Joanna Law herself posted this on Facebook earlier today, a page from the book The Woman Who Went To Bed For A Year by Sue Townsend who passed away last year. For those not familiar with the title 70 Minutes of Madness, it’s the name of the Coldcut Journeys By DJ mix that myself and PC helped out with back in 1995.
Two very different mixes feature on Solid Steel this week – black channels offer up a whole heap of spooky electronica including new material of their own in a mix called ‘Around You is The Machine’.
Mr Armtone’s ‘Σmotions’ collection goes for the dancefloor and adds a full AV mix to go with his selection
Joe Clay interviewed Coldcut, PC and myself back in January for a 20th anniversary piece about the making of ‘Seventy Minutes of Madness’, Coldcut‘s contribution to the Journeys By DJ series back in 1995. It seems crazy that this was two decades ago now but time flies when you’re having fun. It’s a pretty extensive delve into the circumstances and techniques involved in the creation of what they’re calling ‘the greatest DJ mix album of all time’ *blushes*.
This piece also reveals why Coldcut never made a follow up but highlights the logical successor to the mix and kicks off a series on the Quietus where writers pick their favourite mixes. Incidentally the photo above was taken in Japan around 1996/7, back stage with DJ Takemura before a gig. If you’ve never heard the mix before or fancy a refresher after reading then someone called GarethisOnit has put it up on Soundcloud as part of a Classic Mix CD Series he’s creating.
On the 23rd anniversary of The KLF retiring from the music industry, deleting all their back catalogue (and later vowing 23 years of silence), comes this new mix from United States of Audio. He’s assembled a chronological trip through the band’s history from underground bedroom samplers to Stadium House pop overlords.
As ever with USofA’s mixes it’s perfectly threaded together with interview snippets that tell the tale (listen out for how they build ‘Doctorin’ The Tardis’ sample by sample at one point). If you don’t know their story then jump in and if you do then all hail the Mu Mu, The Timelords and the Kings of Low Frequency and wonder where that 23 years went.
We have a brand new Solid Steel website, built for us by antipattern, which finally does all the things we wanted it to do with the vast archive of mixes we’ve accumulated from the last 27 years. We’re very pleased with the results as the site is full of easy to navigate touches that leave plenty of room for a gallery of artwork and photography to grace your desktop, tablet or phone whilst you listen.
Here’s a quick walk through: (above) Main landing page with Featured mixes bar on the right – just tap Featured to close it. (Below) Once a mix is selected just hit play on the Solid Steel logo on the left, you can jump through the mix once it’s loaded or pause by tapping the logo again. Click Tracklist to open a side bar with a scrollable tracklist.
(Above) Click the Synopsis tab to bring up details of the mix plus a link to Soundcloud where you can find the mixes and leave a comment or download. (Below) If you fancy finding an old mix there are several ways of accessing them: the good old Search button in the middle of the three top left circles or the Timeline button next to it which brings up a new graphic showing the decades from 1988 to the present.
(Above) Click the Year you want and a side bar will appear with a scrollable list of all the shows from that date. You can also then scroll vertically through the years too. (Below) Finally there’s an A-Z directory down at the bottom left so that you can see if an artist you love has contributed a mix to the show, hit the name and all their mixes will appear in a scrollable side bar.
Big thanks again to Suki and Paul at antipattern, go visit their new site, DK for producing the whole project and Tom and James at Ninja for the behind the scenes help.
