapter & The Verse – Miss You 01:11:48 18 Gunshot – No Sell Out 01:16:22 19 Silver Bullet – Guns of Mind Alone 01:22:42 20 Nation 12 – Electrofear (Shemsijo Mix) 01:26:02 21 Altern 8 – Real Time Status (Hand Of God Remix) 01:30:13 22 Shut Up And Dance – On A Street Level 01:34:20 23 The Sindecut – Panic Stricken 01:37:03 24 Shut Up And Dance – Rest In Peace (Rap Will Never) 01:40:35 25 Metronome – In My Mind (Vocal mix) 01:47:05 26 Cabaret Voltaire – Alright 01:52:03 27 Raphel – Latino 01:55:51 28 Jesus Loves You – After The Love (Prophets Of Doom Mix) 02:01:20 29 Orbital – Midnight (Original 12″ Mix) 02:07:32 30 Shoot The Moon – Sax Machine (Mix One) 02:13:48 31 Primal Scream – Don’t Fight It, Feel It (Scat Mix) 02:20:46 32 Primal Scream – Don’t Fight It, Feel It 02:26:53 33 Hijack – The Contract (ft. Shaka Shazam, The Icepick & Huntkillbury Finn) 02:31:13 34 Plaid – Scoobs in Columbia 02:36:05 35 Rebel MC – Rebel Music (From The Soul Mix)
00:00:00 1 Eon – B Cool #1 (8AM Mix) 00:04:03 2 Andromeda – Dance Everybody Dance 00:08:48 3 Julie Stapleton – Where’s Your Love Gone (Remix) 00:13:56 4 808 State – Ooops (Mellow Birds Mix) 00:17:29 5 House Fusion – Ceaseless Motion (6am mix) 00:23:18 6 Rebel MC – Soul Sister 00:26:55 7 The Ragga Twins – Tan So Back 00:30:40 8 Automation – Eat The Bee 00:33:59 9 Mr Selfish – Gonna Make It 00:39:16 10 Holy Ghost Inc. – Stealth 00:43:26 11 MC Buzz B – Never Change (Sparse) 00:49:26 12 Language – Tranquility Bass 00:54:04 13 The Ultimate Dance Banger – Untitled 00:59:27 14 Ministers Of Dance – Tiny’s First Journey 01:02:22 15 Euphoria – I’m Going To Explode 01:05:39 16 Cabaret Voltaire – No Resistance 01:10:44 17 Return Of The Living Acid – Twin Tub 01:16:03 18 The Step – Yeah You (Robert’s Dub #2) 01:19:57 19 The Step – Yeah You (Robert’s Remix) 01:25:04 20 The Step – Yeah You 01:30:27 21 Subsonic 2 – Addicted To Music (The Nightmares On Wax Mix) 01:34:19 22 XON – Midnight Express 01:40:11 23 The Wolfgang Press – Time 01:46:18 24 Phuture Assassins – Africans Must Be Free 01:50:16 25 A Guy Called Gerald – Wonderful World 01:54:53 26 Satin Storm – Chill Out 02:00:51 27 2001 – Weighless Condition 02:07:46 28 Animal Magic – Animal Magic – Turn To West Ham 02:11:43 29 Epitome Of Hype – Let The Freak (Vital Remix) 02:17:02 30 Watt Noize – Baby Be Good to Me 02:21:08 31 Parralax – Deep Frieze 02:25:16 32 Gems For Jem – We’re On The Move (Peak Energy Mix) 02:29:51 33 The Sindecut – Simple Jealousy (12 Mix) 02:36:07 34 WBI Red Ninja – Bad Piece (A Short Tune About Killing) 02:40:51 35 Carl Cox – Let The Bass Kick
00:00:00 1 400 Blows – Play Like A Human (Ambient Mix) 00:03:37 2 Cabaret Voltaire – Jazz The Computer (Part 1) 00:08:08 3 Son Of Noise – Master Of Menace 00:10:56 4 Bomb The Bass – You See Me In 3D (Remix) 00:14:28 5 Fantasy UFO feat. Jay Groove – Mind, Body, Soul (24″ Melt the Speaker Mix) 00:17:46 6 Plaid – Slice of Cheese 00:23:06 7 Earth Leakage Trip – Psychotronic 00:27:50 8 Automation – Comedown (Extended) 00:32:55 9 Ultraviolet – I Wish That (Radical Mix) 00:39:39 10 Cabaret Voltaire – Shout 00:44:35 11 V.I.M. – Maggie’s Last Party (Club Mix) 00:50:12 12 Earth Leakage Trip – No Idea 00:55:33 13 Earth Leakage Trip – Over 92 00:58:44 14 Cabaret Voltaire – What is Real (Virtual Reality mix) 01:04:46 15 Cabaret Voltaire – What is Real 01:10:30 16 Kings Of Peace – 1000 (Album Mix) 01:15:05 17 4 Hero – Put Your Thinkin’ Caps On 01:16:20 18 Cabaret Voltaire – Keep On Pushin’ 01:20:35 19 Cabaret Voltaire – Don’t Walk Away 01:25:33 20 Cabaret Voltaire – Smooth 01:30:37 21 808 State – Lift (7″ Mix) 01:33:19 22 Shades Of Rhythm – Sweet Sensation 01:37:52 23 Andromeda – Simple 01:40:08 24 Tomas – Mind Song 01:45:01 25 Cabaret Voltaire – Jazz The