D
Plan B - not a fan of that spoken word at all I'm afraid, I like the beats, the piano and Plans flow is pretty good to be fair but that spoken word spoils it quite a bit for me I'm afraid.
Propellerheads - there's a name I didn't think I'd be typing in 2013! Totally forgotten about them to be honest! It's a good fun track - who doesn't love the Bond music?
Air - yeah this alongside the first Daft Punk LP (shortly followed by Cassius' first album) was the re-birth of French pop via a very retro-kitsch-chic heavily Glam-Disco influenced sound and I loved and still love pretty much all of it. Ace.
Desire - first heard this whilst watching Drive and love it very very much. HOWEVER, the version on the soundtrack has no spoken nonsense in the middle and that's the version I prefer. Breathy spoken stuff sounds overly tacky in my opinion. Great tune though and it's already in one of my lists on the strength of the music.
Grandmaster - it's just an absolute monster this tune. Cracking track to finish on mate - nice one.
S
Frankie V - This, for me, is one of the best records you've added since DHS inception. That is bold but it is such a bona fide classic record and one that I have loved since my mate played it to me at uni (he's a real northern soul fanatic)...the vocals are just immense - why can't/don't people make tunes like this anymore?! I own up completely to having bought the Pilooski remixes of both this and Beggin' when they came out (5/6/7 years ago?) - in truth he's done nothing special to them at all other than add chunkier beats which just transfers better for the car/full volume party listening.
Donna S - THIS version of MacArthur is really exceptionally catching...lyrically it is, of course, as mad as a bottle of chips, BUT Summer's vocals are just f-ing immense...and the Heaven knows section is pure gold; I love it.
Marti C - wow, very playable (Chuggy Disco), very much my kind of pace/production. Lush.
Pete L - hehehe; recently revisiting NE1 Disc 2 wasn't all bad then?! Smashing record, proper thumper with some brilliant bass.
Booka SA rmx - do like this very much, it's mega smooth with lush production BUT I've always plumped for the Booka In Space Mix myself.
Right - slightly daunting task but it's all good fun in the end... I've been dealing with this next five for around three months now. I have tried, although it might seem odd when looking at a couple of the tracks, to find some records which I think are either the background/building blocks to the music which bought us together, coupled with one or two more which are just pure celebrations of the same. I hope you enjoy... in all cases I wanted them to be uplifting and in my opinion any one of them is worthy of #1000 but that role could only go to but one tune....
996
This may seem odd but we don't have our beloved records without the structure of classical music. This, for me, is the most beautiful example of a Canon and a lot of the best (melodic) stuff we listen to revolves around a Canon in 2 (if not 3, sometimes more). I don't associate this with weddings fortunately, I just remember being 6, at primary school, and it was played on the way in to assembly one morning....how amazing it sounded and how I felt. As I've gotten older I think I've really appreciated, compositionally, its excellence. If you want to talk about 'progressive music' - the layering and progression in this is second to none.
997
Big jump now to one of THE most influential dance records of its era... we all know the numerous and most famous samples, of course, but this is actually a monster track all of its own and that is why I believe it is referenced so much in dance/pop even to this day (last sample was earlier this year or back end of 2012 if memory serves)... even in some modern r'n'b records I've heard phrasing/a direct vocal lift from this tune used. I'd have no compunction in playing this to an audience no matter how camp it might be (fortunately for the population of the world and their ears I do not play records to them)
998
Is there much that needs to be said?! We're in early-ish progressive mode now... truth be told it could have been either this or YAP from the eponymous LP but I knew this from a young age and it has a special place in my heart.... four other tunes from NE1 made it onto the shortlist (NE2.1 has been done to death by us it seems!) but I think this is an especially uplifting record and is a worthy addition.
999
Main room Bedrock mayhem. Proper 3am penultimate tune of the night material. Just relentless. I don't care if it might be termed 'euphoric' it was destruction on the dancefloor and caused me several minutes of meltdown on more than one occasion (that motorcycle bassline breakdown/growl followed by the kick back and melody - buzzin'). The good old days of three raves on the bounce, 72 hours of blurred brilliance.
1000
.....................................................................................................................................
I deliberated for a LONG time over this. I really wanted to get this right for all three of us - a tune which comes from the early years/'old skool' era of our music which is, in my humble, still relevant and playable now. Big melody, uplifting, superb production (considering it was 1990!) - unquestionably catchy with endless amounts of energy - I could listen to this more than once of a night out in a club, no problems. A true classic.
So many tunes that could have been used but in some instances the proper or original version was not available and so I have chosen the above. Again; I hope you've enjoyed a few.
Well done lads - some monumental music has been added to these 'ere lists - long may it continue and as ever.....keep on keeping on,
H
Friday, 13 December 2013
Monday, 9 December 2013
DHS 12 - Part 1 (S)
Ian Pooley - lovely - can say no better than have acquired it with a view to playing it
Voorn - see Pooley
Mano Le Tough - been some great remixes of Mano stuff this year and this is up there on top of the pile
Ten Walls - as you noted, it's not Requiem but it ain't bad - both were acquired for a while back for future airings
Roland M Dill - gone are the days when I can listen to stuff like this outside the context of a mix - the previous four stand up for me as individual tracks - this needs a mix into and out of to make it work. But yeah, it's very big. Got the EP.
Plan B - not sure that the Coronation Street of Cooper Clarke's delivery works well with the Eastenders of Plan B's and, not having seen it, the film samples mean nothing to me. Plan B is interesting - in all honesty and with bias to one side, he could do with some of Dan Kent's beats - the one underneath this sounds a bit tame compared to Dan's. Piano's lovely though.
Propellerheads - this lot were the music press darlings of the mid/late 90s - best thing they ever released though was the 'Reason' production software. Always had them filed under 'Trying to be Fluke'. They did something with Shirley Bassey too didn't they? Another Bond theme? Not for me anyway.
Air - D, the fact you admit to needing to Shazam this is one of the main reasons I started the (still yet to take off) DHS-LP - the Moon Safari album from which this comes would comfortably be in my all time top 20 and possibly inside the top 10 - the sound of what you'd get if you forced Moby and M83 to make an album together.
Desire - not heard it before - reminds me of something though...
Grandmaster Flash - it is high time this track appeared but I'm not sure about this 'rerecorded/remastered' version - drums sound wrong and sounds like he had a yoghurt pot on a string for a mic. Classic bassline though, which leads me nicley into...
Frankie Valli - The bassline alone ranks it above most other music ever recorded - add into that a great sentiment, a big tune, some killer melodies and a ranking as one of the ALL time great 'Northern Soul' records and this record too is long overdue on DHS
Donna Summer - a good while back now I put a track on here by the actor Richard Harris and, I think it's fair to say, neither of you entirely appreciated it... In fact I was ridiculed! And I said it didn't end there and it hasn't. Not only did Donna Summer, contemporaneously just about the biggest recording artist on the planet, think the song was worthy of a disco version (it was) she did a fuller, much rarer, version - the 'Suite' - which included not only her cover of the Harris classic but two other of her own tracks (One Of A Kind & Heaven Knows) woven in and out of the mix to provide an almost 18 minute flat out, bona-fide, glitterball classic. And, guess what, 'it' doesn't end here either...
Martie Caine - MARTIE CAINE!!! Can you Adam 'n Eve it? Marti Caine on DHS! As featured in Bill Brewster's recent, immense, Late Night Tales commercial mix, this is filth. Bassline. Again. Lovely arrangement, some fabulous strings - a middle section with no bassline that sounds almost 1920s'ish and then, whoomp, bassline back again. And a great vocal throughout. Tune.
Pete Lazonby - already got his Sacred Cycles on DHS - always felt this was a much bigger and better tune - cream from near the top of the Prog bottle - big for Digweed around the time of Northern Exposure and BY FAR the best Junior Vasquez remix I've ever heard.
Booka Shade - I absolutely love this tune - one of the best 'deep-tech' tunes of recent years - as close to perfect as any remix has a right to get
Audi...
Voorn - see Pooley
Mano Le Tough - been some great remixes of Mano stuff this year and this is up there on top of the pile
Ten Walls - as you noted, it's not Requiem but it ain't bad - both were acquired for a while back for future airings
Roland M Dill - gone are the days when I can listen to stuff like this outside the context of a mix - the previous four stand up for me as individual tracks - this needs a mix into and out of to make it work. But yeah, it's very big. Got the EP.
Plan B - not sure that the Coronation Street of Cooper Clarke's delivery works well with the Eastenders of Plan B's and, not having seen it, the film samples mean nothing to me. Plan B is interesting - in all honesty and with bias to one side, he could do with some of Dan Kent's beats - the one underneath this sounds a bit tame compared to Dan's. Piano's lovely though.
Propellerheads - this lot were the music press darlings of the mid/late 90s - best thing they ever released though was the 'Reason' production software. Always had them filed under 'Trying to be Fluke'. They did something with Shirley Bassey too didn't they? Another Bond theme? Not for me anyway.
Air - D, the fact you admit to needing to Shazam this is one of the main reasons I started the (still yet to take off) DHS-LP - the Moon Safari album from which this comes would comfortably be in my all time top 20 and possibly inside the top 10 - the sound of what you'd get if you forced Moby and M83 to make an album together.
Desire - not heard it before - reminds me of something though...
Grandmaster Flash - it is high time this track appeared but I'm not sure about this 'rerecorded/remastered' version - drums sound wrong and sounds like he had a yoghurt pot on a string for a mic. Classic bassline though, which leads me nicley into...
Frankie Valli - The bassline alone ranks it above most other music ever recorded - add into that a great sentiment, a big tune, some killer melodies and a ranking as one of the ALL time great 'Northern Soul' records and this record too is long overdue on DHS
Donna Summer - a good while back now I put a track on here by the actor Richard Harris and, I think it's fair to say, neither of you entirely appreciated it... In fact I was ridiculed! And I said it didn't end there and it hasn't. Not only did Donna Summer, contemporaneously just about the biggest recording artist on the planet, think the song was worthy of a disco version (it was) she did a fuller, much rarer, version - the 'Suite' - which included not only her cover of the Harris classic but two other of her own tracks (One Of A Kind & Heaven Knows) woven in and out of the mix to provide an almost 18 minute flat out, bona-fide, glitterball classic. And, guess what, 'it' doesn't end here either...
Martie Caine - MARTIE CAINE!!! Can you Adam 'n Eve it? Marti Caine on DHS! As featured in Bill Brewster's recent, immense, Late Night Tales commercial mix, this is filth. Bassline. Again. Lovely arrangement, some fabulous strings - a middle section with no bassline that sounds almost 1920s'ish and then, whoomp, bassline back again. And a great vocal throughout. Tune.
Pete Lazonby - already got his Sacred Cycles on DHS - always felt this was a much bigger and better tune - cream from near the top of the Prog bottle - big for Digweed around the time of Northern Exposure and BY FAR the best Junior Vasquez remix I've ever heard.
Booka Shade - I absolutely love this tune - one of the best 'deep-tech' tunes of recent years - as close to perfect as any remix has a right to get
Audi...
Thursday, 28 November 2013
DHS 11 - Part 18 (D)
Greetings gentlemen, I thought I would post this up before I left for western shores of sunny Scotland tomorrow morning. For sunny read bastard freezing. And probably raining too. Not that I'll be going outside much... Actually Ive just checked and its much like here. Marvellous. Anyway, Sully lamented a while back that this could be the first time we did not complete an entire playlist in a year. Well Im here to tell you we will - with 13 days to spare no less. So not our most productive year of DHSing but we're ending it well. In fact you boys have ended it very well indeed...
S
Quiller - like this a lot. Samples quite a bit of the same music that was on an avalanches track but there's much more of it that the avalanches didn't use. Nicely put together - only minor gripe was the ending just plodded on with no changes for too long... cool track though
Flashlights - Is certainly an 'early on' track Kev - would work very well on a big system, does plenty without doing too much, a wicked set builder for sure. Nice.
In Order to Trance - This is a wonderful wonderful cut. Love that insistent nagging riff and then the strings building up behind it and the effects on the drum pattern really add to it. Top tune mate.
Parade - But not as top as this one, fuck me what a great tune this is. It is indeed Immense Mr Sullivan. Builds very nicely and then the money shot is great arcing lines of jism splashing across a surprised 19 year olds face. Then when you think its done, an even bigger jizz-load puts her eyes out. So to speak. Huge.
Tides - this for me is not as strong as the other tracks. Its nicely produced but has a melancholy air that Im not quite feeling (I like my melancholy mobyfied generally). Nice flow to it though.
Overall your best 5 for me for a while Kev, quality.
H
I got you - totally agree Hodge, you can very much get lost in this record, and it does have a lovely deep groove. For me needs to be played at the 'right' time for it to make sense, but its certainly a cool tune.
Ringo - Its a musical track indeed mate, really put together well. Quite light for a large part of it, and then you have the break where you think it might go big, but it doesn't need to, just keeps the melody ticking along nicely and is 'bloody lovely'. Nice.
Primative People - ha ha very nice bass squelches indeed, but my hands don't get in the air for anything less than 128bpm mate. Love the treatment of the vocal, and the little riff underneath. Ok, maybe one hand...
Gotham - talking of bass squelches... very nice indeed, and an original arrangement to these ears. A really cool tune, would be a good building record, slightly after Kevs Flashlights in a hodgivan set.
Tzycho - fuck me mate, tune of the week, narrowly beating Parade into second place. I could listen to this monster all day long and would LOVE to hear it on a huge system. Will have to find a suitable time and blast it out of the zeppelin. Headphones in the meantime will have to do. If Parade was a double jizz load then this is a bukkake. With gagging. Bet you never thought that word would appear in a DHS write up did you ? Strong selection chap, top work.
How can I get anywhere near that ? Well to give myself a fighting chance I'll change the pace away from dance music...
'Pity the Plight' Plan B feat John Cooper Clarke
From the film Ill manors - I find this quite chilling to be honest, the tune is ace and I love the poetry but the excerpts from the film don't sit well with me and while they add something to the track that I think make it unique, its still unsettling. Its here for that reason as well anything else. Similar in some ways to 'dance with the devil' I think.
'On Her Majestys Secret Service' Propellerheads
Love this take on the James Bond theme, easily the best Ive heard and <gasp> better than Moby's effort.
'Kelly Watch the Stars' Air
Heard this recently and instantly Shazam'd it. Love the arrangement and the melodies of this, its just a happy record to me. Nice bridges in it too.
'Under your spell' Desire
Su and I have been swapping playlists on spotify and she sent me this in one of them. She thought Kanye's forever-ever line in Diamonds came from here (bless) rest assured I sent her 'Ms Jackson' in my next list. Love the sentiment, love the music in this one. Pretty original for my money and that always goes down well with me.
'White Lines' Grandmaster Flash
Amazed this wasn't on DHS already, but you bitches always moan if I don't end the playlist with a good one. So is this good enough for ya ??
Closing in on 1000 tracks - I make that 990 so far. Over to you boys. I shall be travelling 500 miles for a weekend of sex that we've been building up to for 3 weeks.... the first shag will need a second condom after I fill up the first one, balls like water melons im tellin' ya man...
One love x
S
Quiller - like this a lot. Samples quite a bit of the same music that was on an avalanches track but there's much more of it that the avalanches didn't use. Nicely put together - only minor gripe was the ending just plodded on with no changes for too long... cool track though
Flashlights - Is certainly an 'early on' track Kev - would work very well on a big system, does plenty without doing too much, a wicked set builder for sure. Nice.
In Order to Trance - This is a wonderful wonderful cut. Love that insistent nagging riff and then the strings building up behind it and the effects on the drum pattern really add to it. Top tune mate.
Parade - But not as top as this one, fuck me what a great tune this is. It is indeed Immense Mr Sullivan. Builds very nicely and then the money shot is great arcing lines of jism splashing across a surprised 19 year olds face. Then when you think its done, an even bigger jizz-load puts her eyes out. So to speak. Huge.
Tides - this for me is not as strong as the other tracks. Its nicely produced but has a melancholy air that Im not quite feeling (I like my melancholy mobyfied generally). Nice flow to it though.
Overall your best 5 for me for a while Kev, quality.
H
I got you - totally agree Hodge, you can very much get lost in this record, and it does have a lovely deep groove. For me needs to be played at the 'right' time for it to make sense, but its certainly a cool tune.
Ringo - Its a musical track indeed mate, really put together well. Quite light for a large part of it, and then you have the break where you think it might go big, but it doesn't need to, just keeps the melody ticking along nicely and is 'bloody lovely'. Nice.
Primative People - ha ha very nice bass squelches indeed, but my hands don't get in the air for anything less than 128bpm mate. Love the treatment of the vocal, and the little riff underneath. Ok, maybe one hand...
Gotham - talking of bass squelches... very nice indeed, and an original arrangement to these ears. A really cool tune, would be a good building record, slightly after Kevs Flashlights in a hodgivan set.
Tzycho - fuck me mate, tune of the week, narrowly beating Parade into second place. I could listen to this monster all day long and would LOVE to hear it on a huge system. Will have to find a suitable time and blast it out of the zeppelin. Headphones in the meantime will have to do. If Parade was a double jizz load then this is a bukkake. With gagging. Bet you never thought that word would appear in a DHS write up did you ? Strong selection chap, top work.