Above was filmed at the Erarta Museum of Contemporary Art in St. Petersburg earlier this year, check around the 1 minute mark for the stage-diver
Tonight DJ Cheeba, DJ Moneyshot and I retire the ‘3-Way Mix’ live set as part of the line up at the Funk & Soul Club at the Electric Ballroom in Camden. It’s been 18 months since we debuted it in Paris and since then we’ve toured it across Europe, to Russia, Canada and Australia, adding a full video component as we went. The 25th anniversary of the ‘Paul’s Boutique’ album it’s based on has come and gone and the third anniversary of MCA‘s death fast approaches. Time to put it to rest and move on…
DJ Cheeba, Moneyshot and I are putting our 4 deck, 3 DJ reconstruction of the Beastie Boys‘ ‘Paul’s Boutique’ album to bed for the foreseeable future on April 17th at the Funk & Soul Club in London. We feel that it’s done it’s job and we want to end it 18 months after it’s premiere and just 2 weeks short of the anniversary of MCA’s death on May 4th. We’ll have the full AV set up for this gig and Moneyshot’s other group, The Allergies, are also on the bill amongst others with Mixmaster Morris playing the second room as well. It’s at the Electric Ballroom, Camden and tickets are £8 advance.
A new mix I did back in January has finally come to the top of the pile for Solid Steel. ‘Future Shock 2′ is the follow up to last summer’s first outing of retro electronica and future beats. This was completed just as Edgar Froese passed away at the end of January and I went back to it to include a track and interview snippets in tribute to him. Sadly it’s been waiting in the queue for a spot on the show for two months so the moment has gone plus we’ve lost other greats or equal importance since but that’s what comes with popularity and the show has been going from strength to strength over the last couple of years.
The first 10 minutes of this took an age to get right but it’s one of the most satisfying slow build intros I think I’ve ever sequenced, the pacing and layers unfold in a way that’s hard to engineer often. From then it’s a measured climb into harder and heavier waters until we hit Mark Moore & William Orbit‘s remix of ‘The Future’ by Prince. In fact there are many builds and breakdowns in this mix but of the slow burn variety rather than the euphoric kind, I’d imagine it’d be pretty good to drive to at night.
My man DJ Cheeba recently performed his live rescore to Ed Wood‘s infamously so-bad-it’s-good B movie, ‘Plan 9 From Outer Space’ at the Watershed in Bristol. He’s just put a mixtape version online for all to hear as well and, even though I’m biased and it features two tracks of mine, it’s excellent.
During the live show he uses two decks, a third QFO turntable and even Coldcut‘s VJamm software to remix live. He’s also looking for shows to perform it at and you can get more info about it here. Book him, he’s one of the most forward-thinking DJs utilising new technology out there today as well as one of the most creative.
Scott ‘Boca 45′ Hendy has a new LP out at the end of March, a collection of old school beats, breaks, raps plus a trio of the highest caliber soul/funk joints I’ve heard in a while featuring Stephanie McKay on vocals. The Good People also feature on one track, ‘People Are You Ready’ which I saw tear up the room when Scott dropped it in Bristol late last year. ‘Dig, Eat, Beats, Repeat’ is out on March 23rd and a very limited run of 300 LPs is available exclusively upfront from the Digga Please? Bandcamp page right now. Here’s a 5 minute taster of the album below…
Being one of the men behind the new 45Live collective Scott also has a brand new, all 7″ mix bursting with the Funk as well as Hip hop classics and a few left turns like Pierre Henry‘s ‘Psyche Rock’.
Big Fish Little Fish was amazing on Sunday, god knows how many people crammed into the Clore Ballroom at the Southbank in London. So many at one point that we had to stop the music for 10 minutes for an unscheduled break while the staff tried to calm a swell of the people trying to get in. Above is at the start as people were coming in, you can see House of Pain’s ‘Jump Around’ on my laptop as the opening track.
The parachute dance (above) is a regular feature of the BFLF parties and this one was different in that they did it three times so that people got a chance to be under it, still didn’t stop a fight by two mums nearly breaking out to get underneath :). Below you can see just how much it had filled up by the end as families poured into the totally unprepared ballroom to rave inside away from the rain. Despite it being a roadblock all the staff were lovely and Hannah and Natasha from BFLF handled the whole thing like pros.