Computer (Part 2) 01:49:44 26 Desired State – Work My Body (Over) 01:54:56 27 Andromeda – Savage 01:57:41 28 Tuff Little Unit – Join The Future 02:02:09 29 The Wizzard – Millennium (Genesis Mix) 02:09:21 30 Outrage – Religious B-Boy 02:12:35 31 Shut Up And Dance – Because Of My Vocals 02:15:59 32 Hooligan X – The Sound 02:21:46 33 Tomas – African Dream 02:26:25 34 Body Base 2 – Clan Terminology 02:31:27 35 Coco Steel And Lovebomb – Feel It (Original Mix) 02:38:10 36 Attitude – Attitude – Some You Win, Some You Lose (Instrumental) 02:42:41 37 Attitude – Attitude – Some You Win, Some You Lose 02:47:47 38 Coco, Steel And Lovebomb – Discodub (After Hours Mix) 02:53:18 39 Coco, Steel And Lovebomb – Discotechno – 1991 02:59:10 40 Andromeda – Control 03:03:34 41 Caveman – Pages and Pages 03:08:44 42 Bassix – Close Encounters (Bassix Mix) 03:12:48 43 Bassix – Close Encounters (Club Mix) 03:17:09 44 Bassix – Close Encounters (Acid Dub) 03:21:41 45 Temple Of Life – EDP 03:26:56 46 Tomas – Architecture 03:32:42 47 Beat Club – Dreams Were Made To Be Broken (Beat Mix) 03:38:13 48 R. Solution – Skinny Long Git (Mix 1) 03:42:13 49 808 State – Techno Bell 03:46:51 50 Feedback Max feat T.T. – Cheeni Ek Chammach
1990 was still a transitional year for UK breakbeat music, but on another scale than 1989. The direct connection to acid house started to fade, yet the prototypes of the previous year were developed further. The breakbeats became more varied and complex, there were more bleeps and bass and more pianos, more rave, more techno, gradually more tempo but also generally more diversity. And as you can see with the number of mixes I recorded for this year, there were far more releases as well. And they sounded more refined, as the nights they were played at got bigger and the sounds followed suit.
00:00:00 1 The Source Featuring Candi Staton – You Got The Love (Erens Bootleg Mix) 00:07:37 2 Mr. Fingers – Mr. Fingers – What About This Love (Even Deeper Mix) 00:13:18 3 The Stone Roses – Fools Gold (A Guy Called Gerald remix) 00:20:02 4 4 Hero – Move Wid The House Groove 00:25:00 5 The Sindecut – Demanding Cycle – Of A Word Bound Hammerhead 00:29:57 6 M.N.D.J – Stop The World (Instrumental) 00:33:11 7 Moody Boys – Jammin (Ital Mix) 00:37:40 8 A Certain Ratio – Won’t Stop Loving You (Sumner Mix) 00:41:56 9 Rebel MC – Comin’ On Strong (Ruff Neck Mix) 00:48:31 10 The James Taylor Quartet – Killing Time 00:53:05 11 Fresh Four – Compared To What (Dub) (feat. Lizz.E) 00:57:15 12 Nomad featuring MC Mikee Freed – (I Wanna Give You) Devotion (Instrumental) 01:03:11 13 Mr. Fingers vs. Rockers Revenge – Feel The Sunshine 01:08:15 14 A – L.A. Star – Wondrous Dream (Mix 1) 01:13:50 15 Psychotropic – Only For The Headstrong 01:21:00 16 Baby Ford – Change (Quick St. Break Mix) 01:25:56 17 Baby Ford – Change (Konrad Cadet Mix 1) 01:30:45 18 Jesus Loves You – Generations Of Love (Future Dub) 01:35:44 19 Jesus Loves You – Generations Of Love (Land Of OZ 12″ Mix) 01:41:54 20 Renegade Soundwave – Women Respond to Bass 01:45:14 21 A.R. Kane – A Love from Outer Space (Venusian dub) 01:51:42 22 A.R. Kane – A Love from Outer Space (Solar Equinox mix) 01:55:10 23 A.R. Kane – A Love from Outer Space (Lunar Eclipse mix) 02:00:47 24 The Sindecut – To The Heart 02:04:59 25 The Sindecut – Having 02:08:31 26 Psychotropic – Hypnosis 02:16:24 27 Logic Control MCs – High Pursuit 02:19:35 28 Mental Cube – Chile Of The Bass Generation 02:23:14 29 808 State – In Yer Face (Mancunian Delight) 02:27:57 30 A Certain Ratio – Spirit Dance 02:32:04 31 Orbital – Omen (The Tower) 02:34:32 32 Shades Of Rhythm – Exorcist 02:39:07 33 Newington Heights – Reach 02:44:11 34 Hardcore – Get A Little Stupid (Backroom Mix) 02:50:39 35 The Moody Boys – Funky Zulu (You’re So Fresh) (Chapter 1) 02:55:14 36 Mc Wildski – Warrior (The Art Of Fighting Without Fighting Mix) 02:59:04 37 Renegade Soundwave – Thunder II 03:03:42 38 Jolly Roger – Music Is The Weapon Of The Future (Dub) 03:09:02 39 MC Buzz B – Never Change 03:12:22 40 Mental Cube – Q 03:16:30 41 A Man Called Adam – Barefoot In The Head