How can I get anywhere near that ? Well to give myself a fighting chance I'll change the pace away from dance music...
'Pity the Plight' Plan B feat John Cooper Clarke
From the film Ill manors - I find this quite chilling to be honest, the tune is ace and I love the poetry but the excerpts from the film don't sit well with me and while they add something to the track that I think make it unique, its still unsettling. Its here for that reason as well anything else. Similar in some ways to 'dance with the devil' I think.
'On Her Majestys Secret Service' Propellerheads
Love this take on the James Bond theme, easily the best Ive heard and <gasp> better than Moby's effort.
'Kelly Watch the Stars' Air
Heard this recently and instantly Shazam'd it. Love the arrangement and the melodies of this, its just a happy record to me. Nice bridges in it too.
'Under your spell' Desire
Su and I have been swapping playlists on spotify and she sent me this in one of them. She thought Kanye's forever-ever line in Diamonds came from here (bless) rest assured I sent her 'Ms Jackson' in my next list. Love the sentiment, love the music in this one. Pretty original for my money and that always goes down well with me.
'White Lines' Grandmaster Flash
Amazed this wasn't on DHS already, but you bitches always moan if I don't end the playlist with a good one. So is this good enough for ya ??
Closing in on 1000 tracks - I make that 990 so far. Over to you boys. I shall be travelling 500 miles for a weekend of sex that we've been building up to for 3 weeks.... the first shag will need a second condom after I fill up the first one, balls like water melons im tellin' ya man...
One love x
Monday, 25 November 2013
DHS 11 - Part 17 (H)
D
Nice bunch of tracks - the one that has gotten stuck in my nut is the Lynch remix... find myself humming it quite often. Moby's new LP is definitely quite samey when stood adjacent to 18... that's certainly not mentioned as a bad thing (18 is a solid LP) but I tend to find myself going back to his old/older stuff as opposed to his new material.
S
Quiller - it's familiar... find it a bit tedious at times to be honest but perhaps it will grow.
Avery - absolutely superb track and his LP from this year is a shoo-in for album of year, great producer, attention to detail man which I like very much.
JOTS (rmx) - very good indeed, one of my faves from this year, thanks for finding this.
Don't think I need to make my love for the Eulberg or Dixon remixes known any further, I have made this clear on email! - both of them are huge and again worthy potential tracks for best of 2013.
and on that note I guess end of November is a good opportunity to up some of my faves from this year.... I did have a cracking little five track line-up ready to go which all revolved around my 'rainy day faves', which I'm now going to have to save for.... errrrr..... a rainy day. Also, over the weekend, I got 5 SR tracks which I enjoyed the most from Wembley but it didn't somehow feel right to do that on Spot... plus I need time to drink that gig in a bit more I think!
So the tracks that have rocked my year (aside from about three tunes which I cannot add as they either haven't been released yet or aren't on Spot...)
I got you (Matthias Vogt rmx) - found this moody melodic beauty on Burridge's Burning Man mix (best live mix of the year btw), love the treatment of the vocal - overall it just has a lovely deep groove, very easy to get lost in and listen on repeat.
Ringo - the 'secret track' which JV wouldn't name or talk about which people like Diggers were playing end of last year (from memory) and Spring/Summer this year finally got released in September and it is bloody lovely. Very musical whe compared what one might typify for a German dance record.
Mano Le Tough (TOU rmx) despite Spot's mis-listing this is a Mano Le Tough track with Tale of Us remix. Right that's covered that, now turn up those bass squelches and get them hands in the air (slow/120bpm rave music - love it).
Ten Walls - these boys did Requiem this year too but it's not available... so we'll just have to settle for this which is pretty special if you ask me... the shimmering noises that start after around 3mins which build and form main focal point of the track are very beautiful.
Tzycho - absolute f--ing nonsense. This literally makes your stomach churn on a big system. PLAY ME LOUD PLEASE.
keep on keeping on fellas,
H
Nice bunch of tracks - the one that has gotten stuck in my nut is the Lynch remix... find myself humming it quite often. Moby's new LP is definitely quite samey when stood adjacent to 18... that's certainly not mentioned as a bad thing (18 is a solid LP) but I tend to find myself going back to his old/older stuff as opposed to his new material.
S
Quiller - it's familiar... find it a bit tedious at times to be honest but perhaps it will grow.
Avery - absolutely superb track and his LP from this year is a shoo-in for album of year, great producer, attention to detail man which I like very much.
JOTS (rmx) - very good indeed, one of my faves from this year, thanks for finding this.
Don't think I need to make my love for the Eulberg or Dixon remixes known any further, I have made this clear on email! - both of them are huge and again worthy potential tracks for best of 2013.
and on that note I guess end of November is a good opportunity to up some of my faves from this year.... I did have a cracking little five track line-up ready to go which all revolved around my 'rainy day faves', which I'm now going to have to save for.... errrrr..... a rainy day. Also, over the weekend, I got 5 SR tracks which I enjoyed the most from Wembley but it didn't somehow feel right to do that on Spot... plus I need time to drink that gig in a bit more I think!
So the tracks that have rocked my year (aside from about three tunes which I cannot add as they either haven't been released yet or aren't on Spot...)
I got you (Matthias Vogt rmx) - found this moody melodic beauty on Burridge's Burning Man mix (best live mix of the year btw), love the treatment of the vocal - overall it just has a lovely deep groove, very easy to get lost in and listen on repeat.
Ringo - the 'secret track' which JV wouldn't name or talk about which people like Diggers were playing end of last year (from memory) and Spring/Summer this year finally got released in September and it is bloody lovely. Very musical whe compared what one might typify for a German dance record.
Mano Le Tough (TOU rmx) despite Spot's mis-listing this is a Mano Le Tough track with Tale of Us remix. Right that's covered that, now turn up those bass squelches and get them hands in the air (slow/120bpm rave music - love it).
Ten Walls - these boys did Requiem this year too but it's not available... so we'll just have to settle for this which is pretty special if you ask me... the shimmering noises that start after around 3mins which build and form main focal point of the track are very beautiful.
Tzycho - absolute f--ing nonsense. This literally makes your stomach churn on a big system. PLAY ME LOUD PLEASE.
keep on keeping on fellas,
H
Sunday, 3 November 2013
DHS 11 - Part 16 (S)
H
Kotya - lovely - has it's place - easy to use in a mix and, one imagines, very worthwhile doing so
Goodbye Girl (Fairmont Remix) - see above
When The Past Was Present (Pachanga Boys Purple Remix) - hitherto my experience of the Pachanga Boys was that they offered up either fabulous tunes or stuff to be quickly glossed over and moved on from. For the first time this has me somewhere in the middle - nearer the better end of the spectrum to be fair but then they have set their own bar very, very, high.
Makin' A Living - instant heroin tune and onto the all-time classics list - used it in the first subsequent mix I could and am forever grateful for it being flagged up.
Cafe Del Mar (Roberto Rodriguez Suvilahti Remix) - cannot help but invite comparisons to the infamous Ricardo Villalobos, genre-defining, minimal, version - (also on Spot) - very pleased to say that this one wins the battle of 'how-best-to-understate-the-original'. A quick scan of one hard drive reveals I have at least 17 different remixes of the original and, for what little it's worth I'd go with the Nalin & Kane, the Humate Remix, and the Oliver Leib LSG Remix.
D
Noah's Ark (Moby Remix) - new to me - listened to both this and the original and have to say they're worlds apart - original is pleasant - Moby's effort is much better and shows what he can do (with other people's material)
The Poison Tree (David Lynch Remix) - again, listened to both a couple of times and it is as clear to me that, as much as I dislike the original, David Lynch should stick to what he made his name doing...
A Case For Shame - sounds like a track that didn't quite make it onto 'Play' which suggests it's either not very good or a great example of an artist's mining of a very narrow but deep seam - let's see...
The Perfect Life - when I first ran through the album a few weeks back this was the most immediate track for me - I like the gospel element of it a lot but, again, it could've featured on Play - the fact that its subject matter describes a life of drugs, injections, overdoses, guns and violence I choose not to see as miserable, or depressing...
A Long Time - sounds quite a lot like another track that didn't quite make it onto 'Play' - production is probably 'bigger' than it would've been in the 'Play' era but, on the strength of this album (which I have in FLAC and have given several listens through before this evening), the lad is in danger of becoming the Cliff Richard of his epoch - found an MOR niche and is exploiting it for everything it's got. His occasional remix work suggests he's capable of much, MUCH, more...
... but fair play to him - still by MILES the most common DHS artist - would personally prefer to hear him put out something 'edgy' under his own name.
And so to mine...
I'll keep this brief as I've already broadcast four of these five on mixlr - the exception being the first one...
Quiller - the sound of a 70s porn film being recorded on top of a grand piano - Bill Brewster unearths another absolute gem...
Flashlights - Daniel Avery has recently released what is arguably this year's best album but this, predating it, merely served to point the way to what was coming - used this early on my 'Spiced Ham' mix
In Order To Trance - (Hrdvision Remix) - Early 90's rave meets the deep house of 2012 and goes BOOM. Jokers Of The Scene have ab-so-lute-ly been the discovery of the year for me - their range is vast but their quality never really seems to dip - on my mixlr01 session in May and was my main contender for tune of the year until I found out it was released in December 2012...
Parade (Dominik Eulberg Remix) - (the temptation at this point to write on and on and on and on about this track is very strong - but the facts of the matter are it speaks for itself so I need actually say very little). IMMENSE. (as used in mixlr04 in October)
Tides (Dixon remix) - (as used in mixlr05) - best remix (out of dozens so far) of anything by The xx - including Sasha's effort - everything about this is simply spot on - the percussion build, the melodic mood, the introduction of the synth-strings, the placement of the lyrics - above all 'the-tension' - and then the fade to mix out over - understated brilliance
S
x
Kotya - lovely - has it's place - easy to use in a mix and, one imagines, very worthwhile doing so
Goodbye Girl (Fairmont Remix) - see above
When The Past Was Present (Pachanga Boys Purple Remix) - hitherto my experience of the Pachanga Boys was that they offered up either fabulous tunes or stuff to be quickly glossed over and moved on from. For the first time this has me somewhere in the middle - nearer the better end of the spectrum to be fair but then they have set their own bar very, very, high.
Makin' A Living - instant heroin tune and onto the all-time classics list - used it in the first subsequent mix I could and am forever grateful for it being flagged up.
Cafe Del Mar (Roberto Rodriguez Suvilahti Remix) - cannot help but invite comparisons to the infamous Ricardo Villalobos, genre-defining, minimal, version - (also on Spot) - very pleased to say that this one wins the battle of 'how-best-to-understate-the-original'. A quick scan of one hard drive reveals I have at least 17 different remixes of the original and, for what little it's worth I'd go with the Nalin & Kane, the Humate Remix, and the Oliver Leib LSG Remix.
D
Noah's Ark (Moby Remix) - new to me - listened to both this and the original and have to say they're worlds apart - original is pleasant - Moby's effort is much better and shows what he can do (with other people's material)
The Poison Tree (David Lynch Remix) - again, listened to both a couple of times and it is as clear to me that, as much as I dislike the original, David Lynch should stick to what he made his name doing...
A Case For Shame - sounds like a track that didn't quite make it onto 'Play' which suggests it's either not very good or a great example of an artist's mining of a very narrow but deep seam - let's see...
The Perfect Life - when I first ran through the album a few weeks back this was the most immediate track for me - I like the gospel element of it a lot but, again, it could've featured on Play - the fact that its subject matter describes a life of drugs, injections, overdoses, guns and violence I choose not to see as miserable, or depressing...
A Long Time - sounds quite a lot like another track that didn't quite make it onto 'Play' - production is probably 'bigger' than it would've been in the 'Play' era but, on the strength of this album (which I have in FLAC and have given several listens through before this evening), the lad is in danger of becoming the Cliff Richard of his epoch - found an MOR niche and is exploiting it for everything it's got. His occasional remix work suggests he's capable of much, MUCH, more...
... but fair play to him - still by MILES the most common DHS artist - would personally prefer to hear him put out something 'edgy' under his own name.
And so to mine...
I'll keep this brief as I've already broadcast four of these five on mixlr - the exception being the first one...
Quiller - the sound of a 70s porn film being recorded on top of a grand piano - Bill Brewster unearths another absolute gem...
Flashlights - Daniel Avery has recently released what is arguably this year's best album but this, predating it, merely served to point the way to what was coming - used this early on my 'Spiced Ham' mix
In Order To Trance - (Hrdvision Remix) - Early 90's rave meets the deep house of 2012 and goes BOOM. Jokers Of The Scene have ab-so-lute-ly been the discovery of the year for me - their range is vast but their quality never really seems to dip - on my mixlr01 session in May and was my main contender for tune of the year until I found out it was released in December 2012...
Parade (Dominik Eulberg Remix) - (the temptation at this point to write on and on and on and on about this track is very strong - but the facts of the matter are it speaks for itself so I need actually say very little). IMMENSE. (as used in mixlr04 in October)
Tides (Dixon remix) - (as used in mixlr05) - best remix (out of dozens so far) of anything by The xx - including Sasha's effort - everything about this is simply spot on - the percussion build, the melodic mood, the introduction of the synth-strings, the placement of the lyrics - above all 'the-tension' - and then the fade to mix out over - understated brilliance
S
x
DHS 11 - Part 15 (D)
Afternoon all,
Apologies for it being so long for me to post this time - have been ridiculously busy for weeks now with so little free time that when I have it I don't feel like doing much ! Be careful what you wish for they say and I did intentionally fill up my time after my malaise so that I kept my unfaithful mind at work, but it has meant Im always busy. Add that to the fact that my right ear has been blocked up for a couple of weeks now which really meant headphones were a no go and well, there you have it, a month between posts. I do have a few tracks lined up though so hopefully I can be a bit quicker with the next one...
Anyway to business:
Kev. Mate. I have tried several times to like these Depeche Mode tracks but it has been a struggle. It didn't help that you kicked off with 'see you' which is a contender for the worst record I have ever heard. I find the lyrics banal and the melody that accompanies them, well just awful. Awful and really depressing. Don't like the guys voice at all which doesn't help and it just sounds so dated. Like it was made on a Yamaha keyboard in a bedroom. To be fair the others are better - Blasphemous Rumours again has poor lyrics, I think there is a limit to what words you can use in a pop song, and its not the place to come up with big money words or indeed a miserable story which is a shame as the production is pretty good. A Question of Lust is better again, really nice melody in this one and the voice seems better to me, maybe it had matured ? Personal Jesus is a bit surprising actually, doesn't sound like the others. Has a bit of a funky thing going for it and I've certainly heard it somewhere before - nice slice of 80's pop that one. Walking in my shoes is ok too, some nice things going on in the background and again the production is good, still not so keen on the guys voice im afraid. I expected so much after 'enjoy the silence' and 'even when I lose myself' remixes, so maybe that raised my expectations too high.
Hodge - Cant say much more about Kotya other than yes it is. Doesn't do enough for me, but is nice enough. The Fairmont remix is fucking depressing. Heheheh not really - it takes a while to pick up but is very good when it does and you are right about the production - would be a good layering track in a mix. With something bigger over it, obviously. The Talabot / Pachanga Boys track does build well for sure, and the percussion is certainly unexpected, some nice things in this track, especially the main strings and melody - love the drop towards the end, very nicely done. 'Makin a living' is just ok for me (sorry mate), much prefer the original version which is on our lists already from the 20th century steel band. Also cant make the link with Kalkbrenner ? And the café del mar remix is ok I guess, but this track has been done to death hasn't it ? And for my money no-one has ever beaten the original 3in1 mix. Epic.
Ok for me, I shall take a leaf out of Kevs book and go for a themed 5. And to be honest with a new album out and still totally lifting up my world, Im sorry, but that means some more Moby to the massive catalogue we have already. What can I say - the man is on my frequency.
Before I knew he had a new album coming I did some searching for some older tracks. I had no idea that David Lynch made records, well he does and Moby remixed 'Noahs Ark' which certainly has some trademark Lynch effects and is very moby, and ever so slightly sinister. They then returned the favour and Lynch remixed 'The Poison Tree' and I love the understated piano and slow plodding beat. Nice and chilled.
So then Moby released 'Innocents' which is very good indeed and moves around a bit. So a taster here - the beautiful 'a case for shame' with an amazing vocal, great strings (of course, its moby) and a nice piano line, the uplifting 'perfect life' and the previously hyped up 'A Long time' which I just adore. Saints is pretty good too but that would be 6 tracks.
One love
Apologies for it being so long for me to post this time - have been ridiculously busy for weeks now with so little free time that when I have it I don't feel like doing much ! Be careful what you wish for they say and I did intentionally fill up my time after my malaise so that I kept my unfaithful mind at work, but it has meant Im always busy. Add that to the fact that my right ear has been blocked up for a couple of weeks now which really meant headphones were a no go and well, there you have it, a month between posts. I do have a few tracks lined up though so hopefully I can be a bit quicker with the next one...