I made a mix for them back in January that I’ve been meaning to post it on here but what with the Selected Aphex Works mix I didn’t want to push too many mixes out there. But here it is – Warning! Pop Alert! This is made as much with kids in mind as adults, probably good for a picnic or birthday party rather than the more adult-centric classic rave and jungle I played on Sunday.
Few can’t have heard that earlier this month user48736353001 started uploading copious amounts of old tracks to their Soundcloud account claiming that they were a fan of Richard D James aka Aphex Twin and had made lots of tracks in his style. Very quickly speculation spread that this was actually Richard and these tracks were selections from his mythical archive or thousands of unreleased tunes, some dating back from before he broke through in the early 90’s. As more and more tracks appeared and comments started appearing from the user it became apparent that this was indeed the real deal and Xmas had either been delayed by a month or arrived ridiculously early.
I was suspicious at first but when a track named ‘8 Utopia’ was uploaded I knew that even if the person uploading and commenting wasn’t Aphex then the music was. Way back in the mid 90’s I was made a ‘best of’ tape of unreleased work by a friend of Richard’s on the condition that I kept the content to myself. As you can see from the track list above, the compiler wasn’t 100% sure on a lot of the titles but the track that starts side 2, ‘The one that makes you shiver’, was the same as ‘8 Utopia’, albeit in far worse quality. As more tracks were uploaded I started recognising more tunes with even a couple of titles matching. A total of 5 out of the 17 tracks from the tape appeared, with another 7 having been heard on RDJ-related records elsewhere since the tape was made, leaving me no doubt that this was Aphex. Here’s how the original tape titles match up (and bear in mind that the cassette titles could be wrong in the first place):
i. ‘AFX vs UZiq’ = not uploaded to Soundcloud
ii. ‘-?-‘ (’94) = track 11 from the Joyrex tape that was uploaded a few years ago, although at a faster speed
iii. ‘Untitled Jungle tune’ = track 10 from the Joyrex tape that was uploaded a few years ago, although faster
iv. ‘Epic Breakbeat’ = not uploaded to Soundcloud
v. ‘Mantra’ = the track known as ‘Humanoid Must Not Escape’ from the Caustic Window ‘Joyrex J9′ picture disc (303 side), you can hear a sampled voice say what sounds like ‘Mantra’.
After ‘Mantra’ comes a short 30 second piece of electronic glitching with the sample, “I had to kill Bob Morgan because he made a mistake”, the same as on the ‘Bob Morgan’ track included in the uploads.
vi. ‘AFX vs. Uziq’ = ‘Giant Deflating Football’ from the Mike & Rich album on Rephlex
vii. ‘unreleased Ventolin’ = ‘phlangebeat’ although a lot slower on the tape
viii. ‘Bradley Styder’ = the first track from ‘Bradley’s Robot’ from the Strider B. 12″ on Rephlex
+ scanning by R.James = ‘Phone Pranks’ (Part 1 & 2) from the original Caustic Window LP that was finally released via a Kickstarter by WATMM.
i. ‘The one that makes you shiver’ = ‘8 Utopia’
ii. ‘-?-‘ (’93) = not uploaded to Soundcloud
iii. ‘GAK track’ = ‘d15-10 dulcimer dub’
iv. ‘—- ” —–‘ = ‘Untitled’, track 5 from the officially unreleased ‘Analogue Bubblebath 5′ EP
v. ‘-?-‘ (’91/92) = not uploaded to Soundcloud
vi. ‘Dance To The Beat’ = ‘dance2thebeat’ although the tape version is speeded up noticeably so that it clocks in at under 4 minutes.
vii. ‘Fresher + Cleaner’ (The Best Aphex Track Ever!) = ‘Fresher + Cleaner’ minus the intro hi hats
viii. ‘AFX vs Wagon Christ’ (Hissy Mix) = not uploaded to Soundcloud
Looking at some of the dates on the titles – mid to late 80’s – I’m slightly dubious as this would mean RDJ was making fully-formed gabba Techno at the same time as the Detroit pioneers were weaving their magic. Anyway, back to the present day and, eventually, 155 tracks appeared and, after making my way through them all, I pulled out 40 favourites for a mix. These were further whittled down to 31 with the addition of interview snippets from Radio 3‘s Mixing It show and John Peel‘s Sounds of the Suburbs TV program, and the whole thing clocks in at 86 minutes.