00:00:00 1 Orbital – Chime (JZJ Oh Ya Mix) 00:06:18 2 Plutonic – Amen 00:11:17 3 Unique 3 – Phase 3 00:15:23 4 Excel D – The Blur 00:18:52 5 Westworld – The Slam 00:24:04 6 Hypnotone – SBX 00:28:20 7 A1 – I Like Techno 00:31:25 8 Unknown Artist – Untitled 00:34:46 9 DJ Mad A & Dr. Stevie The Ambient Guru – Levitating Pharaohs (Full Frontal Spacehead Ambient mix) 00:38:38 10 Baby Ford – Let’s Talk It Over (12″ Full Version) 00:43:35 11 No Smoke – Oh Yes (Freedom) 00:48:11 12 Language – Renegade (The Energy mix) 00:52:34 13 Language – Renegade (The Cryptic mix) 00:57:01 14 Bang the Party – Rubbadubb 01:00:18 15 Turntable Overload – T T O 01:05:01 16 Unique 3 – Pattern 12 01:09:36 17 Orbital – Omen (12″ Version) 01:15:52 18 Logarhythm – Jungle (Nightmares On Wax Mix) 01:19:39 19 The Black Dog – Apt 01:23:38 20 Synchro – Synchro-Bass – Mystic Voyage 01:29:29 21 Pet Shop Boys – Being Boring (Extended Version) 01:38:50 22 Adé – Free The Soul 01:42:11 23 2 In A Rhythm – Magic Machine (Ruff Rhythm Mix) 01:45:59 24 2 In A Rhythm – Magic Machine (Time For Action Rap) 01:49:41 25 2 In A Rhythm – Bionic Boogie (Work Da Rhythm Mix) 01:53:24 26 2 In A Rhythm – Bionic Boogie (Ride The Groove Mix) 01:57:28 27 Holy Ghost Inc – Hi-Speed (Pirate DJ Club Mix) 02:01:29 28 Freshtrax & Ace II With Pressure Zone – Destruction (War Zone Mix) 02:06:32 29 Andromeda – Control (Control of the dance floor) 02:11:01 30 Shut Up And Dance – A Change Soon Come (Instrumental) 02:14:51 31 Shut Up And Dance – A Change Soon Come 02:19:10 32 Sudden Impact – Game Of Love (Original Mix) 02:25:04 33 Sudden Impact – Game Of Love (Remix) 02:30:41 34 Adamski – Adamski – Killer (Remix) 02:36:56 35 Sike – Intrigue
00:00:00 1 Baby Ford – The World Is In Love (Dub) 00:05:00 2 Midi Rain – The Crack Train (Dub 1) 00:09:20 3 Midi Rain – The Crack Train (Vocal) 00:13:48 4 Circuit – Shelter Me (Helter Skelter Mix) 00:19:33 5 T.A.S. (The Altered State) – Make Some Noise (Def Mix) 00:22:45 6 HardNoise – Untitled (Instrumental) 00:24:56 7 HardNoise – Untitled (Vocal) 00:28:15 8 4 Hero – Rising Son (Inst.) 00:33:28 9 4 Hero – Rising Son 00:38:28 10 Genaside II – The Motiv (Who Da F@??$! You Calling Fat? Mix) 00:42:33 11 The Dynamic Guv’nors – These Guys Are Doper Than Dope 00:48:15 12 MC Duke – MC Duke – I’m Riffin’ (1990 Remix) 00:51:29 13 The V.F.T – Fenland Bass 00:56:31 14 Exocet – Shogun Assassin 01:01:58 15 Synchro-Bass – Dark Star 01:07:32 16 Unique 3 – Weight For The Bass 01:12:04 17 Marine Boy – Laura Laura 01:17:23 18 DJ Mink – Hey! Hey! Can U Relate (Sunshine Dub Instrumental) 01:23:56 19 DJ Mink – Hey! Hey! Can U Relate (Deep Space Mix) 01:28:41 20 Infamix – A Walk In The Park 01:33:41 21 Satin Storm – Satin Storm 01:38:17 22 Butcher Sam – Piano Passions 01:43:23 23 Bogus Order – Zen Bones 01:47:21 24 FXU – FXU – The Dark Side 01:51:24 25 C + M Connection – Bio Rhythms 01:57:11 26 Westworld – Dreamworld 02:03:28 27 Altern 8 – Reel Time Status 02:07:24 28 Demonik – Labyrinthe 02:12:52 29 Doggy – Dog Food 02:17:31 30 G.F.X. – Eternal (Mix 2) 02:19:37 31 Amber – X-Logic 02:26:18 32 Greed – Give Me (Bleep Mix) 02:31:52 33 KCC – Def 02:34:22 34 Confidential – Jam The Frequency 02:40:45 35 A Guy Called Gerald – Untitled
Another year, another mix project! This is something I wanted to do for a long time: a series of mixes that build a retrospective of UK breakbeat music from 1989 to 1999.