Anyway to business:
Kev. Mate. I have tried several times to like these Depeche Mode tracks but it has been a struggle. It didn't help that you kicked off with 'see you' which is a contender for the worst record I have ever heard. I find the lyrics banal and the melody that accompanies them, well just awful. Awful and really depressing. Don't like the guys voice at all which doesn't help and it just sounds so dated. Like it was made on a Yamaha keyboard in a bedroom. To be fair the others are better - Blasphemous Rumours again has poor lyrics, I think there is a limit to what words you can use in a pop song, and its not the place to come up with big money words or indeed a miserable story which is a shame as the production is pretty good. A Question of Lust is better again, really nice melody in this one and the voice seems better to me, maybe it had matured ? Personal Jesus is a bit surprising actually, doesn't sound like the others. Has a bit of a funky thing going for it and I've certainly heard it somewhere before - nice slice of 80's pop that one. Walking in my shoes is ok too, some nice things going on in the background and again the production is good, still not so keen on the guys voice im afraid. I expected so much after 'enjoy the silence' and 'even when I lose myself' remixes, so maybe that raised my expectations too high.
Hodge - Cant say much more about Kotya other than yes it is. Doesn't do enough for me, but is nice enough. The Fairmont remix is fucking depressing. Heheheh not really - it takes a while to pick up but is very good when it does and you are right about the production - would be a good layering track in a mix. With something bigger over it, obviously. The Talabot / Pachanga Boys track does build well for sure, and the percussion is certainly unexpected, some nice things in this track, especially the main strings and melody - love the drop towards the end, very nicely done. 'Makin a living' is just ok for me (sorry mate), much prefer the original version which is on our lists already from the 20th century steel band. Also cant make the link with Kalkbrenner ? And the café del mar remix is ok I guess, but this track has been done to death hasn't it ? And for my money no-one has ever beaten the original 3in1 mix. Epic.
Ok for me, I shall take a leaf out of Kevs book and go for a themed 5. And to be honest with a new album out and still totally lifting up my world, Im sorry, but that means some more Moby to the massive catalogue we have already. What can I say - the man is on my frequency.
Before I knew he had a new album coming I did some searching for some older tracks. I had no idea that David Lynch made records, well he does and Moby remixed 'Noahs Ark' which certainly has some trademark Lynch effects and is very moby, and ever so slightly sinister. They then returned the favour and Lynch remixed 'The Poison Tree' and I love the understated piano and slow plodding beat. Nice and chilled.
So then Moby released 'Innocents' which is very good indeed and moves around a bit. So a taster here - the beautiful 'a case for shame' with an amazing vocal, great strings (of course, its moby) and a nice piano line, the uplifting 'perfect life' and the previously hyped up 'A Long time' which I just adore. Saints is pretty good too but that would be 6 tracks.
One love
Thursday, 3 October 2013
DHS 11 - Part 14 (H)
It's been a month... apologies; I had a nice little lot lined up then of course, as is the way with musical searches, some new-ish things became available and some absolute (previously assumed obscure) old gems were also found meaning I had to change my list entirely so that it made sense (well, to my ears anyway!!). No doubt to your delight, S; I have avoided adding Dixons' xx remix, but it very nearly went on.... I shall leave that in your capable hands!
But to go back on yours, Gents....
D,
Drake - have heard this quite a bit and it definitely gets inside your head... can't decide whether I'm into it or not... his voice grates on me a bit.
J & K - was disappointed in this LP to be honest, didn't deliver enough considering the talent involved. This track and two others from memory were the standouts.
Rodriguez - the out-laws lent me this dvd and have been encouraging me to watch it which I do need to get round to. the story sounds compelling. nice vocals.
Costello / Kinks - two bona fide classic records.
S,
Depeche Mode...didn't really start to research and listen to them until uni (98)... the classics were all known to me because they littered my childhood radio listening but the other stuff off the LPs was only made known to me during uni. 5 solid tracks selected, the last two being my favourite by a long stretch. All salute a truly prolific recording pop group who have provided immense original content for all our generation of knob twiddler/remixers to get stuck into.... Can't stop playing Deep Dish rmx of Freelove currently!
Very much into my moody house again at the moment (probably the change in weather!)... this little selection starts off that way then hopefully chirps up a bit...
Kotya - nothing too exciting but as you know by now I just love a bit of understated melodic deepness, pitch this down a touch and it's absolutely spot on.
Fairmont rmx - seriously in love with this track... it does funny things to me and I don't know why; I can imagine D listening to this and saying "this is f--ing depressing" ! but it does it for me - immense producer this kid, so much attention to detail... some of his other stuff is almost too clinical but this is just perfect.
Talabot/Pachanga Boys - LOVE the old skool sounding drum sound effect/loop that starts at 2:40... brings back some ace memories of the old breakbeat/hardcore tracks of the early 90's. Lush record, nice groove and builds beautifully. If you fancy a bit of minimalist breaks/rave then check out the noise on Pachanga Boys Blue Mix of this... pretty brutal, I like it but probably a marmite track.
THE African Dream - and I do stress the word THE!!! THIS IS THE F--ING TUNE I'VE SPENT YEARS HOPING I WOULD FIND ONLY TO LEARN THAT PRODUCE RECORDS (WHO RELEASED AN EXCLUSIVE TAPE COMPILATION ON WAX MAGAZINE WAY BACK IN THE MID/LATE 90'S WHICH I BOUGHT AS A KID) BASICALLY LOST A LOAD OF MONEY AND TUNES GOT SNAPPED UP BY OTHER LABELS! I lost my tape, I lost my mind.... until I found a glimmer of light - a tiny footnote on discogs listing of the tape (which I am sadly going to re-buy, yes I'm going to buy a cassette in 2013) stated 'later released under 'The African Dream'... WHAT?! Whacked it straight into Spotify and up the fucker pops on a goddamn Groove Armada Late Night Tales compilation, several of which I have bought!!!!!!!!!!!! aaaaaaaaaaargh! kicking myself somewhat. anyway this is the record I asked S to try and find on 4Four messageboard and all sorts... When Kalkbrenner released Gebrunn Gebrunn I was obviously instantly reminded of this gem of a track because of the distinctive vocal. Such a smashing tune, really cemented my love of deep house with an American soul influence (US garage)
Rodriguez rmx - I'm not always one for remixes of proper old classics but in the last 5 years there have been some excellent re-inventions, totally remodelled records, and this is one of them. Taking a banging trance classic and turning it into a bouncing deep house track that sits a third of the way through a set as opposed to at the end. Superb. Really wanted to share this as I meant to play it a few weekends ago but forgot to whack it on a memory stick! I like this a lot but perhaps it will split opinions.... only time will tell.
As ever: Keep on keeping on,
H
But to go back on yours, Gents....
D,
Drake - have heard this quite a bit and it definitely gets inside your head... can't decide whether I'm into it or not... his voice grates on me a bit.
J & K - was disappointed in this LP to be honest, didn't deliver enough considering the talent involved. This track and two others from memory were the standouts.
Rodriguez - the out-laws lent me this dvd and have been encouraging me to watch it which I do need to get round to. the story sounds compelling. nice vocals.
Costello / Kinks - two bona fide classic records.
S,
Depeche Mode...didn't really start to research and listen to them until uni (98)... the classics were all known to me because they littered my childhood radio listening but the other stuff off the LPs was only made known to me during uni. 5 solid tracks selected, the last two being my favourite by a long stretch. All salute a truly prolific recording pop group who have provided immense original content for all our generation of knob twiddler/remixers to get stuck into.... Can't stop playing Deep Dish rmx of Freelove currently!
Very much into my moody house again at the moment (probably the change in weather!)... this little selection starts off that way then hopefully chirps up a bit...
Kotya - nothing too exciting but as you know by now I just love a bit of understated melodic deepness, pitch this down a touch and it's absolutely spot on.
Fairmont rmx - seriously in love with this track... it does funny things to me and I don't know why; I can imagine D listening to this and saying "this is f--ing depressing" ! but it does it for me - immense producer this kid, so much attention to detail... some of his other stuff is almost too clinical but this is just perfect.
Talabot/Pachanga Boys - LOVE the old skool sounding drum sound effect/loop that starts at 2:40... brings back some ace memories of the old breakbeat/hardcore tracks of the early 90's. Lush record, nice groove and builds beautifully. If you fancy a bit of minimalist breaks/rave then check out the noise on Pachanga Boys Blue Mix of this... pretty brutal, I like it but probably a marmite track.
THE African Dream - and I do stress the word THE!!! THIS IS THE F--ING TUNE I'VE SPENT YEARS HOPING I WOULD FIND ONLY TO LEARN THAT PRODUCE RECORDS (WHO RELEASED AN EXCLUSIVE TAPE COMPILATION ON WAX MAGAZINE WAY BACK IN THE MID/LATE 90'S WHICH I BOUGHT AS A KID) BASICALLY LOST A LOAD OF MONEY AND TUNES GOT SNAPPED UP BY OTHER LABELS! I lost my tape, I lost my mind.... until I found a glimmer of light - a tiny footnote on discogs listing of the tape (which I am sadly going to re-buy, yes I'm going to buy a cassette in 2013) stated 'later released under 'The African Dream'... WHAT?! Whacked it straight into Spotify and up the fucker pops on a goddamn Groove Armada Late Night Tales compilation, several of which I have bought!!!!!!!!!!!! aaaaaaaaaaargh! kicking myself somewhat. anyway this is the record I asked S to try and find on 4Four messageboard and all sorts... When Kalkbrenner released Gebrunn Gebrunn I was obviously instantly reminded of this gem of a track because of the distinctive vocal. Such a smashing tune, really cemented my love of deep house with an American soul influence (US garage)
Rodriguez rmx - I'm not always one for remixes of proper old classics but in the last 5 years there have been some excellent re-inventions, totally remodelled records, and this is one of them. Taking a banging trance classic and turning it into a bouncing deep house track that sits a third of the way through a set as opposed to at the end. Superb. Really wanted to share this as I meant to play it a few weekends ago but forgot to whack it on a memory stick! I like this a lot but perhaps it will split opinions.... only time will tell.
As ever: Keep on keeping on,
H
Wednesday, 4 September 2013
DHS 11 - Part 13 (S)
H's 'proto-trance' selection; all good as far as I'm concerned - that was the sort of 'sound' I was growing up with in the 80s - European, synth-pop - love it. Although that version of Humanoid Invasion does seem to be lacking some 'ooomph' in the *ahem* bottom end...
D's 'not-connected-in-any-way' selection; Drake - serious ear-worm, Jay-Z & Kanye - more ear-worm, Rodriguez - nice enough - the 'weird-noisy' middle section is cute for 1972, Costello and Kinks - classics although, on a personal note, that particular Kinks tune always leaves me a bit cold whilst the Costello tune is the absolute opposite - melts me every time.
And so...
When one considers 'pop' music there are likely as many opinions as to its genesis and fruition as there are early albums and singles. Was it rock'n'roll that started 'pop'? Had 'pop' been around even before the first World War? Did The Beatles crystallise and distil it in 1963's 'Please Please Me'? Any and all such questions are largely daft and therein, for many folk at least, lies the attraction in addressing them - there are, of course, no correct answers and consequently one cannot be definitively wrong... However, no matter the opinions offered about the origins of 'pop' music - here are some indisputable pop music facts.
Depeche Mode have been going for 37 years. That's THIRTY SEVEN YEARS. Depeche Mode have released 49 UK charting singles; 13 studio albums - all of which have been Top Ten in the UK and, worldwide, sold over 100 million records. Depeche Mode have played live to over 30 million people.
THAT'S THIRTY MILLION PEOPLE!!!
It is for these reasons, but far from these reasons alone, that I unhesitatingly call them England's greatest ever 'pop' band.
Let me leave aside the round-number statistics and use less empirical arguments...
Depeche Mode helped spawn and have sustained the commissioned remix culture like NO other band. From 'extended 12" mixes' in the early 80s to full on re-engineered deliveries from just about every single worthwhile dance music producer ever - Frankie Knuckles, Francois Kervokian, Danny Tenaglia, Sasha and UNKLE to name but five - it would very probably be easier to list who HASN'T reworked one or more of their tracks than document all those who have (their officially 'unofficial' remix catalogue is GIGANTIC). They have been cited as a major influence by rock groups, pop acts, indie bands and dance producers from the UK, US, Europe and beyond and simple minded fans like me across the globe. Not to mention the photographers and film directors they have influenced, inspired and given opportunities to through their tours, videos and publicity work over the decades - eg, Anton Corbijn's filming of 'Devotional - A Performance' - the most stylish, elegant and somehow still emotional live gig film I've seen and which provided a major boost for Corbijn's career.
They are genuinely a band without peers.
And yet Depeche Mode are still MASSIVELY underrated and undervalued in the UK and it is a wrong that really should be righted - starting, in rather pathetic fashion, here, on the home of musical correctness...
A Depeche Mode 'top five' for DHS purposes is laughably impossible - but this is my best stab at it... (As befitting a 'pop band' I've limited my choice to singles and excluded all album tracks and/or remixes - but even so that's leaving somewhere around 90% of their eligible material out of the list. I've also kept it to the period during which they were my biggest influence, which is absolutely not to say that their more recent stuff isn't worthy.) So, in chronological order;
- See You (4th single, 1982)
- Blasphemous Rumours (12th single, 1984)
- A Question Of Lust (16th single, 1986)
- Personal Jesus (23rd single, 1989)
- Walking In My Shoes (28th single, 1993)
Wallop.
D's 'not-connected-in-any-way' selection; Drake - serious ear-worm, Jay-Z & Kanye - more ear-worm, Rodriguez - nice enough - the 'weird-noisy' middle section is cute for 1972, Costello and Kinks - classics although, on a personal note, that particular Kinks tune always leaves me a bit cold whilst the Costello tune is the absolute opposite - melts me every time.
And so...
When one considers 'pop' music there are likely as many opinions as to its genesis and fruition as there are early albums and singles. Was it rock'n'roll that started 'pop'? Had 'pop' been around even before the first World War? Did The Beatles crystallise and distil it in 1963's 'Please Please Me'? Any and all such questions are largely daft and therein, for many folk at least, lies the attraction in addressing them - there are, of course, no correct answers and consequently one cannot be definitively wrong... However, no matter the opinions offered about the origins of 'pop' music - here are some indisputable pop music facts.
Depeche Mode have been going for 37 years. That's THIRTY SEVEN YEARS. Depeche Mode have released 49 UK charting singles; 13 studio albums - all of which have been Top Ten in the UK and, worldwide, sold over 100 million records. Depeche Mode have played live to over 30 million people.
THAT'S THIRTY MILLION PEOPLE!!!
It is for these reasons, but far from these reasons alone, that I unhesitatingly call them England's greatest ever 'pop' band.
Let me leave aside the round-number statistics and use less empirical arguments...
Depeche Mode helped spawn and have sustained the commissioned remix culture like NO other band. From 'extended 12" mixes' in the early 80s to full on re-engineered deliveries from just about every single worthwhile dance music producer ever - Frankie Knuckles, Francois Kervokian, Danny Tenaglia, Sasha and UNKLE to name but five - it would very probably be easier to list who HASN'T reworked one or more of their tracks than document all those who have (their officially 'unofficial' remix catalogue is GIGANTIC). They have been cited as a major influence by rock groups, pop acts, indie bands and dance producers from the UK, US, Europe and beyond and simple minded fans like me across the globe. Not to mention the photographers and film directors they have influenced, inspired and given opportunities to through their tours, videos and publicity work over the decades - eg, Anton Corbijn's filming of 'Devotional - A Performance' - the most stylish, elegant and somehow still emotional live gig film I've seen and which provided a major boost for Corbijn's career.
They are genuinely a band without peers.
And yet Depeche Mode are still MASSIVELY underrated and undervalued in the UK and it is a wrong that really should be righted - starting, in rather pathetic fashion, here, on the home of musical correctness...
A Depeche Mode 'top five' for DHS purposes is laughably impossible - but this is my best stab at it... (As befitting a 'pop band' I've limited my choice to singles and excluded all album tracks and/or remixes - but even so that's leaving somewhere around 90% of their eligible material out of the list. I've also kept it to the period during which they were my biggest influence, which is absolutely not to say that their more recent stuff isn't worthy.) So, in chronological order;
- See You (4th single, 1982)
- Blasphemous Rumours (12th single, 1984)
- A Question Of Lust (16th single, 1986)
- Personal Jesus (23rd single, 1989)
- Walking In My Shoes (28th single, 1993)
Wallop.
Friday, 16 August 2013
DHS 11 - Part 12 (D)
Oh my oh my oh my. As I remarked to Hodgson in an unremembered and frankly inconceivable series of drunken texts a couple of weekends ago - its been a long time. There is no need to go into the why on this here page, devoted as it is to music and particularly D, H & S music. Suffice to say that as ever I am reminded of the power of music and its ability to lift you up, if only temporarily. Two months and 6 days since the last post here and that is truly shocking, I shall endeavour to do better next time when hopefully I am back to full fitness, available for selection and not cluttering up the physio's room. So without further ado...
Kev
Loving 'Saturday' the original. Had a remake of this that I used to hammer way back when, think it might have been by full intention but cant be sure. It had a grey cover though. Possibly on credence. Ace tune.
Same goes for 'I want your love' that's a stone cold classic right there isn't it. Cant fault it in any way - a solid choice and great addition to the hallowed lists.