My Top 10 AFX Soundcloud tracks in no particular order:
Red Calx / Red Calx [slo]
Make A Baby
Luke Vibert – Spiral Staircase [afx remix]
Th1 / th1[slo]
It’s been a while but here’s my first mix for 2015 and Solid Steel and it’s a second installment of ‘Magpie Music’, the name for mixes where I generally group the more psychedelic, fuzzed up, heavy beat productions I like. If it’s got a live band feel then it’ll probably be in one of these mixes for the moment but they can also include rawer, sample-led Hip Hop and Trip Hop cuts. My other series – Future Shock – is reserved for more electronic, sci-fi synth and soundtrack work although there’s always room for cross over.
I’ve decided to split music into there two camps for the foreseeable future as I find they focus the mixes more and make for a better overall listen rather than lumping the two together. There will of course be other themed mixes coming your way (I must get round to KKK9, The Lynch Party pt.2 and the Duck Rock audio documentary one day). Oh, and there’s the Alphabet Series too which comes and goes when it feels like it of which the mythical lost Sesame Street compilation is part of.
Anyway, this mix features some of my favourite songs from 2014, certainly from the second half of the year anyway. Plenty of The Heliocentrics, Jane Weaver, Temples and Ghost of a Sabre Tooth Tiger whose albums I adored and still do. I’m finishing up the second Future Shock mix right now so hopefully that should be along sometime next month too.
A decade ago this week (I think it was a Monday or Tuesday) I debuted the expanded ‘Words & Music’ version of ‘Raiding The 20th Century’, this time lengthened to an hour and featuring specially recorded voice overs from Paul Morley. It was an attempt to chronicle a fragmented history of sampling from the advent of music concrete through to tape cut ups, sampling and finally the Bastard Pop/Mash Up phenomenon at the turn of the century.
Paul’s inclusion was through his book, ‘Words & Music’ that I’d read shortly after completing the first 40 minute version of ‘Raiding…’ the year before. The two mirrored each other so closely in places that the opportunity to revisit and revise was too good to pass up. Also the fact that I’d cribbed the title from a piece of text Paul had written nearly 20 years before didn’t go unnoticed, sometimes there are too many coincidences to ignore.
Since then it’s had a cease and desist take down notice from EMI and an attempt made at a video version but still, through the miracle of the internet, it endures. Here’s a collage that I started back at the beginning of 2006 and finally finished this morning, based on the Sgt. Peppers cover, of Paul and I alongside Alvin Lucier and Kylie, surrounded by some of the cast of thousands that make up the recording.
You can still listen to the mix here via UbuWeb but it’s out there in all sorts of corners of the internet.
Coming to Solid Steel next Friday…
If you’ve arrived here via the Dust & Grooves site feature on my collecting then the following is an in depth explanation of the mix made especially for that article. There will be some duplication with the D&G piece along the way, hopefully there will be plenty more to hold your attention though.
If you’ve not yet seen the feature and the beautiful photos by Eilon Paz then get yourself over there and check out the wonderful site when you have a spare couple of days.
How to make a mix of the favourites from your record collection? Impossible at best for as soon as you start combing the racks for ‘the essentials’ you quickly realise that half of it is worthy and you’re going to have a 10 hour set on your hands. For my Dust & Grooves mix I set myself a brief of picking tracks that had made a huge impact on me on first listen, shivers down the spine excitement, the shock of the new. Mind blowing sounds that somehow influenced me and fed into the mess of musical connections and contradictions that make me who I am today.