The series has to start in 1989. This was the year where breakbeats began to seep into the club soundtrack on a wider scale, and you could notice there was something different and new going on. It was a transitional year. The acid house boom had just waned a bit, but it had provided so much fun and change, it simply could not all be a fad, and a lot of DJs and producers where trying keep the momentum up with fresh ideas. The still nascent house sound absorbed a lot of other influences, like hip hop, techno and dub and particularly in the UK it set a sound in motion that was was both using the clues from the US and continental scene and its own pioneering achievements and its roots in sound system culture.
As you can hear, the beats were still comparatively slow to what was soon to emerge, and mostly derived from fast paced hip hop and electro. But you can also hear that this year provided blueprints and prototypes that are still being referenced, early rave signals, different usages of low and high frequencies, yet unused sample material, and generally new grooves.
00:00:00 1 Fine Young Cannibals – I’m Not the Man I Used to Be 00:04:16 2 De La Soul – Say No Go (House of Love Mix) 00:09:26 3 Stereo Mc’s – Bring It On 00:13:52 4 MC Buzz B – The Sequal 00:18:47 5 M.C. Mell’o – Bizzie Rhymin’ 00:24:38 6 MC Tunes vs. 808 State – Dance Yourself To Death 00:28:54 7 A Guy Called Gerald – FX (Elevation Mix) 00:35:38 8 N.A.D. – Spheres 00:40:33 9 A.R. Kane – Love From Outer Space 00:45:30 10 The Black Dog – The Weight (Liposuction Mix) 00:49:58 11 Baby Ford – Children Of The Revolution (Full 12” Version) 00:56:23 12 Quartz – Meltdown (Original Mix) 01:01:23 13 Candy Flip – Evolution 01:06:42 14 Jesus Loves You – After the Love (Ten Glorious Years mix) 01:14:02 15 The Moody Boys – Funky Zulu (Your So Fresh) (Refreshing Extended Mix) 01:19:19 16 Renegade Soundwave – Ozone Breakdown 01:24:59 17 Renegade Soundwave – Ozone Breakdown (90 Uprising Mix) 01:29:36 18 The Dynamic Guv’nors Present: Jazzy Jason – Faster Than Fast (Hip House Ver.) 01:35:11 19 The Dynamic Guv’nors Present: Jazzy Jason – Make The Floor Burn (Bonus Dub) 01:36:59 20 No Smoke – Koro-Koro 01:40:43 21 Bang The Party – Bang Bang You’re Mine (Full Instrumental Remix) 01:47:25 22 Melancholy Man – Jealous Guy (Dub Mix) 01:52:43 23 Richie Rich – Set Yourself Free 01:56:22 24 Humanoid – Tonight 02:01:08 25 808 State – Magical Dream (Instrumental) 02:05:57 26 808 State – Magical Dream
00:00:00 1 Silver Bullet – Bring Forth The Guillotine (Darksidemix) 00:05:26 2 Silver Bullet – Bring Forth The Guillotine (DJ Beats Mix) 00:10:48 3 Unique 3 – The Theme (Unique Mix) 00:17:05 4 T.D.P. – Ladies (Lets Go) Club Mix 00:22:58 5 Adventures of Stevie V – Dirty Cash (Money Talks) (Dime & Dollar mix) (12″ edit) 00:28:02 6 Nemesis – After The Storm 00:31:56 7 Baby Ford – The World Is In Love 00:36:33 8 A Guy Called Gerald – Specific Hate 00:43:38 9 Impedance – Tainted Love (Underground Mix) 00:46:40 10 Renegade Soundwave – The Phantom 00:50:30 11 Renegade Soundwave – The Phantom (Remix) 00:54:55 12 Kiss AMC – A Bit Of.. (12” Mix) 00:59:41 13 DJ Mink – Hey! Hey! Can U Relate (Hard Rap feat. The K.I.D & Carruthers) 01:04:08 14 Stereo Mc’s – On 33 01:08:37 15 Addis Posse – Let The Warriors Dance (Funky Funky Drum Drum Mix) 01:13:48 16 SL Troopers – Movement 01:17:37 17 MC Martay & D.J. D.B.M. – Beyond Control 01:22:57 18 Jamaica Mean Time Featuring D. – I’m Not Doing It Again (Bombay Mix) 01:26:38 19 Baby Ford – Let’s Talk It Over 01:31:29 20 No Smoke – Africa 01:35:56 21 Needlework – What I Need 01:41:05 22 808 State – Pacific State 01:46:57 23 The Black Dog – Age Of Slack 01:52:56 24 Nightmares On Wax – Dextrous 01:56:08 25 Ten City – Devotion (The Voice Of Paradise Mix) 02:00:50 26 Renegade Soundwave – Probably A Robbery (12 Gauge Turbo) 02:05:42 27 Stereo Mc’s – Toe To Toe 02:10:27 28 The Beatmasters – Ska Train (12″ Mix) 02:14:38 29 Longsy D’s House Sound – This Is Ska (Skacid & Dub Mix) 02:24:12 30 Merlin – Bust Da Move 02:27:32 31 Ester B – Pleasure Of The Music (Remix) 02:32:41 32 Nexus 21 – Real Love 02:37:39 33 Sweet Exorcist – Testone 02:44:13 34 Mad Musician – Jazz Out 02:49:19 35 N.A.D. – Distant Drums