Hmmm David Bowie... never really been a fan of his but love 'Lets Dance' but only because of that riff which has DEFINITELY been used in a rap record - I want to say by the Notorious BIG, but it might equally be Puff Daddy, someone of that ilk anyway. Don't like Bowies voice I don't think.
Unfortunately 'Spacer' doesn't do it for me, been trying to think of why - could be all the 80's power chords, or that main hook I think, but no, not for me Im afraid.
However 'Im coming out' is tremendous, and this one was definitely used by the Biggie / Puff Daddy crew and the track I believe was 'mo money, mo problems' those boys definitely had some Nile Rodgers love. Good Selection Mr S.
Hodge
So its all about the Mothersole eh, and his roots of trance mix. Interesting. Was never a big fan of the 80's electro stuff unless it used strings really. This one has been sampled by MARRS I think ? Not sure it works on its own, not for me anyway - just sounds too dated and gimmicky as a lot of that stuff was then.
'Unveiling the secret' I do like, has a nice little melody in it, but that vocal just about gets away with it for me. Again sounds so dated, and not in a good way. Maybe I just don't like 80s dance ??
Zoolookologie is again very gimmicky isn't it ? Like someone trying out all the buttons on their new fx keyboard. Which is a shame because I think there is a half decent tune dying to get out of there somewhere.
Ha ha - 'Jabdah' is surely a classic 80s synth record, have heard this many times in many ways. Was certain some Spandau ballet-esque vocal was going to burst out over the top of it, but thankfully not. Top tune !
'Humanoid Invasion' is new to me (great name) but the main riff has been sampled and Ive heard it somewhere else. Very uplifting and very nice indeed, a good tune to end with Hodge old boy - top work.
Im going to burst the current trend and go for 5 records that have absolutely nothing in common...
Drake 'Started from the Bottom'
I love this, I don't know why really. Great tune, like his voice and the production is slick. All the swearing is a bit unnecessary really but it always gets my head bobbing. Dope.
Kanye & Jay-Z 'No Church in the Wild'
Top top tune this one. Great bass drum, nice strings and while Kanye I can take or leave, the singing vocal is perfectly offset by Jay-Z's lyrical flow and the whole thing is superbly out together. Not sure about the ending though...
Rodriguez 'Sugar Man'
Love this album and the story behind it is ace. Recorded the album in South America, completely flopped. Went about his life as a working musician. 25 years later he discovered hes one of the best selling artists in South Africa EVER and is owed a shitload of royalties. Apparently they thought he was dead or something. Likely story. Anyway this album is well worth a check, especially this track and 'cause' which has some great strings. His song have great lyrics and nice melodies.
Elvis Costello 'She'
Went to a free gig at Hyde Park a little while back. Elton John was meant to be playing but when he bailed they made it gratis. Costello played - this was his best one. And I love it from Notting Hill too.
The Kinks 'You really got me'
Ray Davies played after Elvis and he really got the place rocking with all the kinks tunes, this one of course being the most famous and rocking of them all.
Enjoy
One love
Kev
Loving 'Saturday' the original. Had a remake of this that I used to hammer way back when, think it might have been by full intention but cant be sure. It had a grey cover though. Possibly on credence. Ace tune.
Same goes for 'I want your love' that's a stone cold classic right there isn't it. Cant fault it in any way - a solid choice and great addition to the hallowed lists.
Hmmm David Bowie... never really been a fan of his but love 'Lets Dance' but only because of that riff which has DEFINITELY been used in a rap record - I want to say by the Notorious BIG, but it might equally be Puff Daddy, someone of that ilk anyway. Don't like Bowies voice I don't think.
Unfortunately 'Spacer' doesn't do it for me, been trying to think of why - could be all the 80's power chords, or that main hook I think, but no, not for me Im afraid.
However 'Im coming out' is tremendous, and this one was definitely used by the Biggie / Puff Daddy crew and the track I believe was 'mo money, mo problems' those boys definitely had some Nile Rodgers love. Good Selection Mr S.
Hodge
So its all about the Mothersole eh, and his roots of trance mix. Interesting. Was never a big fan of the 80's electro stuff unless it used strings really. This one has been sampled by MARRS I think ? Not sure it works on its own, not for me anyway - just sounds too dated and gimmicky as a lot of that stuff was then.
'Unveiling the secret' I do like, has a nice little melody in it, but that vocal just about gets away with it for me. Again sounds so dated, and not in a good way. Maybe I just don't like 80s dance ??
Zoolookologie is again very gimmicky isn't it ? Like someone trying out all the buttons on their new fx keyboard. Which is a shame because I think there is a half decent tune dying to get out of there somewhere.
Ha ha - 'Jabdah' is surely a classic 80s synth record, have heard this many times in many ways. Was certain some Spandau ballet-esque vocal was going to burst out over the top of it, but thankfully not. Top tune !
'Humanoid Invasion' is new to me (great name) but the main riff has been sampled and Ive heard it somewhere else. Very uplifting and very nice indeed, a good tune to end with Hodge old boy - top work.
Im going to burst the current trend and go for 5 records that have absolutely nothing in common...
Drake 'Started from the Bottom'
I love this, I don't know why really. Great tune, like his voice and the production is slick. All the swearing is a bit unnecessary really but it always gets my head bobbing. Dope.
Kanye & Jay-Z 'No Church in the Wild'
Top top tune this one. Great bass drum, nice strings and while Kanye I can take or leave, the singing vocal is perfectly offset by Jay-Z's lyrical flow and the whole thing is superbly out together. Not sure about the ending though...
Rodriguez 'Sugar Man'
Love this album and the story behind it is ace. Recorded the album in South America, completely flopped. Went about his life as a working musician. 25 years later he discovered hes one of the best selling artists in South Africa EVER and is owed a shitload of royalties. Apparently they thought he was dead or something. Likely story. Anyway this album is well worth a check, especially this track and 'cause' which has some great strings. His song have great lyrics and nice melodies.
Elvis Costello 'She'
Went to a free gig at Hyde Park a little while back. Elton John was meant to be playing but when he bailed they made it gratis. Costello played - this was his best one. And I love it from Notting Hill too.
The Kinks 'You really got me'
Ray Davies played after Elvis and he really got the place rocking with all the kinks tunes, this one of course being the most famous and rocking of them all.
Enjoy
One love
Monday, 8 July 2013
DHS-LP 02 (S)
The Jam - Setting Sons (late 1979 - fourth album)
The scene is the late 1970s. British rock/pop music is catalysing the 'new-wave' wave that would follow several years of increasingly predictable and formulaic sub-genres of rock - progressive, heavy/metal, glam, etc. The American led but UK owned rebellion that exploded in 1976 as Punk msSanifested itself abruptly and blazed bright, but short. Disco was hovering awkwardly somewhere in the background like a shy young thing who's not quite yet out of the closet - and all things musical got slightly confused for a short while...
In the midst of this confusion there was a genuine curiosity and, even, trepidation as to what would come next. And into that very space stepped Paul Weller with his first band.
The Jam's first two albums, 'In The City' and, 'This Is The Modern World' had been released more or less one straight after the other in 1977 - the first had created great excitement whilst the second suffered slightly from 'difficult second album syndrome'. More time was taken over the release of the third album, 'All Mod Cons', and that patience was rewarded as the band consolidated their small, dedicated, fan-base who saw something in Weller and his band that might be what they were looking for at the end of the seventies, as 'punk' died and 'rock' floundered. The interest in, and acclaim for, singles like 'Strange Town' and 'Down In The Tube Station At Midnight - (my favourite Jam song and a genuine top ten of all time) had paved the way and the hungry public were curious for something bigger.
Then, in '79, they dropped the 'Eton Rifles' single and followed it a couple of weeks later with the 'Setting Sons' album. And all three of them, the single, the band and their album completely blew up. At this stage I was ten years old - I had very recently been given my first (mono) radio/tape-recorder. I had started following the Top 40 chart on Radio 1 and I loved 'Geno' by Dexy's Midnight Runners. And then I heard 'Eton Rifles'.
I can't, and therefore won't, pretend that I was a HUGE Jam fan from that point on. I loved Eton Rifles from first listen but I was ten years old and it took another four or five years - by which time the band were long gone - before I'd get to hear the 'Setting Sons' album in full...
The thing about the album is, the MAIN thing about the album - apart from the intensity of the music and the 'tightness' of The Jam as a musical band, - is Paul Weller's lyrics. The bloke was 20 years old when most of the songs were written and the album recorded. And for a 20 year old his lyrics are, I believe, extraordinary. Just listen closely to 'Girl On the Phone', (rant against proto-celebrity-stalking-culture); 'Thick As Thieves', (lament for lost innocence of childhood friendships); 'Private Hell', (scathingly harsh treatment of the banality of meaningless suburban married life, written from the Prozac fuelled house-wife's point of view); 'Little Boy Soldiers', (polemic ditty about futility of political war); 'Smithers-Jones' (brilliantly harsh critique of the culture behind London's then rapidly expanding commuter-belt) - and that's only half the album covered...
I haven't not mentioned the other tracks 'cos their lyrics are any weaker - I just want to leave a few to discover for yourselves upon (what I imagine to be a) first listen.
Plus the album finishes on 'Heatwave' - the Jam's first recorded cover version and the first indication that Paul Weller's future would encompass a mellower, blacker, more soulful, r'n'b influenced tone.
Ten songs. Not a single bland one, let alone bad one. A properly great album and I commend it to you.
S
x
The scene is the late 1970s. British rock/pop music is catalysing the 'new-wave' wave that would follow several years of increasingly predictable and formulaic sub-genres of rock - progressive, heavy/metal, glam, etc. The American led but UK owned rebellion that exploded in 1976 as Punk msSanifested itself abruptly and blazed bright, but short. Disco was hovering awkwardly somewhere in the background like a shy young thing who's not quite yet out of the closet - and all things musical got slightly confused for a short while...
In the midst of this confusion there was a genuine curiosity and, even, trepidation as to what would come next. And into that very space stepped Paul Weller with his first band.
The Jam's first two albums, 'In The City' and, 'This Is The Modern World' had been released more or less one straight after the other in 1977 - the first had created great excitement whilst the second suffered slightly from 'difficult second album syndrome'. More time was taken over the release of the third album, 'All Mod Cons', and that patience was rewarded as the band consolidated their small, dedicated, fan-base who saw something in Weller and his band that might be what they were looking for at the end of the seventies, as 'punk' died and 'rock' floundered. The interest in, and acclaim for, singles like 'Strange Town' and 'Down In The Tube Station At Midnight - (my favourite Jam song and a genuine top ten of all time) had paved the way and the hungry public were curious for something bigger.
Then, in '79, they dropped the 'Eton Rifles' single and followed it a couple of weeks later with the 'Setting Sons' album. And all three of them, the single, the band and their album completely blew up. At this stage I was ten years old - I had very recently been given my first (mono) radio/tape-recorder. I had started following the Top 40 chart on Radio 1 and I loved 'Geno' by Dexy's Midnight Runners. And then I heard 'Eton Rifles'.
I can't, and therefore won't, pretend that I was a HUGE Jam fan from that point on. I loved Eton Rifles from first listen but I was ten years old and it took another four or five years - by which time the band were long gone - before I'd get to hear the 'Setting Sons' album in full...
The thing about the album is, the MAIN thing about the album - apart from the intensity of the music and the 'tightness' of The Jam as a musical band, - is Paul Weller's lyrics. The bloke was 20 years old when most of the songs were written and the album recorded. And for a 20 year old his lyrics are, I believe, extraordinary. Just listen closely to 'Girl On the Phone', (rant against proto-celebrity-stalking-culture); 'Thick As Thieves', (lament for lost innocence of childhood friendships); 'Private Hell', (scathingly harsh treatment of the banality of meaningless suburban married life, written from the Prozac fuelled house-wife's point of view); 'Little Boy Soldiers', (polemic ditty about futility of political war); 'Smithers-Jones' (brilliantly harsh critique of the culture behind London's then rapidly expanding commuter-belt) - and that's only half the album covered...
I haven't not mentioned the other tracks 'cos their lyrics are any weaker - I just want to leave a few to discover for yourselves upon (what I imagine to be a) first listen.
Plus the album finishes on 'Heatwave' - the Jam's first recorded cover version and the first indication that Paul Weller's future would encompass a mellower, blacker, more soulful, r'n'b influenced tone.
Ten songs. Not a single bland one, let alone bad one. A properly great album and I commend it to you.
S
x
Wednesday, 19 June 2013
DHS-LP 01 - The thoughts of S...
DHS-LP 01
(H) Photek - 'Modus Operandi'
(D) The Chemical Brothers - 'Exit Planet Dust'
Interesting eh?!
At least to me it was, has been so far, and is - the transition of the DHS model from a handful of potentially disparate tracks into one where the focus is on one artist and a body of their work.
In terms of reviewing your choices I'm going to opt for a different model too - at least for this first round - we'll see how it goes for subsequent selections. What I mean is that I'm not going to write about track-by-track, but more take them at the album level - if not actually the (macro) genre level...
I'm intrigued, although not necessarily surprised, that you've both started off this DHS-LP adventure by choosing albums not only by 'dance' acts but by dance acts from a specific period - second half of
the nineties. I find this intriguing for two reasons.
Firstly I think that, more than any other broad musical 'genre', post-acid-house-dance-music successfully lends itself to the 'single' format rather than the longer playing album. The freedom that the single format conveys is much enjoyed by producers who will put out release after release across a variety of (relatively unrelated/obscure) styles and under a similar variety of pseudonyms, thus allowing each track to stand or fall alone on its own limited merits - as directly opposed to collating all those releases under one name and releasing a much riskier 'multi-(sub)genre' album. Most other rock/pop/indie/folk/etc acts generally only ever release under one name/identity. This dilution inevitably waters down both the numbers of dance-music artist albums and the quality of the tracks therein. As the 21st century has developed I think this has become less so the case - there are more esoteric 'dance' albums released now than ever before - but it took producer(s) with BIG balls to nail their musical colours to the album mast in the mid/late nineties to give momentum.
Secondly I find your choices intriguing for their very era of release - the mid nineties - quite simply the era in which you both 'fully succumbed' to dance music. Not remotely surprising but vaguely intriguing in that DHS-LP is a new venture and mid 90s dance music is something we all share in common and is therefore relatively safe ground. Also worth noting is how hip-hop influenced both albums are - again, no great surprise given both of your predilections for the slower, phatter, beat.
As for the albums themselves...
It will come as no surprise that I find the Photek sound more pleasing than that of the Chemical Brothers - despite the Chemical Brothers album offering an arguably broader range of sound than Photek's.
On Modus Operandi; 'Smoke Rings', 'Aleph 1' and '124' would be my pick of the album's content. Although there is no denying that the entire thing is fantastically produced and the quality of sound is great. Somewhat bizarrely it is the album's title track that is my least favourite - I'm really not a big fan of the overtly jazzy drum and bass sound. Decent album though, 6.5/10 for me.
As for Exit Planet Dust; firstly let me say I'm not a fan of 'segued' artist albums - you know, where there is no distinct gap between tracks but they're not actually 'mixed' in any constructive way...? This is, in places, such an album. Unfortunately. I like the dubby feel of 'One Too Many Mornings' and 'Alive Alone'. Other than those my favourite thing on here by a MILE - and still just about the best thing they've ever done is 'Song To The Siren' albeit that tragically they didn't use the fuller original version that they recorded as The Dust Brothers, whilst the full 10+ minute Sabres Of Paradise remix of it (released on Junior Boys Own) is genuinely a Top 20 of all time dance record contender. Again, decent album, for me a 6/10.
DHS-LP truly underway - looking forward to the next round of choices.
x
(H) Photek - 'Modus Operandi'
(D) The Chemical Brothers - 'Exit Planet Dust'
Interesting eh?!
At least to me it was, has been so far, and is - the transition of the DHS model from a handful of potentially disparate tracks into one where the focus is on one artist and a body of their work.
In terms of reviewing your choices I'm going to opt for a different model too - at least for this first round - we'll see how it goes for subsequent selections. What I mean is that I'm not going to write about track-by-track, but more take them at the album level - if not actually the (macro) genre level...
I'm intrigued, although not necessarily surprised, that you've both started off this DHS-LP adventure by choosing albums not only by 'dance' acts but by dance acts from a specific period - second half of
the nineties. I find this intriguing for two reasons.
Firstly I think that, more than any other broad musical 'genre', post-acid-house-dance-music successfully lends itself to the 'single' format rather than the longer playing album. The freedom that the single format conveys is much enjoyed by producers who will put out release after release across a variety of (relatively unrelated/obscure) styles and under a similar variety of pseudonyms, thus allowing each track to stand or fall alone on its own limited merits - as directly opposed to collating all those releases under one name and releasing a much riskier 'multi-(sub)genre' album. Most other rock/pop/indie/folk/etc acts generally only ever release under one name/identity. This dilution inevitably waters down both the numbers of dance-music artist albums and the quality of the tracks therein. As the 21st century has developed I think this has become less so the case - there are more esoteric 'dance' albums released now than ever before - but it took producer(s) with BIG balls to nail their musical colours to the album mast in the mid/late nineties to give momentum.