I also wanted to present them in the order in which they were released as far as possible thus making a chronological timeline as my listening habits progressed. This was a ridiculous idea and made the whole thing so much harder but sometimes interesting things happen from constraints and that probably says as much about me as any of the records here. Keeping this down to under an hour was also a tough call and sacrifices had to be made, not just losing artists but also in editing down songs – the essence of the essentials if you like. None of these records or songs are rare (with one exception…) and you will most likely be able to pick any of them up cheaply and easily. This isn’t some showboating ‘look at my rarest items that you’ll never have’ kind of mix, it’s about the songs and sounds that have signposted my early musical input and led to later collaborations both musical and artistic.
We start with an intro from Ken Nordine, presenting ‘Sound Paintings’ and he’ll be returning throughout as a guide, touring the record bins and opening doors to different parts of the psyche. He has a connection to several people in the selection, Mixmaster Morris (who features later under his Irresistible Force guise) first turned me on to him when we first met and I later went on to work with Ken in 2000 on a version of his ‘The Ageing Young Rebel’. When Eilon from Dust & Grooves came to my studio and I started pulling records he immediately recognised the Word Jazz LPs as Dom Servini had shown him the same when he’d visited his home earlier in the trip. So, even though I didn’t hear Ken until 1993, we start with him for Eilon and already the chronological timeline idea is knackered although it is technically the oldest record in the selection, having been released in 1957.
OK, to the real beginning: Kraftwerk‘s ‘Autobahn’, I probably heard songs before this but I don’t remember a piece of music affecting me in the same way this did. Heard from a tape my dad made of the single in the mid 70’s (I would have been about 5) and it stuck with me because it scared me and signals a love of electronic music. Even more so because the band would go on to become so influential not just to me but for so many.
It’s well known that the band took inspiration from The Beach Boys for the ‘fun, fun, fun on the autobahn’ refrain so I paired the two up with a slice of my favourite Beach Boys song (and there are many), ‘Surf’s Up’. I’m not ashamed to admit that this track has reduced me to tears on a few occasions and I was obsessed with the whole ‘Smile’ saga from whence it sprung as the nineties came to a close. Here I have each band dueting, trading lines in the tradition of all the best mixes, two elements that shouldn’t work together but in doing so create a third. Gary Numan was another electronic pop musician who instantly appealed when ‘Are ‘Friends’ Electric?’ climbed to the no.1 spot in the charts in 1979 and I followed his career for a good few years afterwards.
The Queen soundtrack to the 1980 remake of Flash Gordon was the first cassette album I ever bought (I didn’t actually have a record player until I was 13) and I played the shit out of that little tape. In the tradition of listening to one collection again and again I got to appreciate the album as a whole rather than cherry pick my favourites. It was paced the same as the film and included dialogue to push the story along and spoken word has always been a favourite component of ‘music’ for me. The same thing propels the intro to ‘Blush Response’ from the score to Blade Runner, the tense meeting of Deckard, Rachel and Tyrell before the release of Vangelis‘ icy, fluctuating keyboard work. Both of these soundtracks signpost an early love of sci-fi film with synthesiser-led scores (the orchestral bombast of Star Wars never really did it for me).
The Human League, although starting out around the same time as Numan in the post punk landscape were beaten to the punch chart-wise by Gary and the cash-in re-release of their first single, ‘Being Boiled’, post-‘Don’t You Want Me’ success was the track that resonated most. That eerie build up with Phil Oakey‘s, ‘OK, ready, let’s do it’ casually left in before Martin Ware‘s gothic Korg 700 bass line comes in. Listen to the voice of Buddha indeed, so great we included it near the start of mine and DK‘s ‘Now, Listen Again’ Solid Steel mix CD.
Eno & Byrne‘s world music collage collaboration has never been equaled to my mind and although I didn’t hear it until the early 90’s it’s tucked in here as it was released in 1981 and dovetails nicely with another world music smash and grab by the white man.