00:00:00 1 Jamaica Mean Time Featuring D. – Rock To Dis (Hip Hop Mix) (feat. DJ Maxi Jazz) 00:06:06 2 The Beatmasters – Don’t Stop The Beat 00:12:41 3 Humanoid – Stakker Humanoid (Snowman Mix) 00:16:31 4 Meat Beat Manifesto – Radio Babylon (Originally Recorded 89) 00:22:31 5 Meat Beat Manifesto – I Got the Fear (Part 1) 00:28:06 6 The Mixbuster Featuring Liaison II – Dance Floor Justice (Dance Floor Justice Inst.) 00:33:17 7 The Mixbuster Featuring Liaison II – Dance Floor Justice (Club Vocal) 00:38:30 8 Jazzy Jason Presents The Mixtress – People Of The Universe 00:43:51 9 Baby Ford – Wigan 00:49:54 10 808 State – Fire Cracker 00:53:39 11 The Orb – A Huge Ever Growing Pulsating Brain That Rules From The Centre Of The Ultraworld (Bucket & Spade Mix) 00:57:52 12 The Black Dog – Tactile 01:02:49 13 Yin Yang – Oh-One (Oh-Too Mix) 01:07:55 14 Exocet – Sweet Talk 01:11:09 15 Forgemasters – Track With No Name 01:15:34 16 Nightmares On Wax – Let It Roll 01:18:38 17 MC Untouchable – Cold House 3D Mix (D’s Devastating Dubbb) 01:20:51 18 Silver Bullet – 20 Seconds To Comply (The Omen Mix) 01:26:28 19 Silver Bullet – 20 Seconds To Comply (The Final Conflict) 01:32:08 20 Nexus 21 – Still Life Keeps Moving (Mental Dub Mix) 01:37:07 21 The Black Dog – Virtual 01:46:03 22 Bizarre Inc – To the Rhythm 01:50:35 23 Meat Beat Manifesto – Strap Down (Part 1) 01:55:40 24 Nexus 21 – Detroit B Boy 01:58:39 25 Cookie Crew – Got To Keep On (12inch Version) 02:03:12 26 Bisca – Learn (Suspiria Mix) 02:08:40 27 Mad Musician – Braek Out
To Underground Resistance’s early fans, it wasn’t surprising when the Detroit outfit released club music with vocals. Mike Banks produced the garage house group Members Of The House, which released a 1987 album and a string of acclaimed vocal EPs. The first release on UR’s main label, Your Time Is Up, featured the singer Yolanda and a take on the sound Kevin Saunderson made popular with Inner City, backed with remixes that hinted at what the determinedly underground techno sound would become.
When they released “Living For The Nite” in 1991, again with Yolanda, it was already clear that vocal house was an integral part of UR’s sound. It worked with their rolling, pumping grooves. But the success of their pure techno overshadowed these moments, especially when the European press portrayed UR as a Detroit techno counterpart to hip-hops’s Public Enemy, noting the masked personas of Mike Banks and Jeff Mills, and their unmasked political attitude. Different strands of the UR sound were eventually channeled into separate outlets, and thus Happy Records came into being, serving as the label for house productions from 1992 to 1994. (It was followed by the sister label Happy Soul.)
Happy Records soon established itself with positive releases produced with frequent collaborators like Niko Marks, Yolanda and Bridgett Grace, the latter a former vocalist of the 1989 club hit “Take Me Away” by the UR predecessor True Faith. Her “Love To The Limit” was a fine example of how well Banks’s production worked with an anthemic vocal. And yet those accomplished records, even if they were recognisable as UR productions with a distinctive signature sound, could still be placed in the early vocal house canon of 1992, before house music reached the huge crowds of later years.
In 1992, vocal house was not as punchy as it would become. Most garage records paired their sweet melodies with swinging, elegant grooves. Usually, the “main mix” of a track was that tune in all its glory, while the more daring ideas were kept for the dubs and instrumental versions. But then Davina’s “Don’t You Want It” arrived, produced by Mike Banks. It was a mighty tune that worked within the conventions of vocal house while also shaking its foundations.
First, there was the intro, where dynamic chords were waiting to be teased by the DJ. When I heard the intro for the first time, it reminded me of David Morales’s mix of Black Sheep’s “Strobelite Honey,” albeit on another level. The track unfolds into a hybrid of uplifting, soulful garage and UR’s deeper techno sound (heard in tracks like “Sometimes I Feel Like” and “Jupiter Jazz“), adding layers of bittersweet pads and dramatic starts and stops.
And Davina? Unlike most vocal tracks, she isn’t heard until a heavenly break around three minutes in. The track was already perfect, but the magic really happens when she begins to sing. The lyrics neglect conventional verse-refrain structure, instead choosing a direct, personal conversation with the dancers. At seven minutes, the track certainly isn’t short, but I’m sure I’m not the only one who’s sad when it fades out.
The high point for any producer is to make a track that reaches classic status. It’s even better when that recognition comes from different scenes and styles. “Don’t You Want It” works within almost any context, from small night to a large rave, uniting more crowds in instant happiness than almost any other. As soon as you hear it, you will definitely want it. And more of it, again and again.