Secondly I find your choices intriguing for their very era of release - the mid nineties - quite simply the era in which you both 'fully succumbed' to dance music. Not remotely surprising but vaguely intriguing in that DHS-LP is a new venture and mid 90s dance music is something we all share in common and is therefore relatively safe ground. Also worth noting is how hip-hop influenced both albums are - again, no great surprise given both of your predilections for the slower, phatter, beat.
As for the albums themselves...
It will come as no surprise that I find the Photek sound more pleasing than that of the Chemical Brothers - despite the Chemical Brothers album offering an arguably broader range of sound than Photek's.
On Modus Operandi; 'Smoke Rings', 'Aleph 1' and '124' would be my pick of the album's content. Although there is no denying that the entire thing is fantastically produced and the quality of sound is great. Somewhat bizarrely it is the album's title track that is my least favourite - I'm really not a big fan of the overtly jazzy drum and bass sound. Decent album though, 6.5/10 for me.
As for Exit Planet Dust; firstly let me say I'm not a fan of 'segued' artist albums - you know, where there is no distinct gap between tracks but they're not actually 'mixed' in any constructive way...? This is, in places, such an album. Unfortunately. I like the dubby feel of 'One Too Many Mornings' and 'Alive Alone'. Other than those my favourite thing on here by a MILE - and still just about the best thing they've ever done is 'Song To The Siren' albeit that tragically they didn't use the fuller original version that they recorded as The Dust Brothers, whilst the full 10+ minute Sabres Of Paradise remix of it (released on Junior Boys Own) is genuinely a Top 20 of all time dance record contender. Again, decent album, for me a 6/10.
DHS-LP truly underway - looking forward to the next round of choices.
x
Monday, 10 June 2013
DHS 11 - Part 11 (H)
It has been over a month, very remiss of me - sincere apologies.
D:
Patton - very very lovely (must be made longer); Gerrard - beautiful and serene, goosebumps; Armstrong - a class act as always; Eurythmics - one of the most influential records in my life for sure, have removed it from my potentials list; Reed - indirectly this is also one of the most influential records in my life - simply superb.
S:
Jean Wright - classic; Chic - timeless classic, Bowie - quite comfortably, for my money anyway, one of his top 3 records; Sheila - many happy memories of 6th form, cracking record; Ross - well and absolutely truly one of the most classic tracks in this genre ever produced. I actually prefer "I Want your Love" as it retains a little understated moodiness, but this record is totally iconic and the production / sounds were, and still are, much coveted and relevant now (for purists anyway)
Not planned to be back-to-back with S's tribute at all, it's just a timing situation because I'm listening to one particular mix A LOT again recently due to the sunny weather.....
My next selection is a big nod to Mr Dave Mothersole for introducing me to a whole plethora of absolutely incredible music which was recorded and put together in the 80's but 95% of which has been new to my ears. It is the superb, melodic, chuggy, hypnotic and hugely varied sound of the early morning Goa parties c.'83-'89 which he summed up with his "Unveiling The Secret - The Roots of Trance" mix; itself a tribute to the mythical Laurent who conducted his mixing of music via cassette decks - quite incredible by all accounts. SO happy to have been introduced this music... the emotions I went through when I first heard the style were, dare I say it, very similar to how I felt as a 7 year old kid when I first heard acid house in the late 80's... someone build be a time machine.... If you haven't listened to Dave's mix for a while do go back and revisit it (Soundcloud) but for the meantime here are five of my (many) favourites from the mix:-
Habiba
Unveiling The Secret
Zoolookologie
(These last two just made me lose my mind when mixed together; absolute power - you will understand why this music is often termed as 'proto-trance' by Mothersole and others)
Jabdah
Humanoid Invasion.
Keep on keeping on,
H
D:
Patton - very very lovely (must be made longer); Gerrard - beautiful and serene, goosebumps; Armstrong - a class act as always; Eurythmics - one of the most influential records in my life for sure, have removed it from my potentials list; Reed - indirectly this is also one of the most influential records in my life - simply superb.
S:
Jean Wright - classic; Chic - timeless classic, Bowie - quite comfortably, for my money anyway, one of his top 3 records; Sheila - many happy memories of 6th form, cracking record; Ross - well and absolutely truly one of the most classic tracks in this genre ever produced. I actually prefer "I Want your Love" as it retains a little understated moodiness, but this record is totally iconic and the production / sounds were, and still are, much coveted and relevant now (for purists anyway)
Not planned to be back-to-back with S's tribute at all, it's just a timing situation because I'm listening to one particular mix A LOT again recently due to the sunny weather.....
My next selection is a big nod to Mr Dave Mothersole for introducing me to a whole plethora of absolutely incredible music which was recorded and put together in the 80's but 95% of which has been new to my ears. It is the superb, melodic, chuggy, hypnotic and hugely varied sound of the early morning Goa parties c.'83-'89 which he summed up with his "Unveiling The Secret - The Roots of Trance" mix; itself a tribute to the mythical Laurent who conducted his mixing of music via cassette decks - quite incredible by all accounts. SO happy to have been introduced this music... the emotions I went through when I first heard the style were, dare I say it, very similar to how I felt as a 7 year old kid when I first heard acid house in the late 80's... someone build be a time machine.... If you haven't listened to Dave's mix for a while do go back and revisit it (Soundcloud) but for the meantime here are five of my (many) favourites from the mix:-
Habiba
Unveiling The Secret
Zoolookologie
(These last two just made me lose my mind when mixed together; absolute power - you will understand why this music is often termed as 'proto-trance' by Mothersole and others)
Jabdah
Humanoid Invasion.
Keep on keeping on,
H
Sunday, 5 May 2013
DHS 11 - Part 10 (S)
Chaps, apologies for tardiness in updating - I'll make this as concise as possible in reparation...
H's 5;
The two tracks off the Jozif mix are just splendid - about as far up my alley as you can get... *ahem* Herbert is nice enough although, if I'm going to be absolutely honest, I prefer the other version of the Apparat tune which is beautiful - the 'noise' version is more intense but hey-ho... Zimmer - that 'Raincry' sample is a proper spine-tingling thing.
D's 5;
Mike Patton - kindly commission him to make a version at least four minutes longer. Lisa Gerrard - lovely, lovely, tone to her voice. Craig Armstrong deserves a LOT more of my attention - anything I've ever heard by him is wonderful - this 'Storm' tune proves it to me - lovely. Eurthymics - possibly THE most recognisable first two seconds of a record - classic. Lou Reed - a song partially about transvestite blow-jobs - what's not to love? Stone. Cold. Classic. Whatever that means...
My 5;
Staying with the 'five-from-one-artist-theme', this lot is all about Nile Rodgers.
A couple of years back I read a blog somewhere that suggested Nile Rodgers was battling cancer. I googled around it and sure enough it was true. And he was documenting his own struggle against it on his website. And then - at exactly the same time - I came across a CD box-set of 'Chic' productions which served as a timely reminder of the man's absolute dancefloor genius. Since then I've read more about him, marvelled at the extent of his influence across modern music, watched a truly brilliant recent BBC documentary about him and generally just been somewhat in awe. And then Daft Punk released this summer's earworm and guess who'd played the bassline and twiddled the studio knobs...
Picking a mere five was frankly daft but here goes - Nile Rodgers - absolute total and utter dance music GOD.
Norma Jean Wright - Saturday (Dimitri From Paris Remix)
Chic - I Want Your Love
David Bowie - Let's Dance
Sheila - Spacer
Diana Ross - I'm Coming Out
x
H's 5;
The two tracks off the Jozif mix are just splendid - about as far up my alley as you can get... *ahem* Herbert is nice enough although, if I'm going to be absolutely honest, I prefer the other version of the Apparat tune which is beautiful - the 'noise' version is more intense but hey-ho... Zimmer - that 'Raincry' sample is a proper spine-tingling thing.
D's 5;
Mike Patton - kindly commission him to make a version at least four minutes longer. Lisa Gerrard - lovely, lovely, tone to her voice. Craig Armstrong deserves a LOT more of my attention - anything I've ever heard by him is wonderful - this 'Storm' tune proves it to me - lovely. Eurthymics - possibly THE most recognisable first two seconds of a record - classic. Lou Reed - a song partially about transvestite blow-jobs - what's not to love? Stone. Cold. Classic. Whatever that means...
My 5;
Staying with the 'five-from-one-artist-theme', this lot is all about Nile Rodgers.
A couple of years back I read a blog somewhere that suggested Nile Rodgers was battling cancer. I googled around it and sure enough it was true. And he was documenting his own struggle against it on his website. And then - at exactly the same time - I came across a CD box-set of 'Chic' productions which served as a timely reminder of the man's absolute dancefloor genius. Since then I've read more about him, marvelled at the extent of his influence across modern music, watched a truly brilliant recent BBC documentary about him and generally just been somewhat in awe. And then Daft Punk released this summer's earworm and guess who'd played the bassline and twiddled the studio knobs...
Picking a mere five was frankly daft but here goes - Nile Rodgers - absolute total and utter dance music GOD.
Norma Jean Wright - Saturday (Dimitri From Paris Remix)
Chic - I Want Your Love
David Bowie - Let's Dance
Sheila - Spacer
Diana Ross - I'm Coming Out
x
Sunday, 21 April 2013
DHS 11 - Part 9 (D)
Evening all, my first DHS update since I flew 4500 miles away and ascended a further 5000 feet, but more of that elsewhere. Suffice to say its good to be back, and the wonder that is DHS got me through a couple of 17 hour journeys through Abu Dhabi and beyond - good work chaps.
So lets review the previous 10, starting with Sully and his Todd Terry tribute. 'A Day in the Life' is simply a seminal club tune, a little date now perhaps, but everyone who was into house fromt he beginning is familiar with this one - a worthy addition to DHS. 'Dreams of Santa Anna' possibly less so, and this one with a nice tune I found ok, although what struck me was the intensity of TT's work, there is so much going on in a lot his records, particularly the early stuff, no doubt as he honed his sound. Talking of seminal records, they dont come more so than 'Can you party' with its iconic samples and this one one of the first house tracks for me back in 1989 - way ahead of its time and the protagonist for many a drug fuelled rave. Classic. Im not Bjorks biggest fan and so 'Hyperballad' was always going to struggle with me, although the production is good and you can hear TT had now moved to a more refined production style, which oozes quality. None more so than on the enormous remix of EBTG's 'Missing' which is a great record, nice strings, nice vocal but I detest the lyrics - SO depressing !! Great production which made this a club smash at the time. Great work Sully, a fitting tribute to the Toddster.
Hodge, kicking off with 'Got a reason' which Im not 100% sure on to be honest, have gone through periods of liking it more than other times. Nice strings which always get me, particularly later on, just not sure about the vocal. I think I do like it, but something just doesnt quite fit properly. 'Slum Room' however, is a really nice tune for me. Great understated build and a lovely melody that comes into its own in the second half. Nice. 'Its Only' has a cracking vocal on it, although the melancholic feel of it overall makes me unlikely to play it much, nice minimal use of the piano though, perfectly accompanying the voice, and a well produced, balanced track - love the major key changes. '44' however is a track that could have been more for me - it all gets very intense and there is the hint of a melody in there but im not sure it really works. You could have condensed all this into 1 minute of a bigger track and it would have worked really well I think. Not so sure on its own, but ite certainly original. 'Rainmaker' is clearly the sample for the immense 'Raincry' and its quite a powerful record once it gets going, really quite liked this one. Top work Hodge.
My first track today is from the early contender from film of the year which I saw today - 'The Place Beyond the Pines' which is a truly stunning and unexpected film, that doesnt go where you think it will and has top performances from Ryan Gosling, Bradley Cooper and Eva Mendes. There was a piece of music in it so amazing that immediately afterwards I hunted it down and here it is 'Snow Angel' by Mike Patton. Its very short and goes to shit after about 53 seconds, but I just HAD to share the minute of bliss, its immense. The best use of it is in the second half of the trailer for the film:
http://www.youtube.com/watch?v=G07pSbHLXgg
On the subject of films, my next 2 whoch are in trailer #2 for 'Man of Steel' which I CANNOT wait for, as it looks immense and these 2 tunes have been put together to good affect on the trailer, firstly 'Elegy' by Lisa Gerrard who has a fair set of pipes on her, and then 'Armstrong: Storm' by Craig Armstrong - both epic pieces of music i hope you'll agree. Next up is a classic for which very little needs to be said 'Sweet Dreams' by the Eurythmics and Im finishing on a stone cold classic which came out int he year I was born and as Im celebrating my 40th birthday this month I thought it fitting, and thats 'Walk on the Wild Side' by Lou Reed. Enjoy.
One Love
So lets review the previous 10, starting with Sully and his Todd Terry tribute. 'A Day in the Life' is simply a seminal club tune, a little date now perhaps, but everyone who was into house fromt he beginning is familiar with this one - a worthy addition to DHS. 'Dreams of Santa Anna' possibly less so, and this one with a nice tune I found ok, although what struck me was the intensity of TT's work, there is so much going on in a lot his records, particularly the early stuff, no doubt as he honed his sound. Talking of seminal records, they dont come more so than 'Can you party' with its iconic samples and this one one of the first house tracks for me back in 1989 - way ahead of its time and the protagonist for many a drug fuelled rave. Classic. Im not Bjorks biggest fan and so 'Hyperballad' was always going to struggle with me, although the production is good and you can hear TT had now moved to a more refined production style, which oozes quality. None more so than on the enormous remix of EBTG's 'Missing' which is a great record, nice strings, nice vocal but I detest the lyrics - SO depressing !! Great production which made this a club smash at the time. Great work Sully, a fitting tribute to the Toddster.
Hodge, kicking off with 'Got a reason' which Im not 100% sure on to be honest, have gone through periods of liking it more than other times. Nice strings which always get me, particularly later on, just not sure about the vocal. I think I do like it, but something just doesnt quite fit properly. 'Slum Room' however, is a really nice tune for me. Great understated build and a lovely melody that comes into its own in the second half. Nice. 'Its Only' has a cracking vocal on it, although the melancholic feel of it overall makes me unlikely to play it much, nice minimal use of the piano though, perfectly accompanying the voice, and a well produced, balanced track - love the major key changes. '44' however is a track that could have been more for me - it all gets very intense and there is the hint of a melody in there but im not sure it really works. You could have condensed all this into 1 minute of a bigger track and it would have worked really well I think. Not so sure on its own, but ite certainly original. 'Rainmaker' is clearly the sample for the immense 'Raincry' and its quite a powerful record once it gets going, really quite liked this one. Top work Hodge.
My first track today is from the early contender from film of the year which I saw today - 'The Place Beyond the Pines' which is a truly stunning and unexpected film, that doesnt go where you think it will and has top performances from Ryan Gosling, Bradley Cooper and Eva Mendes. There was a piece of music in it so amazing that immediately afterwards I hunted it down and here it is 'Snow Angel' by Mike Patton. Its very short and goes to shit after about 53 seconds, but I just HAD to share the minute of bliss, its immense. The best use of it is in the second half of the trailer for the film:
http://www.youtube.com/watch?v=G07pSbHLXgg
On the subject of films, my next 2 whoch are in trailer #2 for 'Man of Steel' which I CANNOT wait for, as it looks immense and these 2 tunes have been put together to good affect on the trailer, firstly 'Elegy' by Lisa Gerrard who has a fair set of pipes on her, and then 'Armstrong: Storm' by Craig Armstrong - both epic pieces of music i hope you'll agree. Next up is a classic for which very little needs to be said 'Sweet Dreams' by the Eurythmics and Im finishing on a stone cold classic which came out int he year I was born and as Im celebrating my 40th birthday this month I thought it fitting, and thats 'Walk on the Wild Side' by Lou Reed. Enjoy.
One Love
Tuesday, 9 April 2013
DHS 11 Part 8 - (H)
Some nice recent additions.
D
Mark Norman - I have to say this sounds pretty good loud, reminds me of the big stuff from late 90's.
SR - No real need to comment is there. Gobsmackingly beautiful gloriously accessible feel good lushness. That will have to suffice.
OMaM - like the vocal lilt/celtic influences. Grows with each play.
HoP - I loved this as a kid... then I went to uni and it just got battered to death and now I struggle to hear it at all. Sad that it got ruined really.
Jay - longevity tune to the max. Not played this for AGES and it's nice to have a break and come back to a track of this quality.... surprised myself with how many of the lyrics I seem to know. The Newport take off is utterly genius by the way.
S
Todd the God Terry. Prolific. Brilliant selection. Day in the Life - never knew this was him - got this on an old tape somewhere, class. Santa Ana - always made me smile with the spaghetti western rehash melody.... little did we know several people would go out and rehash others in the years to come... to my knowledge he's the first with that track; proper tune too. I guess Can you Party is esssntially a homage to the people and tunes he loved - bit busy at times but banging all the same. TOTALLY forgot about the Bjork remix... I used to drive my sister nuts by skipping her cd on when she played the single to this version (she was a bjork fan and loved the original)... what a cracking tune/remix this is; straight into my best of potentials.... Missing; wow - I was surprised at how this has stood the test of time, truly super production.... I've still got the cd single somewhere - caned this to death and so did everything we ever went to as kids - MASSIVE record and one that gauranteed some clunge on the dancefloor so it had that going for it too. Which was nice.