Malcolm McLaren‘s ‘Duck Rock’ album had all sorts of ramifications in my musical landscape, not least because it bought a bastardised version of Hip Hop to Europe with graffiti, scratching, rapping and breaking alongside the Westwood fashion and Keith Haring artwork.
I vividly remember first hearing ‘Buffalo Gals’ on the top 40 countdown and almost being disgusted by the mess of it. As a song structure it just didn’t make any sense at all, seemingly random elements all thrown together periodically stopping to be primitively scratched. My 13 year old brain couldn’t comprehend it at all, I still don’t think it’s a great song but the album it comes from is a giant flagpole for things to come, mainly for the production team of Trevor Horn and the early incarnation of the Art of Noise.
Which brings us to a little Zang Tuum Tumb megamix section, full of synths and samplers, sex and slaves, drum machines and ‘Dr Mabuse’. Art of Noise’s ‘Beatbox’ was the first release from the label in late ’83, closely followed by Frankie Goes To Hollywood‘s ‘Relax’ (which only gets a tiny look in here unfortunately). Propaganda‘s debut, ‘Dr. Mabuse’ was the third release and appears in extended form before the title track of Frankie’s debut album gets a truncated turn.
Rounded off by a little gem of an unreleased mix of Grace Jones‘ ‘Slave To The Rhythm’ by Bruce Forest of Better Days fame. This is where I show off my digging credentials for a minute, this percussion-less mix for voice and orchestra was done on spec in the early 90’s by Bruce and remains unreleased as yet (although I’m trying). For the full story know that this is an edit of the full version and another exists that reinstates a lot more of the EU GoGo percussion. Both were done from master tapes at the Sarm West studios in London and hopefully one day they will see a proper release.
We’re now in the mid 80’s – a turning point for pop music and also for me as I dove headlong into Hip Hop with a passion for the rest of the decade. Without a pause we jump from ‘the Rhythm’ to ‘the Rebel’ (see what I did there?) and Public Enemy‘s classic squealing sax ‘n’ funky drummer smash. I remember the hairs on my neck standing on end when I first heard that transformer scratch after Chuck D roared, “Terminator X!” (even though it was probably Johnny ‘Juice’ Rosado who made the cuts).
I originally had four PE tracks in the mix, starting with ‘Son of Public Enemy’, the B side of their debut under that name and the first I heard played on the radio. The JB’s ‘Blow Your Head’ moog solo was so alien in Hip Hop and with the formless Flavor Flav freestyle over the top it just sounded even more extraterrestrial. This was excised from the mix along with the Terminator X Getaway Dub of ‘Your Gonna Get Yours’ from the A side of ‘Rebel…’s first release but I did also include ‘Countdown To Armageddon’. The opener from ‘Fear Of A Black Planet’ is in there because I was actually at the gig it was recorded from at the Hammersmith Odeon in London and even briefly met Chuck and Flav outside beforehand. Everyone has a few ‘I was there’ gigs and this is one of mine.
Around the same time a couple of self-appointed dance floor hooligans were showing the yanks that they could play the same game and after the Double Dee & Steinski homage of ‘Say Kids What Time Is It?’ Coldcut kicked the doors in with ‘Beats n Pieces’. One of the heaviest sample-led dance floor demolishers to emerge from the UK up until Depth Charge waded into the fray (sadly missing from the line up here) and, unbeknownst to me at the time, set to play a huge part in my musical journey (into sound) during the next decade.
Rewinding a couple of years to 1985 when I had a revelation the first time I tuned into Mike Allen’s Capital Radio weekend Hip Hop show and amongst the unaffordable US imports I would come to covet was Word of Mouth‘s ‘King Kut’. Featuring DJ Cheese who would go on to win the DMC Championship a year later on the cuts, it was everything I wanted to hear at 15 – beats, rhymes and scratches. Cheese’s cuts were hugely influential for me but he never got a chance to shine much after his DMC win although he guested on many tracks, he received little or no credit and fell foul of bad management.