What was your first encounter with „The Call Is Strong“?
Alongside Daddy Gee, Carlton was featured on “Any Love”, the very first Massive Attack single which was a cover of one of my favourite songs from Rufus & Chaka Khan. I was a huge Chaka Khan fan by the way, I went to quite a few concerts. The very first time I saw her, I even waited for her at the backstage entrance because I wanted to have an autograph. Want some trivia? In the 90s, she had been living in my hometown Mannheim for a few years. Back to Carlton, I was really impressed by his crystal clear falsetto. I think “Any Love” came out roughly about the same time as the first Smith & Mighty singles, so this was the starting point of the Bristol sound. I first heard about the Bristol sound when I read about it in i-D magazine or The Face. So I already knew about Carlton when his first album dropped. I bought it at the local WOM store where I used to work back then.
1990 was a very exciting year for club music. Why did you choose this album over others? Why was and is it so important for you?
After you approached me for “Rewind”, I thought that I would have a hard time choosing “that” record. But then I stumbled across a 12” of his song “Cool With Nature” which contains killer remixes by Bobby Konders. So I remembered how much this album meant to me. When I listened to it for the first time, it blew me away. Smith & Mighty did a fantastic production job. At that time, it was very state of the art incorporating elements of Dub, contemporary US R&B, classic Soul, Reggae, electronic sounds as I knew them from House music and even some Swingbeat bits. I fell in love with the ethereal and often spliffed out vibe of the album and Carlton’s songwriting.
How do you rate Carlton as a singer? Why do you think they chose him, and could the album have been as good with another singer?
Carlton’s voice struck me instantly. I think he is a truly underrated singer and it’s a pity that the album wasn’t successful. His voice is really unique, that must be why Smith & Mighty chose him. It was his album, not a Smith & Mighty project in the first place. When you listen to him you can clearly tell that he’s coming from a Reggae background. On “The Call Is Strong” he sounds like a Reggae vocalist singing some kind of otherworldly UK version of R&B.
The album is taking quite some detours. For example „Love And Pain“ could have been a 2 Tone ballad from years earlier, while „Do You Dream“ is right on par with breakbeat pioneers like Shut Up And Dance or 4 Hero. How does „The Call Is Strong“ work as an album? How pioneering was what Smith & Mighty did?
It was very pioneering! The sparse beats, their very English way of bringing together the Jamaican sound system culture and US Hip Hop without sounding like eager copycats. And of course, as they grew up in England, they must have been in touch with 2 Tone stuff as well when they were teenagers. You’re right, you can also trace down elements that became integral with the Breakbeat scene which was already emerging at a very early stage.
I first became aware of Smith & Mighty when they appeared with their Bacharach reworks „Walk On“ and „Anyone“ two years earlier, to which „The Call Is Strong“ sounds like a continuation. I thought they sounded like nobody else at that time. Suddenly Bristol was on the map, making a difference. But could anyone predict how big that difference would be?
You could clearly hear that Smith & Mighty and Massive Attack were making a difference when their first 12”s came out. It all sounded so new and fresh. But I really had no idea how big this Bristol thing would become. Also I had no idea how misinterpreted the whole thing would get when the term Trip Hop emerged.
There were groups emerging in the late 80s that were deeply rooted in sound system culture, but why were Massive Attack and the London equivalent Soul II Soul so much more successful than Smith & Mighty? Were they less traditional and closer to pop music’s proceedings? And why do you think didn’t Carlton manage to establish himself as an ongoing fixture?
Massive Attack and Soul II Soul had the big hit singles. But not by accident, both had good labels with a staff that knew how to work their releases. Smith & Mighty signed a major deal as well – with FFRR, at that time a subsidiary of London Records/PolyGram. The first big project was Carlton’s album, which didn’t prove to be as successful as expected. Then Smith & Mighty were kind of locked in this deal. Under their own name, they only released a four track EP on FFRR. I would say they missed the right moment due to this deal. It took them years to get out of it.Read the rest of this entry »
In discussion with Lerosa on “Electric Café” by Kraftwerk (1986).
There was „Computer World“, then the „Tour de France“ single, then a silence of several years. I was impatiently waiting for their next move, and it kept getting renamed and postponed. Then the first thing I heard at last was „Boing Boom Tschak“. I thought that was pure genius. I suppose you were already a fan before, too. How did you experience that comeback and what did you think of it?
My first encounter with Kraftwerk was when I was 14, the video for „”Musique Non Stop”“ premiered on MTV Italy, with its groundbreaking CGI it was unique at the time. The only similar music I might have had come across then was probably Art Of Noise’s „Close To The Edit“ and Herbie Hancock’s „Rock It“. I didn’t have access to a lot of music as I had no older clued-in sibling nor were my parents into music, perhaps bar my mom who loves her Charles Aznavour and Lucio Dalla, so to be honest I had no idea who these guys were but I was blown away. To me this was new music from a new band! Sometime later I made friends with a guy from Bolzano who told me to check out the „Breakdance“ movie to see Turbo do a routine to „Tour De France“, a freaky song with electric pulses that sounded like a bike chain. After a few months of looking for it I watched the movie, and heard that, too. A year later on holiday in Rimini I shoplifted „Autobahn“ and „Radio Activity“ and I loved both but also not understood them very well as they packed a lot of references to more experimental music I wasn’t quite well versed as a 16 year old. It wasn’t until much, much later that I finally heard „Computer World“. I don’t think I have heard the first two albums yet. I think for a lot of kids back then “Musique Non Stop” was their first meeting with Kraftwerk. Like a lot of people I was a bit disappointed with „Electric Café“ at first. I thought the A-Side was a wonderful statement, but the B-Side lacked the same consequence. I liked the sounds, but I was not that impressed with the tunes. But it has grown on me immensely, starting only shortly after.