Been a funny old few weeks to be honest. Feel like I'm constantly moping over the past few years, but hey ho - the old ups and downs are to be expected in this weird and wonderful journey called life. One year on from a good mate's funeral and then a musical hero dies and really weirdly found myself taking it incredibly badly even though I never met the geezer... perhaps it was because he wrote one of THE most important electronic records of the 90's (imo)... maybe you feel bizarrely connected somehow - f@cked if I know. So here we go for another cathartic musical selection.
Two from jozif's recent beautiful balance mix, which was apparently penned to be a banger, but he changed after Dawson's passing. On DropBox I have already professed my love for Our Friends Electric (which jozif pitches right down - which is how I heard it being played in my head when I bought it last year) so I have picked a couple of my other fave's; one from the top of the mix (Got a Reason) as well as the final track. Both have melancholic elements to them, both are beautiful to my ears... first time I heard the vocal snippet/sample at the start of Slum Room with the start of the background melody underneath I knew I was in for something special. Absolutely lush tunes.
Herbert - this is an old fave from uni which I was reminded of when listening to TOU renaissance mix ...they use the Koze rmx which is bloody good but it immediately made me want to revisit the original, here it is. The LP is a bit too chin-strokey on the whole but I remember having about four absolute solid favourites and it was the first time I realised that jazzy/quirkily produced 4:4 music wasn't all tw@ish... some of it had real soul. I think the movements between moods is pretty well done in this record - it's as much an R&B track (in the old fashioned meaning) in that sense as it is a house tune.
Apparat - you know by now that I'm a big fan of this guy's stuff. I CANNOT for the life of me explain what it is that grips me about this - I suspect one or both of you will reprimand me for being mental and that it's just noise (as the title aptly points out).... it is however a superbly emotional production which I could talk about for a few minutes but won't. Suffice to say I think this is cleverly done, simply put: two big emotive waves of noise.
Hans Zimmer - This was saved for another of my "Influences" selections but there's no more appropriate time to post this than Scott Hardkiss's passing. He only needed the first three seconds of this wonderful record to create the apex sample for Raincry, the rest was just ace programming and knowing what drives a dancefloor. Nice to have this as a reference point which in itself is a pretty special piece of production and direction from Zimmer.
Embrace each day,
H
D
Mark Norman - I have to say this sounds pretty good loud, reminds me of the big stuff from late 90's.
SR - No real need to comment is there. Gobsmackingly beautiful gloriously accessible feel good lushness. That will have to suffice.
OMaM - like the vocal lilt/celtic influences. Grows with each play.
HoP - I loved this as a kid... then I went to uni and it just got battered to death and now I struggle to hear it at all. Sad that it got ruined really.
Jay - longevity tune to the max. Not played this for AGES and it's nice to have a break and come back to a track of this quality.... surprised myself with how many of the lyrics I seem to know. The Newport take off is utterly genius by the way.
S
Todd the God Terry. Prolific. Brilliant selection. Day in the Life - never knew this was him - got this on an old tape somewhere, class. Santa Ana - always made me smile with the spaghetti western rehash melody.... little did we know several people would go out and rehash others in the years to come... to my knowledge he's the first with that track; proper tune too. I guess Can you Party is esssntially a homage to the people and tunes he loved - bit busy at times but banging all the same. TOTALLY forgot about the Bjork remix... I used to drive my sister nuts by skipping her cd on when she played the single to this version (she was a bjork fan and loved the original)... what a cracking tune/remix this is; straight into my best of potentials.... Missing; wow - I was surprised at how this has stood the test of time, truly super production.... I've still got the cd single somewhere - caned this to death and so did everything we ever went to as kids - MASSIVE record and one that gauranteed some clunge on the dancefloor so it had that going for it too. Which was nice.
Been a funny old few weeks to be honest. Feel like I'm constantly moping over the past few years, but hey ho - the old ups and downs are to be expected in this weird and wonderful journey called life. One year on from a good mate's funeral and then a musical hero dies and really weirdly found myself taking it incredibly badly even though I never met the geezer... perhaps it was because he wrote one of THE most important electronic records of the 90's (imo)... maybe you feel bizarrely connected somehow - f@cked if I know. So here we go for another cathartic musical selection.
Two from jozif's recent beautiful balance mix, which was apparently penned to be a banger, but he changed after Dawson's passing. On DropBox I have already professed my love for Our Friends Electric (which jozif pitches right down - which is how I heard it being played in my head when I bought it last year) so I have picked a couple of my other fave's; one from the top of the mix (Got a Reason) as well as the final track. Both have melancholic elements to them, both are beautiful to my ears... first time I heard the vocal snippet/sample at the start of Slum Room with the start of the background melody underneath I knew I was in for something special. Absolutely lush tunes.
Herbert - this is an old fave from uni which I was reminded of when listening to TOU renaissance mix ...they use the Koze rmx which is bloody good but it immediately made me want to revisit the original, here it is. The LP is a bit too chin-strokey on the whole but I remember having about four absolute solid favourites and it was the first time I realised that jazzy/quirkily produced 4:4 music wasn't all tw@ish... some of it had real soul. I think the movements between moods is pretty well done in this record - it's as much an R&B track (in the old fashioned meaning) in that sense as it is a house tune.
Apparat - you know by now that I'm a big fan of this guy's stuff. I CANNOT for the life of me explain what it is that grips me about this - I suspect one or both of you will reprimand me for being mental and that it's just noise (as the title aptly points out).... it is however a superbly emotional production which I could talk about for a few minutes but won't. Suffice to say I think this is cleverly done, simply put: two big emotive waves of noise.
Hans Zimmer - This was saved for another of my "Influences" selections but there's no more appropriate time to post this than Scott Hardkiss's passing. He only needed the first three seconds of this wonderful record to create the apex sample for Raincry, the rest was just ace programming and knowing what drives a dancefloor. Nice to have this as a reference point which in itself is a pretty special piece of production and direction from Zimmer.
Embrace each day,
H
Wednesday, 20 March 2013
DHS 11 Part 7 - (S)
Is it just more or is each update to the main Spotify software making it worse?
The Charmels - lovely old soul tune
Wu-Tang Clan - always struggled a bot with WTC but this is ok - mainly because of the sample from the above...
Chromatics - completely new to me and growing
Erol Alkan - again new, again growing
CeCe Rogers - nothing to say so will simply doff cap *doffs cap*
Mark Norman vs Hole In One - wondered where it was going and then that synth riff hit and suddenly I was very familiar with it albeit that I could never have named it or known what it was - big old tune
Sigur Ros - nothing to say so will simply doff cap *doffs cap*
Of Monsters And Men - intially the Bjorkyness of the vocal put me off slightly but I've got over that now - will listen to more of their stuff for sure and what better justification does this whole DHS thing have than that?
House Of Pain - confession time... I've never liked this tune. Feel like I should apologise but I'm not going to. Classic for sure, but just not for me.
Jay-Z - nothing to say so will simply doff cap *doffs cap* (Although will add that the 'Newport State Of Mind' parody is THE best parody ever - '... and if you come and visit use the designated parking zones...' - genius)
My five...
Quite simply two words; Todd Terry.
There could've been others - God knows he's churned out thousands of tunes - but, roughly in chronological order, these are my five from 'The God'.
Black Riot - A Day In The Life
Orange Lemon - Dreams Of Santa Anna
Royal House - Can You Party
Bjork - Hyperballad (Tee's Freeze Mix)
Everything But The Girl - Missing (Todd Terry Club Mix)
Honourable mentions to the Todd Terry Freeze Mix of 'Don't Go' by Yazoo and 'Weekend' by The Todd Terry Project but I could only go with five.
S
x
The Charmels - lovely old soul tune
Wu-Tang Clan - always struggled a bot with WTC but this is ok - mainly because of the sample from the above...
Chromatics - completely new to me and growing
Erol Alkan - again new, again growing
CeCe Rogers - nothing to say so will simply doff cap *doffs cap*
Mark Norman vs Hole In One - wondered where it was going and then that synth riff hit and suddenly I was very familiar with it albeit that I could never have named it or known what it was - big old tune
Sigur Ros - nothing to say so will simply doff cap *doffs cap*
Of Monsters And Men - intially the Bjorkyness of the vocal put me off slightly but I've got over that now - will listen to more of their stuff for sure and what better justification does this whole DHS thing have than that?
House Of Pain - confession time... I've never liked this tune. Feel like I should apologise but I'm not going to. Classic for sure, but just not for me.
Jay-Z - nothing to say so will simply doff cap *doffs cap* (Although will add that the 'Newport State Of Mind' parody is THE best parody ever - '... and if you come and visit use the designated parking zones...' - genius)
My five...
Quite simply two words; Todd Terry.
There could've been others - God knows he's churned out thousands of tunes - but, roughly in chronological order, these are my five from 'The God'.
Black Riot - A Day In The Life
Orange Lemon - Dreams Of Santa Anna
Royal House - Can You Party
Bjork - Hyperballad (Tee's Freeze Mix)
Everything But The Girl - Missing (Todd Terry Club Mix)
Honourable mentions to the Todd Terry Freeze Mix of 'Don't Go' by Yazoo and 'Weekend' by The Todd Terry Project but I could only go with five.
S
x
Sunday, 10 March 2013
DHS 11 Part 6 - (D)
Apologies for the lateness of my contribution gentlemen - its been a chaotic couple of weeks that shows no signs of abating for a month or 2 yet, but I've carved out some spotify time to add some tunes, really, if im honest just so I get some back in the not too distant future - as your last selections from you both contained some stellar choices. Well played, well played indeed:
Sully...
'Woozy with Cider' it really is very lovely, not something that enjoys too many plays but im glad to have it now - very original with nice piano and an understated voice.
'Matildas Dream' had already checked this on your top 10 for 2012 and it stood out there. Really nice dubby prog house track - love the 'insistency' (Is that a word ?) and a great hypnotic use of the female vocal.
'The Fugitive' you could be mistaken for thinking this is BSPF on an initial listen, but you'd be fooling yourself. Its a great early night foot-tapping track to begin with but then it really gets quite big indeed - would work perfectly as the transition from warm up to bigger things. Top track.
'Schwindelig' I have a great Ian O'Donovan mix of a track called 'sanctuary' that I hammered for a while way back when, and hes done a nice job here. Another very pleasing melodic house track here Kev which the breakbeats really enhance - the strings get bigger and I'd say it falls into the same category as the previous track - would definitely play this.
'Sedulous' Heard this at Adrian's of course and its very big indeed - the synth stabs really make it, but the whole thing is wonderfully produced and has a cracking break with a wonderful vocal in it. Just have no idea why he keeps going on about hummus. Maybe he just really likes it.
For me your best selection for a while Kev - every single one a winner. Marvellous.
Hodge...
'As Long as Ive got you' Oh my, what a track this - not my usual fare, but fuck me that doris has some pipes on her doesnt she ? Its the vocal that takes this onto another level 'I feel free as a bird...' worth it for that part alone.
'C.R.E.A.M.' Ha ha 'word up' they like saying this dont they ? Never got into wu-tang at all before but this is good. The Charmels tune really works well and the rapping is pretty good, and its very slickly produced. Not sure I'll be checking any other WT stuff though
'I want Your love' hmmmm this is a strange one I think. Nothing about it that I dont like, yet the whole thing together doesnt really do anything for me. Have listened many times and just cant do any better than that - its nice enough but nothing more for me.
'Forever Dolphin Love' Oh my, what on earth is this record all about ? Its like several different tracks meshed together. A great melody in there, slightly weird vocal, then it seems like its going to be a really good housey record, which it kind of is, then gets big with the melody again but loses some of the good housey-ness in the process. Cant really fault it, and its brilliantly creative, but again the whole thing doesnt do it for me. No idea why not though !
'Someday' Hmmm dont really like this - seem like this ilk was done much better by others, bizarre inc, gat decor, Alison Limerick for example. Its ok, But Ive heard better. No actually, Im being harsh here - its just Ive heard the others so many times and Ive never really liked US garage tracks much, this just feels like its been done to death already. But hey maybe this guy was there first ?? I have no idea...
Absolutely tremendous work fellas, an absolute treat for me - thank you. Here's what I've got:
Hole in One 'Life's Too Short'
This was an absolutely massive record for me back in the day - end of the 90's I think. Adore that tune, and hadn't heard a crowd sample added in before - the clapping and cheering really adds to it I think. A bit marmite I expect, but I love it. (the only version on spot is by some guy called Mark Norman who's obviously remixed it, but its as good as the original)
Sigur Ros 'Hoppipolla'
In homage to the greatness of the Ros after the killer gig on Thursday. Their most accessible record I think, and definitely in their top 5 for me - killer tune, killer vocal. Immense.
Of Monsters and Men 'From Finner'
A mate went to a gig from this lot and as they are Icelandic it piqued my interest. Their track 'little talks' has had some airplay I think, but for me this is the standout track of the album 'My Head is an Animal' (which i recommend - thoroughly enjoyable). Love her vocal and a great arrangement of the track that keeps it really interesting.
House of Pain 'Jump Around'
One of the greatest hip-hop records ever for my money. Killer riff, great rapping and some of the best lyrics anywhere ever 'I'll serve your ass like John McEnroe, if your girl steps up im smacking the ho' excellent stuff. If a touch misogynistic.
Jay-Z 'Empire State of Mind'
Not sure how this got missed out, possibly because it was ubiquitous I guess. Hip-hop's greatest ever on top form. And of course there's never a bad reason to check out one of the funniest parodies evr made.. http://www.youtube.com/watch?v=Eijc2tGe-zM
One love
Sully...
'Woozy with Cider' it really is very lovely, not something that enjoys too many plays but im glad to have it now - very original with nice piano and an understated voice.
'Matildas Dream' had already checked this on your top 10 for 2012 and it stood out there. Really nice dubby prog house track - love the 'insistency' (Is that a word ?) and a great hypnotic use of the female vocal.
'The Fugitive' you could be mistaken for thinking this is BSPF on an initial listen, but you'd be fooling yourself. Its a great early night foot-tapping track to begin with but then it really gets quite big indeed - would work perfectly as the transition from warm up to bigger things. Top track.
'Schwindelig' I have a great Ian O'Donovan mix of a track called 'sanctuary' that I hammered for a while way back when, and hes done a nice job here. Another very pleasing melodic house track here Kev which the breakbeats really enhance - the strings get bigger and I'd say it falls into the same category as the previous track - would definitely play this.
'Sedulous' Heard this at Adrian's of course and its very big indeed - the synth stabs really make it, but the whole thing is wonderfully produced and has a cracking break with a wonderful vocal in it. Just have no idea why he keeps going on about hummus. Maybe he just really likes it.
For me your best selection for a while Kev - every single one a winner. Marvellous.
Hodge...
'As Long as Ive got you' Oh my, what a track this - not my usual fare, but fuck me that doris has some pipes on her doesnt she ? Its the vocal that takes this onto another level 'I feel free as a bird...' worth it for that part alone.
'C.R.E.A.M.' Ha ha 'word up' they like saying this dont they ? Never got into wu-tang at all before but this is good. The Charmels tune really works well and the rapping is pretty good, and its very slickly produced. Not sure I'll be checking any other WT stuff though
'I want Your love' hmmmm this is a strange one I think. Nothing about it that I dont like, yet the whole thing together doesnt really do anything for me. Have listened many times and just cant do any better than that - its nice enough but nothing more for me.
'Forever Dolphin Love' Oh my, what on earth is this record all about ? Its like several different tracks meshed together. A great melody in there, slightly weird vocal, then it seems like its going to be a really good housey record, which it kind of is, then gets big with the melody again but loses some of the good housey-ness in the process. Cant really fault it, and its brilliantly creative, but again the whole thing doesnt do it for me. No idea why not though !
'Someday' Hmmm dont really like this - seem like this ilk was done much better by others, bizarre inc, gat decor, Alison Limerick for example. Its ok, But Ive heard better. No actually, Im being harsh here - its just Ive heard the others so many times and Ive never really liked US garage tracks much, this just feels like its been done to death already. But hey maybe this guy was there first ?? I have no idea...
Absolutely tremendous work fellas, an absolute treat for me - thank you. Here's what I've got:
Hole in One 'Life's Too Short'
This was an absolutely massive record for me back in the day - end of the 90's I think. Adore that tune, and hadn't heard a crowd sample added in before - the clapping and cheering really adds to it I think. A bit marmite I expect, but I love it. (the only version on spot is by some guy called Mark Norman who's obviously remixed it, but its as good as the original)
Sigur Ros 'Hoppipolla'
In homage to the greatness of the Ros after the killer gig on Thursday. Their most accessible record I think, and definitely in their top 5 for me - killer tune, killer vocal. Immense.
Of Monsters and Men 'From Finner'
A mate went to a gig from this lot and as they are Icelandic it piqued my interest. Their track 'little talks' has had some airplay I think, but for me this is the standout track of the album 'My Head is an Animal' (which i recommend - thoroughly enjoyable). Love her vocal and a great arrangement of the track that keeps it really interesting.
House of Pain 'Jump Around'
One of the greatest hip-hop records ever for my money. Killer riff, great rapping and some of the best lyrics anywhere ever 'I'll serve your ass like John McEnroe, if your girl steps up im smacking the ho' excellent stuff. If a touch misogynistic.