The Beastie Boys‘ ‘Shake Your Rump’ needs no introduction or explanation except to say that most tracks in this mix are just one extract from albums that are cornerstones of my collection and musical education. Several have had to be left out such as De La Soul, Tackhead, Double Dee & Steinski and Foetus because of time constraints and musical shoe-horning for the sake of it isn’t my style. The The had to be in the mix though and I’ve not picked an obvious track for this one, more something that suited the mood and tempo of this particular part of the timeline. ‘Twilight of a Champion’ is from side 2 of ‘Infected’ but I could have picked anything from that or Matt Johnson‘s ‘Soul Mining’ debut. Interestingly the orchestral arrangements on this track were by ZTT artist at the time Andrew Poppy and Art of Noise member Gary Langan mixed a couple of the tracks on the LP.
From here we jump back into Hip Hop with more UK rap from Hijack, giving Public Enemy a run for their money and influencing DJs like Q-Bert in the process with the amazing cuts from DJs Undercover and Supreme. This group were so good they were one of the first UK acts to land a US record label deal, with Ice T‘s short-lived Rhyme Syndicate, whilst they were nurtured by Simon Harris in Britain on his Music of Life label. Note how only a year on from Coldcut‘s game-changing remix of ‘Paid in Full’ they reference it at the start of the track and then rip the needle off the record. So many people started copying the ‘This Is A Journey’ spoken word back then that it got old real fast. Another Brit copping an ear to what the Americans were doing before he moved to the West Coast was Jack Dangers and Meat Beat Manifesto, an early adopter of sampling after starting with more industrial roots. ‘I Got The Fear Pt.1′ from the amazing ‘Storm The Studio’ LP is cut from the same cloth as ‘Hold No Hostage’ being that they both sample from the same source except Hijack beat MBM by a year.
There’s a quick Jungle Brothers a cappella from their criminally undervalued ‘Done By the Forces of Nature’ LP before we hit Acid House territory with Stakker‘s ‘Humanoid’. This is the track were I finally ‘got’ what Acid was about after hearing various bits and pieces and not being too impressed (I was heavily into Hip Hop’s golden age at the time). Also the fact that Brian Dougans – later to become one half of the Future Sound of London – was responsible for this tells you something and I had their ‘Expander’ lined up to go into the mix later but couldn’t make it work.
William Orbit‘s stunning Spatial Expansion remix of S’Xpress‘ ‘Hey Music Lover’ follows, search out the full length version as it’s one of the best mixes he’s ever done and a pinnacle of the UK dance music scene of the late ’80s. The Orb had to feature and, were I keeping to the progressive timeline, I would have included ‘Little Fluffy Clouds’ or ‘A Huge Evergrowing Brain…’ at this point. Instead I’ve jumped forward a year to ‘Close Encounters’ from their second album as it suits the wind down into the ambience that follows better.
By 1990 I had moved to London to study graphic design and left most Hip Hop behind for electronic ‘dance’ music, the copycat gangsta-isms of Rap beginning to bore me. Madchester and baggy were in full swing but I was more interested in ‘intelligent techno’ as it became known and the emerging ambient scene. The Orb, were central to this along with the loosely affiliated KLF who soon made the jump into the pop charts. The latter’s ‘Chill Out’ LP knocked me out as I’d never heard anything like it spread over a whole album before. It’s pretty difficult to choose a single track from so I’ve just included some moments that stuck in my mind – “rock radio, into the 90’s and beyond” seeming apt at this point.
Another huge champion of ambient music both then and now is Mixmaster Morris aka The Irresistible Force who I met at some point around 1992 and was a huge influence on my musical education for a few years. He played so many artists who are now considered the foundations of the genre to me for the first time. He also gave advice and info including a contact for Matt Black of Coldcut which set me off on the path I would follow for the next two decades. I have much to thank him for and include a section of ‘Mountain High (Live)’ from his unfairly overlooked debut ‘Flying High’ here in tribute. Find a copy, it’s beautiful and this track alone is 20 minutes long.