Is this album perfectly flawed, a good example for an album that does not lose its impact due to shortcomings?
I think after getting the 12“ for “Musique Non Stop” and eventually finding the LP I too might have been not very enamoured with B-side with its cringey songs (in English, that’s the version I had). It was too much like the music on Italian commercial day time radio and I was being drawn to these new sounds, Hip Hop and early House, that were starting to seep in through the late night radio stations and occasional afternoon clubs we had in Italy for 14 to 17 year olds. I wanted to hear this new Rap music and these new weird electronic House beats, I had no time for the „Telephone Call“ etc. Nevertheless I was charmed by them as the melodies and arrangement were very catchy.I am not sure if I ever thought of it as flawed; it felt like a cohesive whole, just one where I failed to connect the dots, which is how I normally felt whenever I heard something new that really alienated me, say Peter Gabriel „IV“. I just always thought I didn’t know enough to understand it rather than thinking, „oh this is a bit shit“. I think it is insecurity that made me look at it with respect rather than try to judge it as an album. I don’t think I owned many albums back then at all.Whichever way it is, the B-side songs eventually have become the ones I play most often, especially „Telephone Call“, which I love very much. And likewise I love a lot strange pop albums like Peter Gabriel’s „IV“, or Frankie Goes To Hollywood’s debut album or indeed „Who’s Afraid Of The Art Of Noise“.
Ralf Hütter had a severe cycling accident that slowed the work on „Electric Café“ down considerably. Do you think the flaws of the album are there because they rushed proceedings to not lose more momentum?
Who knows. I’d like to think that this was delivered the way it is quite intentionally to showcase the connection between the new sounds and beats of the A-side and the more traditional songs on the B-side, all held together by the electronic sounds. I think I always looked at this record like that; as a sort bridge between the old and the new.
The working title of the album was „Techno Pop“, and they even renamed the album later on. But isn’t the B-Side more Techno Pop than the A-Side? Could’t they have made one album that was pop, and one that was pure rhythm?
Well, I am sure that back then I probably wished the same, I would have loved more of the A-side but in hindsight maybe that would have really made it too niche and austere an album to their ears, coming as they were from a mixed background of musicality and experimentation, I suppose they were trying to find a balance on one record rather than being too pragmatic and split it into two separate entities.
I once imagined that „Sex Object“ was actually a first glimpse of a whole other concept album that was neglected, just for the lack of a better explanation why it was included. Especially the lyrics seemed to clash with their usual man machine infatuation, they are very human. As are the lyrics of „The Telephone Call“. How human are Kraftwerk?
I think they are very human and that’s why they are so popular to this day. Their appeal goes way beyond the mere “electronic music” tag, it doesn’t rest on the laurels of introducing a lot of complex machinery to music. They articulated the new relationship between humans and the technological world with sounds that managed to be extremely human and extremely non-human. Quite the trick. Read the rest of this entry »
In discussion with Steve Fabus on “Let’s Start The Dance” by Hamilton Bohannon (1978).
How did you discover „Let’s Start The Dance“? Was it in a record store, or in a club?
I discovered “Let’s Start the Dance” in my slot at my record pool, BADDA (Bay Area Disco DJ Association) in San Francisco in 1978. It was the album „Summertime Groove“, where „Let’s Start the Dance“ is the first track on side A. When I first heard it I was blown away by it and couldn’t wait to play it at the club that night. When I played it the crowd went crazy and it was the peak record of the night, not surprisingly.
When the record came out, you had already started your career as a DJ in San Francisco. What makes this record so special for you? And was „Let’s Start The Dance“ a defining record for the sound you played back then?
I was playing loft parties and underground clubs and at two of the major clubs in San Francisco, the I-Beam and Trocadero Transfer. I know one of the reasons I was brought into the scene was because I incorporated a lot of the R&B, Groove, Funk and soulful sounds from Chicago and New York and mixed it with the NRG and Electronic sounds already being made in San Francisco, and coming in from Europe. „Let’s Start the Dance“ was and still is a defining record for me because it is such a fusion of so many of these sounds but most importantly — it’s a jam. Its many elements, Jazz, Blues, Rock, Funk, Electronic, Boogie, take you on a trip in a whole movement building up to a crescendo of orgasmic release. It relates to other fusion sounds like the Isley Brothers’ „Live It Up“, Crown Heights Affair’s „Dancin“ and many of James Brown’s tracks.
Hamilton Bohannon was a drummer originally, and he started releasing records that were very focussed on rhythm and very distinctive from the early 70s on. What was his role in the history books of Disco music?