Jay-Z 'Empire State of Mind'
Not sure how this got missed out, possibly because it was ubiquitous I guess. Hip-hop's greatest ever on top form. And of course there's never a bad reason to check out one of the funniest parodies evr made.. http://www.youtube.com/watch?v=Eijc2tGe-zM
One love
Saturday, 16 February 2013
DHS 11 - Part 5 (H)
D
Households - this is really very lovely and and is a bit too short in my opinion! Would like to hear it grow further!
Not Giving in - not really my scene poppy d'n'b, but this is passable likely due to the soulful vocal/s
Cream - raised a smile when it kicked off the recent OOTO......
Butterflies - can't put my finger on why this is so good but it really is a superb jump-up track.... think this might go well with "Wallace" by Andhim........ when you get to 3 mins it really starts to deliver. great party track.
101 - as ever totally sultry, lush vocals.... want to give this LP a good listen soon. Comfortably up there in my top three female soloists of the modern era.
S
Woozy with Cider - I really don't know what to say about this track just yet.... i know it's beautifully melancholic but i just can't really make out how i feel about it.... very enigmatic - will be revisiting quite a bit i imagine.
Matildas Dream - for some reason this makes me want to drop the Chuck Roberts vocal over the top... just a little bit, not for the whole thing....in the beginning there was Jack...maybe it's just my ears playing up again....great track, straight into my masterlist.
The Fugitive - straight up modern deep house classic, Ben Watts Buzzin Fly label, i believe - wouldnt expect anything less in terms of quality - mint tune.
Schwindelig (IOD rmx) - I wrote something quite vitriolic about this and then remembered myself and thought it was both immature and unneccessary. Suffice to say: I feel let down by the remix (especially given the man in the chair doing the job, whose work i am usually fond of) considering the absolutely outstanding class of the original track. Hugely disappointing. I made it all the way through on the third attempt in order to be able to pass judgment fully and I'm really sorry, I have tried, I just cannot 'do' this remix. Part of it is like a fucking Guetta track (sorry that just leaked out at the end - I tried my hardest)
Sedulous - my #2 track I've heard this year thus far... monstrous. Highly, highly addictive.
H
INFLUENCES PT.III
The Charmels - stone. cold. classic.....music; vocals; production all 100% perfect.
Wu Tang Clan - hopefully this explains the title of your recent house track on OOTO...taken from 1993's best hip hop LP by a country mile... this was THE tune of the year..that's not conjecture it was voted in Hip Hop Connection magazine by the readers and industry alike during 1994 (yep I do remember it, sdly). nb/ I think, I stress the word think, that after this track the slang cheese or more recently "cheddar" became widely used and accepted as a nickname for money (and later drugs also, because they obviously = cash, ultimtely) in gangster lingo in the USA ... Cash.Rules.Everything.Around.Me (cream) .... hopefully don't need to explain the link further...enough dairy related ebonics. Onward...
Chromatics - there's a few important tracks off this LP which i only heard a couple of years ago (one of them being edited and included on the Drive soundtrack a year or so ago).... poisonous guitar lick, some nice melodies and a quite saddened yet intruiging vocal which shows tinges of hope then tails off into sounding almost "I'm quite bored"... makes it almost all the more appealing somehow - again; might just be my ears.
Erol Alkan - what better way to evoke the 80's than become obsessed and inspired by a track written in 2007, get yourself hopelessly high, waffle down a microphone about dolphin love and people with no hair, write a quite soul destroyingly beautiful synth melody, drop prelim beat, let it go electronically weird/introverted for a minute, use tacky bubble-gum electro-pop drum pattern, throw beautiful synth back in, let it all mingle and build.......surely all that's left to do is drop in a melancholic balearic guitar solo to finish. Your work here is done Erol. You nutjob. p.s I love you.
CeCe Rogers - undoubtedly one of THE most influential tracks in the modern era of electronic music, not just because of that piano lick but because of the sentiment at the heart of the record which is subconciously/consciously one of the reasons we, of the rave generation, love dance music.... equality, superb shared experiences, freedom, coming together to enjoy life. Finding out about this record as a kid researching Liquid's sample was like a monumentous epiphany - I swear down; I almost cried. It's the soul equivalent of a hippy record, but fuck me hard is it good. Only sorry I couldn't find a fuller version on Spot.
KOKO,
H x
Households - this is really very lovely and and is a bit too short in my opinion! Would like to hear it grow further!
Not Giving in - not really my scene poppy d'n'b, but this is passable likely due to the soulful vocal/s
Cream - raised a smile when it kicked off the recent OOTO......
Butterflies - can't put my finger on why this is so good but it really is a superb jump-up track.... think this might go well with "Wallace" by Andhim........ when you get to 3 mins it really starts to deliver. great party track.
101 - as ever totally sultry, lush vocals.... want to give this LP a good listen soon. Comfortably up there in my top three female soloists of the modern era.
S
Woozy with Cider - I really don't know what to say about this track just yet.... i know it's beautifully melancholic but i just can't really make out how i feel about it.... very enigmatic - will be revisiting quite a bit i imagine.
Matildas Dream - for some reason this makes me want to drop the Chuck Roberts vocal over the top... just a little bit, not for the whole thing....in the beginning there was Jack...maybe it's just my ears playing up again....great track, straight into my masterlist.
The Fugitive - straight up modern deep house classic, Ben Watts Buzzin Fly label, i believe - wouldnt expect anything less in terms of quality - mint tune.
Schwindelig (IOD rmx) - I wrote something quite vitriolic about this and then remembered myself and thought it was both immature and unneccessary. Suffice to say: I feel let down by the remix (especially given the man in the chair doing the job, whose work i am usually fond of) considering the absolutely outstanding class of the original track. Hugely disappointing. I made it all the way through on the third attempt in order to be able to pass judgment fully and I'm really sorry, I have tried, I just cannot 'do' this remix. Part of it is like a fucking Guetta track (sorry that just leaked out at the end - I tried my hardest)
Sedulous - my #2 track I've heard this year thus far... monstrous. Highly, highly addictive.
H
INFLUENCES PT.III
The Charmels - stone. cold. classic.....music; vocals; production all 100% perfect.
Wu Tang Clan - hopefully this explains the title of your recent house track on OOTO...taken from 1993's best hip hop LP by a country mile... this was THE tune of the year..that's not conjecture it was voted in Hip Hop Connection magazine by the readers and industry alike during 1994 (yep I do remember it, sdly). nb/ I think, I stress the word think, that after this track the slang cheese or more recently "cheddar" became widely used and accepted as a nickname for money (and later drugs also, because they obviously = cash, ultimtely) in gangster lingo in the USA ... Cash.Rules.Everything.Around.Me (cream) .... hopefully don't need to explain the link further...enough dairy related ebonics. Onward...
Chromatics - there's a few important tracks off this LP which i only heard a couple of years ago (one of them being edited and included on the Drive soundtrack a year or so ago).... poisonous guitar lick, some nice melodies and a quite saddened yet intruiging vocal which shows tinges of hope then tails off into sounding almost "I'm quite bored"... makes it almost all the more appealing somehow - again; might just be my ears.
Erol Alkan - what better way to evoke the 80's than become obsessed and inspired by a track written in 2007, get yourself hopelessly high, waffle down a microphone about dolphin love and people with no hair, write a quite soul destroyingly beautiful synth melody, drop prelim beat, let it go electronically weird/introverted for a minute, use tacky bubble-gum electro-pop drum pattern, throw beautiful synth back in, let it all mingle and build.......surely all that's left to do is drop in a melancholic balearic guitar solo to finish. Your work here is done Erol. You nutjob. p.s I love you.
CeCe Rogers - undoubtedly one of THE most influential tracks in the modern era of electronic music, not just because of that piano lick but because of the sentiment at the heart of the record which is subconciously/consciously one of the reasons we, of the rave generation, love dance music.... equality, superb shared experiences, freedom, coming together to enjoy life. Finding out about this record as a kid researching Liquid's sample was like a monumentous epiphany - I swear down; I almost cried. It's the soul equivalent of a hippy record, but fuck me hard is it good. Only sorry I couldn't find a fuller version on Spot.
KOKO,
H x
Monday, 11 February 2013
DHS 11 - Part 4 (S)
H
Clark - Black Stone - latest addition to the DHS tradition of an occasional, mournful, piano piece. Lovely.
Goth-Trad - Man In The Maze - First time through I didn't like it, second time was better - listening now it's ok and I'd like to hear it placed in the context of the mix you originally referred to when you picked it...
AES DANA - Borderline - *ahem* First time through I didn't like it, second time was better - listening now it's ok and I'd like to hear it placed in the context of the mix you originally referred to when you picked it...
Erol Alkan & Boys Noize - Waves (Chilly Gonzalez Piano Remake) - get quite excited by the first two minutes of this each time I hear it, then it just tails off somehow...
Lee Burridge & Mathew Dekay - Fur fie Liebe - quite simply just a very, very good record - beautifully understated, wonderfully economical - EVERY single little component adds something and there isn't a gramme of flab on it
D
Sleeping At Last - Households - it's growing on me. Slowly, but it is growing.
Rudimental - Not Giving In - I get the sentiment aspect but I struggle with the fella's voice a bit, which is a real shame 'cos the ebb and flow of the track, especially its peaks, are lush.
Claptone - Cream - Heard this a couple of times at Adrian's and a couple more since on LSD2 - very nice indeed - the rising/falling strings in the middle remind me very much of a blue vinyl bootleg I used to play *gets distracted searching on Discogs*
Justin Martin - Butterflies - noticed this was on Sasha's recent Beatport chart, and it's well-picked by you from there - made me dig out some other Justin Martin stuff, see below...
Alicia Keys - 101 - hmmmm, I've tried but I can't get it to work. Bound to be one of those tunes that I hear sometime later this year playing out of someone's window or something and will hit me instantly...
S
Woozy With Cider - worth including for the name alone. Could easily get pretentious about this but will suffice to simply say it's lovely. Really, really, lovely.
Matilda's Dream - I placed this at number three in my top ten tunes of last year, describing it as, 'trench-deep-squelchy-acid-spangles.'
The Fugitive (Sei A Remix) - triggered by D's inclusion of his Justin Martin track above. Possibly the first bit of work by Sei A that I picked up - absolute stonker from a few years back - played this on many an occasion and think I used it in a mix but can't remember which one...
Schwindelig (Ian O'Donovan Remix) - first time a track by Kollektiv Turmstrasse has made a DHS list - somewhat surprising but... There are some tracks you just KNOW are big. This is one of them.
Sedulous (Mickey Remix) - second appearance for Sebastien Tellier on DHS. First time round for him went very well - I'm pretty confident this will do fairly well for him too. Used it on LSD2. As ever his lyrics simply aren't worth the effort required discern them - just make up some sounds of your own that fit and bounce along to it...
Clark - Black Stone - latest addition to the DHS tradition of an occasional, mournful, piano piece. Lovely.
Goth-Trad - Man In The Maze - First time through I didn't like it, second time was better - listening now it's ok and I'd like to hear it placed in the context of the mix you originally referred to when you picked it...
AES DANA - Borderline - *ahem* First time through I didn't like it, second time was better - listening now it's ok and I'd like to hear it placed in the context of the mix you originally referred to when you picked it...
Erol Alkan & Boys Noize - Waves (Chilly Gonzalez Piano Remake) - get quite excited by the first two minutes of this each time I hear it, then it just tails off somehow...
Lee Burridge & Mathew Dekay - Fur fie Liebe - quite simply just a very, very good record - beautifully understated, wonderfully economical - EVERY single little component adds something and there isn't a gramme of flab on it
D
Sleeping At Last - Households - it's growing on me. Slowly, but it is growing.
Rudimental - Not Giving In - I get the sentiment aspect but I struggle with the fella's voice a bit, which is a real shame 'cos the ebb and flow of the track, especially its peaks, are lush.
Claptone - Cream - Heard this a couple of times at Adrian's and a couple more since on LSD2 - very nice indeed - the rising/falling strings in the middle remind me very much of a blue vinyl bootleg I used to play *gets distracted searching on Discogs*
Justin Martin - Butterflies - noticed this was on Sasha's recent Beatport chart, and it's well-picked by you from there - made me dig out some other Justin Martin stuff, see below...
Alicia Keys - 101 - hmmmm, I've tried but I can't get it to work. Bound to be one of those tunes that I hear sometime later this year playing out of someone's window or something and will hit me instantly...
S
Woozy With Cider - worth including for the name alone. Could easily get pretentious about this but will suffice to simply say it's lovely. Really, really, lovely.
Matilda's Dream - I placed this at number three in my top ten tunes of last year, describing it as, 'trench-deep-squelchy-acid-spangles.'
The Fugitive (Sei A Remix) - triggered by D's inclusion of his Justin Martin track above. Possibly the first bit of work by Sei A that I picked up - absolute stonker from a few years back - played this on many an occasion and think I used it in a mix but can't remember which one...
Schwindelig (Ian O'Donovan Remix) - first time a track by Kollektiv Turmstrasse has made a DHS list - somewhat surprising but... There are some tracks you just KNOW are big. This is one of them.
Sedulous (Mickey Remix) - second appearance for Sebastien Tellier on DHS. First time round for him went very well - I'm pretty confident this will do fairly well for him too. Used it on LSD2. As ever his lyrics simply aren't worth the effort required discern them - just make up some sounds of your own that fit and bounce along to it...
Wednesday, 6 February 2013
DHS 11 - Part 3 (D)
Evening all, today sees me back from the VSO Assessment day so am in a very buoyant mood which is well needed considering how much Ive had the shit kicked out of me at work over the last couple of weeks. Still, some of it was deserved and medicine has been taken and the road back to the top is a long one and it wont be easy but Im up for the challenge. As ever music has been the salvation and a couple of goes on my favourite guilty pleasure singalongathon album has really helped. As has the new music provided by you two gents which as ever has my undying thanks. So, to business:
Sully - well, electro has never been a big love of mine really. Some of it I think is really wicked but mostly it fails to register too much for me, so your selection really took me out of my comfort zone musically - never a bad thing though. First up was 'Al-Naafyish -Time' which to be honest didnt do much for me, BSEF I would say Im afraid... 'Computer Age' put me in mind of some stuff that came later in the nu-romantic stage surprisingly, but rarely does a vocoder do anything for me which rather spoilt this track for me 'Running' I would definitely say is a stage along, electro / nu-romantic crossover even but again doesnt register much - I wasnt really a nu-romantic fan either, sorry ! Boogie Down Bronx is much better for me though, great riff and despite a little vocodering (which is actually bareable), some nice rap action although surely that cover is just a random picture of someone because I cant square that away with the guy thats rapping... ?? 'Lesson 3' is very much a come and sample this invite, not sure how many I could pick out as a) having been taken from somewhere before and b) used since again. A definite step in the evolution of dance music and sampling which im sure was way ahead of its time but hasnt dated well I dont think. Sorry Kev, not much love there which isnt deliberate, I tried !
Hodgson - a piano line rarely fails to get my attention, so kicking off with 'Black Stone' was a winner, if slightly melancholy, nice first choice... 'man in the maze' is a fucking sinister piece of music isnt it ? Almost sounds like the score to a chilling horror film and doesnt do much for me Im afraid. 'Borderline' is real mood music I think, doesnt do much but does set a scene, not surprised Warren kicked off a mix with it, you could really build a musical landscape from here. Fuck, did I really just say that ? What a cunt. Then what for me is the stand out track of your 5 fella 'Waves' has some totally class piano action with a wicked build and when it kicks in at about a minute it really gets me going - this lad is bang handy on a piano. Love the second bring-back and even when it gets a bit floaty towards the end. Into my personal faves, no question. For 'fur die liebe' I totally understand what you mean by 'lovely and clean' which this certainly is. If DHS was a class of pupils this track would be the neat and tidy quiet kid who always did his homework on time and never caused the teacher any problems. Has a real deep vibe to it though, especially with the sparingly used vocal. Nice.
So to my selection, well:
Sleeping at Last 'Households' just love the simplicity of this track that was used in the 'kid president' you tube clip I sent you recently, which I love and must have watched a dozen times now 'NOT COOL ROBERT FROST !'
Rudimental 'Not Giving in' I love the voice this guy has, and the tempo of this record which builds up and then goes a bit excitable, the drops make it all worthwhile - and the sentiment resonates a lot with me.
Claptone - 'Cream' is the opener from our latest mix effort which you really should listen to Hodge, not least because one of Kevs tunes will drop your jaw, so it will. This track is extremely quirky and thats why I love it - original riff and a fat bassline give this some oomph.
Jamie Martin - 'Butterflies' also from LSD2 this too has a touch of the quirk about it, but is a much bigger record for me and the drop in the middle is enormous and worth the admission price alone, before it goes back to doing what it was doing without much fuss. Original.
Alicia Keys '101' a piano lick got me, and the lyrics are the best Ive heard since 'read all about it' (which are possibly unbeatable) and we all know about Keys' vocal delivery which gets its full range here. Also check the reprise which sounds just like Sigur Ros for the first 30 seconds !
Hope at least one thing here helps keep the darkness away...