Since I’d moved to the capital I had access to the newly launched KISS FM station with Colin Favor and Colin Dale‘s techno shows on a Monday and Tuesday night which I religiously tuned in to. This was where I first heard Aphex Twin‘s ‘Digeridoo’ which was like being run over by a steamroller at the time as it was a good 10 bpm faster than everything else. That started a love of his music which continues to this day and nearly rounds out the mix as I’ve chosen to stop at 1992 – a particular turning point in my life as well (a story for another time).
For the final track (the encore if you like) I’ve chosen a song from an artist I’ve held in high esteem for decades and one which most would have assumed should have kicked off the mix rather than ended it. Adam & The Antz’ ‘Zerox’ was the first record I ever bought – four years after it was released it has to be said – and the band were the first I would hold up as being crazy about. From the moment I heard their first chart entry, ‘Dog Eat Dog’, on the radio I was in love with this group as an impressionable 10 year old and as soon as I got a turntable their back catalogue was the first one I collected. For me their early post punk period that this hails from stands the test of time the best and I finally saw Adam live only last year. Ending where I began seemed to be the best option for a 140 bpm punk single rather than try to sandwich it between Kraftwerk and Queen, it’s rightly home on the timeline.
So, that’s a little trip back in time through the tracks that impacted upon my impressionable mind for the first 20 years or so of my life, maybe one day I’ll do an ‘Influences Pt.2′, kick off from 1992 and see what surfaces. It’s funny reading all this and the D&G article back (originally done about 18 months ago) – this is where I’ve been and although I still hold many of these records dear there’s still a long way to go until we arrive at where my head’s at today.
The new edition of the Dust & Grooves book is about to ship out as of writing – you can buy it here.
I’m doing a mix for the Dust & Grooves: Adventures in Record Collecting website to accompany a big profile on my record collection that they’re going to run soon. The mix is based around records that aren’t necessarily rare but that made a big impression on me when I first heard them and influenced my career etc.
I’ve made the selection, I just have to mix it – what I want to know is how well you think you know my tastes?
Which artists will feature? That might be pretty easy for some of you…
Which tracks from those artists might feature though? Bit trickier.
These will be artists and songs that blew my mind on first hearing and changed the way I thought about music.
Whoever guesses the most correct artists / tracks featured gets a mystery bag of records, comics and other bits and pieces I want to influence you with.
Put your answers in the comments below and I’ll pick the person with the most correct guesses after Nov 21st when the piece will be published. You can guess as many times as you want. You might have an unfair advantage if you know me personally but there will be no favouritism
Also, if you’re waiting on the 2nd edition of the Dust & Grooves book it’s almost here and they have a nice little boxed set of 48 postcards available to pre-order (which I’m also featured in, see if you can spot the photo in the video). They’d probably make excellent Xmas cards.
‘Duck Rock’ fans – this is very well done indeed.
A guy called Daniel Haaksman has put together a ‘sonic essay’ on Malcolm McLaren‘s ‘Duck Rock’ album with interviews, original sources, remixes and World’s Famous Supreme Team show snippets.
Only a BIT miffed because I’d been collecting material with DK to do exactly the same thing for several years and he’s beat us to it.
Well worth hearing and buying – more details here.
I did a remix for Red Snapper earlier this year which is just seeing the light of day now. Following on from their ‘Hyena’ album it’s the title track of their ‘Mambety EP’ and sits alongside a remix by Moist and album track ‘Dock Running’.
Out today on LO RECORDINGS you can get it here. Whilst you’re there check out the new Grasscut single too, a precursor to their next album that Lo are releasing next year. I saw them live a few weeks back and they were excellent.
Not your usual ‘mix’ from Black Channels (that features the talents of Simon James aka The Simonsound). Very scary poltergeist-themed collage of eerie electronics and recordings of supernatural sightings. Listen until the end for the title reference.