I first heard Bohannon in Chicago in 1975 at Dugan’s Bistro, a major downtown gay club. The track I heard was „Bohannon’s Beat“ which is on one of the early albums on the Dakar label. It stood out to me because it didn’t follow any of the commercial rules of the day. It presented itself as a unique sound — experimental and minimal, a mantra to hook into. It inspired and encouraged DJs to take Disco underground. It was like a loop, a tool to use to improvise, phase or use as a bridge. Mantra is a major theme for Bohannon and he carries it forward with „Let’s Start the Dance“, which is just the opposite of minimal. He turns it up with the full on jam that puts dancers in an intense trance that they have no choice but to ride to its conclusion. It is very rich with a number of instruments played including guitar and keyboard with Carolyn Crawford’s couldn’t-get-any-better-voice. What this record represents to every generation is that this is the real deal musically.
Are there other Bohannon records you rate nearly as much?
My other all time favorite is „The Groove Machine“ – as intense as “Let’s Start the Dance” but trippier with its phased out psychedelic break and its total fusion hard funk rock electronic groove. When I hear this it makes sense that Bohannon early on drummed with Jimi Hendrix. Both “Groove Machine” and “Let’s Start the Dance” feature guitar riffs prominently.
1977 saw the peak of the classic Disco era. Was „Let’s Start The Dance“ an early sign that Disco could live well past the end of that boom? That the sound could move on and still matter?
“Let’s Start the Dance” is timeless because as I had mentioned before it’s a whole movement and jam where you’re hearing real instruments. It always ignites a dancefloor and from the first note you want to pay attention. The lyrics come fast with “Everybody get up and dance – Ain’t ya tired of sitting down?” This could be cheesy but it’s not, and you know it’s not and surrender completely to it right away. There is no way you couldn’t let yourself be seduced by it and every generation experiences this seduction. It still matters because it’s a prime example of the authenticity of Disco of that time period and that’s what lives on. Read the rest of this entry »
In discussion with Anno Stamm on “Complexification” by T Power (1996)
I assume you were familiar with Drum & Bass artists before this record came out. How did you first encounter „Complexification“?
It was a vinyl that my older brother had bought. At that time I was not going to the record stores by myself, so my older brother was basically my record store. When I came home earlier from school, I would go through his record collection and then record the vinyls that I liked the most to a cassette with the Hi-Fi tower from my father. This was always very “James Bond” like, because touching my brothers vinyls and touching the Hi-Fi tower from my father were two major offenses, which would turn out really ugly if one of them would have caught me.
Why did you choose this particular track, the b-side to „Symbiosis“, and not another classic of that era, or even a different track by T Power, like his much better known „Mutant Jazz“ for example?
For me this song stands out in many ways and I think even for T Power this song is outstanding and unique. You are rather out of your mind when you produce such a song, or you are in an extremely clear state of mind. It is a song which breaks so many rules but still manages to be simply breathtakingly beautiful. That is a goal that I admire very much in making art.
Is Marc Royal aka T Power a producer you rate particularly high in Drum & Bass history?
I must admit that I reduce T Power pretty much to that one song. I like his general sense for sound and chords but I am not really an expert on his complete musical back catalogue.
„Complexification“ is not necessarily a typical Drum & Bass track. It is much slower, and it is working with Jazz leanings in the synth and bass sounds, while the beats and groove are hinting more to the sound West London’s Broken Beat scene. But does „Complexification“ transcend musical folder categorization, or does it even have to belong to a certain context?
I chose this track because for me it is a good example for “beyond genre”. This song is perfect in every way. It is idiosyncratic and lives in its own cosmos. There are no genres in that cosmos. Sometimes that is the problem with genres. You get into a routine because there are rules, schemes, patterns and templates you work in. You get lazy in terms of decision making. This song is not lazy at all. Every note is in its exact right place but it feels like it really started out with a tabula rasa thinking – everything can happen.
Do you like both, Drum & Bass and Broken Beats, and do you treat them differently, or do they come from the same origin?
In terms of “Drum & Bass” I started with the “Jungle” phase, because as you might know I am a big sucker for the drums, especially if there are played by the devil himself. That is why I really was into that fast, wild, raw and breaky material. Actually when it was called “Drum & Bass”, that whole thing was nearly over for me. Because all the wildness basically turned into one sterile
drum-loop… with saxophone samples. There was a big shift from the rhythmic energy to a generally more chilled background music approach. So, I think they may come from the same origin – but I would treat them very differently.
There are other fine examples where Jazz elements were integrated to the sound palette of Drum & Bass. Are you interested in Jazz, and how it can be worked into other music?
When there was the trend to just sample something smooth and jazzy over a fast drum loop, that was not very interesting for me. Sampling some “blue notes” doesn’t make you a “jazz cat”. For me and most of the people Jazz is about expressing yourself through playing an instrument, and also pushing the boundaries of that instrument. So, you have to have a plan if you want to achieve that purely with software. Squarepusher’s “Hard Normal Daddy” is a good example from that time, how an electronic version of Jazz may work. He brought the real instrument into the software world in a very smart and respectful way. But in terms of Jazz is about pushing boundaries of an instrument, then one must say that in that days there were a lot of other electronic composers who would
deserve it much more to be called “Jazz Cats”. Read the rest of this entry »
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