One love
Sully - well, electro has never been a big love of mine really. Some of it I think is really wicked but mostly it fails to register too much for me, so your selection really took me out of my comfort zone musically - never a bad thing though. First up was 'Al-Naafyish -Time' which to be honest didnt do much for me, BSEF I would say Im afraid... 'Computer Age' put me in mind of some stuff that came later in the nu-romantic stage surprisingly, but rarely does a vocoder do anything for me which rather spoilt this track for me 'Running' I would definitely say is a stage along, electro / nu-romantic crossover even but again doesnt register much - I wasnt really a nu-romantic fan either, sorry ! Boogie Down Bronx is much better for me though, great riff and despite a little vocodering (which is actually bareable), some nice rap action although surely that cover is just a random picture of someone because I cant square that away with the guy thats rapping... ?? 'Lesson 3' is very much a come and sample this invite, not sure how many I could pick out as a) having been taken from somewhere before and b) used since again. A definite step in the evolution of dance music and sampling which im sure was way ahead of its time but hasnt dated well I dont think. Sorry Kev, not much love there which isnt deliberate, I tried !
Hodgson - a piano line rarely fails to get my attention, so kicking off with 'Black Stone' was a winner, if slightly melancholy, nice first choice... 'man in the maze' is a fucking sinister piece of music isnt it ? Almost sounds like the score to a chilling horror film and doesnt do much for me Im afraid. 'Borderline' is real mood music I think, doesnt do much but does set a scene, not surprised Warren kicked off a mix with it, you could really build a musical landscape from here. Fuck, did I really just say that ? What a cunt. Then what for me is the stand out track of your 5 fella 'Waves' has some totally class piano action with a wicked build and when it kicks in at about a minute it really gets me going - this lad is bang handy on a piano. Love the second bring-back and even when it gets a bit floaty towards the end. Into my personal faves, no question. For 'fur die liebe' I totally understand what you mean by 'lovely and clean' which this certainly is. If DHS was a class of pupils this track would be the neat and tidy quiet kid who always did his homework on time and never caused the teacher any problems. Has a real deep vibe to it though, especially with the sparingly used vocal. Nice.
So to my selection, well:
Sleeping at Last 'Households' just love the simplicity of this track that was used in the 'kid president' you tube clip I sent you recently, which I love and must have watched a dozen times now 'NOT COOL ROBERT FROST !'
Rudimental 'Not Giving in' I love the voice this guy has, and the tempo of this record which builds up and then goes a bit excitable, the drops make it all worthwhile - and the sentiment resonates a lot with me.
Claptone - 'Cream' is the opener from our latest mix effort which you really should listen to Hodge, not least because one of Kevs tunes will drop your jaw, so it will. This track is extremely quirky and thats why I love it - original riff and a fat bassline give this some oomph.
Jamie Martin - 'Butterflies' also from LSD2 this too has a touch of the quirk about it, but is a much bigger record for me and the drop in the middle is enormous and worth the admission price alone, before it goes back to doing what it was doing without much fuss. Original.
Alicia Keys '101' a piano lick got me, and the lyrics are the best Ive heard since 'read all about it' (which are possibly unbeatable) and we all know about Keys' vocal delivery which gets its full range here. Also check the reprise which sounds just like Sigur Ros for the first 30 seconds !
Hope at least one thing here helps keep the darkness away...
One love
Thursday, 31 January 2013
DHS-LP 01 D
Well after reading Hodgson's quite frankly epic description of his choice, I feel a little daunted to be honest. I would say we both love music, but Hodgson old man you seem to love it, or at least describe it with an intensity that I just cant convey.
I found this a little difficult to be honest as albums arent really my thing, I havent had too many seminal musical moments about an album, havent had that many that I absolutely adored and changed the way I thought about anything - it just doesnt happen for me like that. Individual tracks for sure, I mean none of them have been life-changing or made me listen to music differently (djing did that fine) but certainly I can relate to that passionate 'must have' and the times I just played a record to death, but albums, well nah, not so much.
Thankfully however, there have been a few and I literally HAVE to kick off with a duo described by Zane Lowe as having 'a flawless back catalogue' and dammit if he isnt right. I am of course talking about The Chemical Brothers and Im picking their very first album 'Exit Planet Dust'
It is now 18 years since that longplayer came out and it has most certainly stood the test of time. It is an in your face, lets fucking have it, but with some nice chilled bits and getting a bit quirky towards the end vibe, its originality (a consistent hallmark for the chems over the years) made it stand out massively from the crowd. The journos couldnt even pigeonhole it to begin with and came out with the lame 'big beat' moniker so they could talk about the chems and fatboy slim and the prodigy in the same sentence.
Thr brothers are gonna work it out apparently, and that is your first indication that we are not dealing with a normal electronic music album here in 1995. But 'in dust we trust' is where it gets going for me - what a bassline - BOOM ! Have some of that bitches. Then the change down to song of the siren, so original it's obscene - then the change up to 'three little birdies...' try getting that hook out of your head after a listen. And if that wasnt enough, after the pause of 'Fuck up beats', 'Chemical Beats' comes and owns you good and proper - they're still playing that at the peak of their sets now. After that you're just spent and need some chillout, and thankfully the lush deep sounds of 'Chico's Groove' and the comforting female vocal of 'one too many mornings' calms you down. Interestingly, I think the concept for 'Out of Control' from Surrender was born here... relaxed ? Good. Because its time for some lively again with 'Life is Sweet' which turns a little melaancholy for me as the album gets all reflective and moves into the very strangely titled 'Playground for a Wedgeless Firm' where the creativity and originality takes another twist, before ending on the tremendous finality of 'Alive Alone' which like many of the tracks on here is completely unexpected and different to anything you had heard before it.
But thats generally a very good description of what The Chemical Brothers have always been about and why I adore them so much.
One love
I found this a little difficult to be honest as albums arent really my thing, I havent had too many seminal musical moments about an album, havent had that many that I absolutely adored and changed the way I thought about anything - it just doesnt happen for me like that. Individual tracks for sure, I mean none of them have been life-changing or made me listen to music differently (djing did that fine) but certainly I can relate to that passionate 'must have' and the times I just played a record to death, but albums, well nah, not so much.
Thankfully however, there have been a few and I literally HAVE to kick off with a duo described by Zane Lowe as having 'a flawless back catalogue' and dammit if he isnt right. I am of course talking about The Chemical Brothers and Im picking their very first album 'Exit Planet Dust'
It is now 18 years since that longplayer came out and it has most certainly stood the test of time. It is an in your face, lets fucking have it, but with some nice chilled bits and getting a bit quirky towards the end vibe, its originality (a consistent hallmark for the chems over the years) made it stand out massively from the crowd. The journos couldnt even pigeonhole it to begin with and came out with the lame 'big beat' moniker so they could talk about the chems and fatboy slim and the prodigy in the same sentence.
Thr brothers are gonna work it out apparently, and that is your first indication that we are not dealing with a normal electronic music album here in 1995. But 'in dust we trust' is where it gets going for me - what a bassline - BOOM ! Have some of that bitches. Then the change down to song of the siren, so original it's obscene - then the change up to 'three little birdies...' try getting that hook out of your head after a listen. And if that wasnt enough, after the pause of 'Fuck up beats', 'Chemical Beats' comes and owns you good and proper - they're still playing that at the peak of their sets now. After that you're just spent and need some chillout, and thankfully the lush deep sounds of 'Chico's Groove' and the comforting female vocal of 'one too many mornings' calms you down. Interestingly, I think the concept for 'Out of Control' from Surrender was born here... relaxed ? Good. Because its time for some lively again with 'Life is Sweet' which turns a little melaancholy for me as the album gets all reflective and moves into the very strangely titled 'Playground for a Wedgeless Firm' where the creativity and originality takes another twist, before ending on the tremendous finality of 'Alive Alone' which like many of the tracks on here is completely unexpected and different to anything you had heard before it.
But thats generally a very good description of what The Chemical Brothers have always been about and why I adore them so much.
One love
Wednesday, 30 January 2013
DHS-LP 01 H
I've had various options going through my head for my addition, but one struck me as being relatively obvious given my passion for the guy's recordings for the last 17 years or so. And especially because people seem to now suddenly be digging him whilst he delivers dub-based house or pure db-step.
I'm choosing Photek's first LP (proper) - Modus Operandi which was released in 1997. He later released "Form & Function" which was a collection of his singles and work which pre-dated MO (tracks that I'd rewind over and over from bootleg/copy tapes from the Blue Note sessions in Hoxton '96 - Loxy, 'Rider, Lemon D, Doc Scott, Dillinja etc). Anyway - the hype around Goldie's "Timeless" was utterly insane when it arrived two years prior, and there is no doubt in my mind that I owe a huge amount to that LP because it genuinely changed my life musically - it intro'd me to what was then termed "intelligent drum n bass". HOWEVER, nothing could really prepare me for Parkes' debut LP in 1997 - I remember reading the build up to it in Wax magazine and getting my kecks in a twist with excitement.... going to Our Price on the Monday morning to buy it, then running into school late for a busines studies 6th form module assessment. I had to know that I had that LP in my bag waiting for me so that when that gruelling 2 hour module finished I could whack it straight into my Dads borrowed (stolen) Technics portable CD player and f*ck off double Geography in the afternoon and go and listen. If you gave me a few weeks I could come up with 10 LP's that truly changed the way I listen to music and , but if you were to ask me, on the spot, for one LP I guarantee it would be this that came to my mind, because the impact was so great that I'll never forget it.
And so to the music itself. I will try and be brief, something I know i'm not good at when it comes to music.
I have listened to this LP twice all the way through recently; Once so that I could formulate words in my mind, reconnect and relive some memories.... Second so that I could try and write something which might make me realise how you might hear it and for me to be retrospectively critical/realistic because this type of music is probably not for either of you entirely (KS - lush d'n'b bukem style = good - big choppy, Metalheadz, aggresive stuff = not really your bag.... RD - never really into d'n'b at all but coming round to the lush stuff last three/four years) I hope in spite of its very niche end user appeal (for want of a much better phrase) you will be able to enjoy all sorts of musical influences within this concept album (make no mistake: that's what it is - hence the little musical themes/continuations which carry througout).... the main thing that struck me as a kid was this incredibly orignal Detroit techno approach to making drum and bass... not only reflected in the amazing sounds and noises (that broken glass in reverse sound; a major theme which is repeated so often it almost just washes over you and becomes part of your psyche for an hour or so) but also the intensity of the production... the beats are RIDCIULOUS - they are crisp beyond anything I'm yet to hear (which is what i was trying to relay when i wrote my 'short' piece about "Rings around Saturn" which Spot has failed to secure rights to) the production MUST have been completely painstaking but the reward to the listener is huge:- I found it, still find it, all encompassing and absorbing. I do accept however (only recently after conversations with you two, either in person or on email) that I might be a bit odd/different in my taste/listening patterns/response to music - so I will totally accept if your ears don't get into this album.... for me it is an oasis, a nirvana otherwise unknown (apart from his other early 12"/singles such as Rings / UFO/Knightvision etc).... I can honestly say that after all these years if I leave this LP alone for 6 months, go back and listen to it, I feel like I'm listening to something new.... how many albums can you say that about? It must be mentioned actually, that not all of this is large sounding tearup drum and bass - heavy duty tracks feature and do a superb job, but the defining moments are predominantly the non jump up d-n-b tracks .... the thoughtful openener "Hidden Camera", eerie echoey breaks "Minotaur" ; "124" is so Detroit it might as well have been written by May, Mills, Pullen, Craig & Saunderson (but it wouldnt have sounded as good); and in fact the track before it "Aleph 1" is essentially a massive breakbeat techno track.....hugely sad is the loss of the title track from Spot - a tune which I included on DHS1 many moons ago (lush jazz piano over double-bass silkyness and hip hop beats - absolutely class - a modern master class in programming in fact). Axiom I think is the one you will struggle with, but even then when he introduces the noir string section I struggle not to be amazed....
MO might all just be a bit too beardy weirdy for you but I don't know of any album which remotely makes me think - oh yeah; this reminds me of Photek's first LP - no one's even come close to it....
If this LP poses one question for me, it is simply this:
"Who else do you know who can make beats like Photek?"
I hope you can enjoy at least some of this album.
H
I'm choosing Photek's first LP (proper) - Modus Operandi which was released in 1997. He later released "Form & Function" which was a collection of his singles and work which pre-dated MO (tracks that I'd rewind over and over from bootleg/copy tapes from the Blue Note sessions in Hoxton '96 - Loxy, 'Rider, Lemon D, Doc Scott, Dillinja etc). Anyway - the hype around Goldie's "Timeless" was utterly insane when it arrived two years prior, and there is no doubt in my mind that I owe a huge amount to that LP because it genuinely changed my life musically - it intro'd me to what was then termed "intelligent drum n bass". HOWEVER, nothing could really prepare me for Parkes' debut LP in 1997 - I remember reading the build up to it in Wax magazine and getting my kecks in a twist with excitement.... going to Our Price on the Monday morning to buy it, then running into school late for a busines studies 6th form module assessment. I had to know that I had that LP in my bag waiting for me so that when that gruelling 2 hour module finished I could whack it straight into my Dads borrowed (stolen) Technics portable CD player and f*ck off double Geography in the afternoon and go and listen. If you gave me a few weeks I could come up with 10 LP's that truly changed the way I listen to music and , but if you were to ask me, on the spot, for one LP I guarantee it would be this that came to my mind, because the impact was so great that I'll never forget it.
And so to the music itself. I will try and be brief, something I know i'm not good at when it comes to music.
I have listened to this LP twice all the way through recently; Once so that I could formulate words in my mind, reconnect and relive some memories.... Second so that I could try and write something which might make me realise how you might hear it and for me to be retrospectively critical/realistic because this type of music is probably not for either of you entirely (KS - lush d'n'b bukem style = good - big choppy, Metalheadz, aggresive stuff = not really your bag.... RD - never really into d'n'b at all but coming round to the lush stuff last three/four years) I hope in spite of its very niche end user appeal (for want of a much better phrase) you will be able to enjoy all sorts of musical influences within this concept album (make no mistake: that's what it is - hence the little musical themes/continuations which carry througout).... the main thing that struck me as a kid was this incredibly orignal Detroit techno approach to making drum and bass... not only reflected in the amazing sounds and noises (that broken glass in reverse sound; a major theme which is repeated so often it almost just washes over you and becomes part of your psyche for an hour or so) but also the intensity of the production... the beats are RIDCIULOUS - they are crisp beyond anything I'm yet to hear (which is what i was trying to relay when i wrote my 'short' piece about "Rings around Saturn" which Spot has failed to secure rights to) the production MUST have been completely painstaking but the reward to the listener is huge:- I found it, still find it, all encompassing and absorbing. I do accept however (only recently after conversations with you two, either in person or on email) that I might be a bit odd/different in my taste/listening patterns/response to music - so I will totally accept if your ears don't get into this album.... for me it is an oasis, a nirvana otherwise unknown (apart from his other early 12"/singles such as Rings / UFO/Knightvision etc).... I can honestly say that after all these years if I leave this LP alone for 6 months, go back and listen to it, I feel like I'm listening to something new.... how many albums can you say that about? It must be mentioned actually, that not all of this is large sounding tearup drum and bass - heavy duty tracks feature and do a superb job, but the defining moments are predominantly the non jump up d-n-b tracks .... the thoughtful openener "Hidden Camera", eerie echoey breaks "Minotaur" ; "124" is so Detroit it might as well have been written by May, Mills, Pullen, Craig & Saunderson (but it wouldnt have sounded as good); and in fact the track before it "Aleph 1" is essentially a massive breakbeat techno track.....hugely sad is the loss of the title track from Spot - a tune which I included on DHS1 many moons ago (lush jazz piano over double-bass silkyness and hip hop beats - absolutely class - a modern master class in programming in fact). Axiom I think is the one you will struggle with, but even then when he introduces the noir string section I struggle not to be amazed....
MO might all just be a bit too beardy weirdy for you but I don't know of any album which remotely makes me think - oh yeah; this reminds me of Photek's first LP - no one's even come close to it....
If this LP poses one question for me, it is simply this:
"Who else do you know who can make beats like Photek?"
I hope you can enjoy at least some of this album.
H
Monday, 28 January 2013
DHS 11 -Part 2 (H)
Happy new year Gentlemen.
D you wrapped up #10...
IT - never heard anything quite like this guy - absolutely brutal - a proper mic wrecker.
Guy J rmx - great remix - qaulity production on the bass.
MJ Nero rmx - not really feelin' this one I'm afraid. (Never liked original either!)
Emeli - loved this kid first time I heard her voice on radio.... easily my favourite newcomer from the UK pop scene of late. Check out her version of Lennon's "imagine".... Wow.
SR ( ) 3. No need to comment - straight onto Best Of, no questions asked.
S you opened up #11...
Hashim - proper, proper classic.... testament to your statement KS:- This got hammered at the NY Sushi Bikeshed HipHop nights at the Unit in Sheffield (c.98/99). Always got a massive cheer.
Newcleus - new to me - like it a lot, very quirky and nowhere near as commercial as the one in my 'potentials' list which is later referenced in your last track!
I.S - least fave of the five but still good to hear new tunes....Now I know you more I know exactly why this is a bit of you.... if I heard it anywhere I'd be putting your name on it. It's like Bowie vs The Cure vs Kraftwerk vs 80's electro.... the more i listen to it the more i like it.....In fact I'm convinced I'll end up adding it to a list of my own!
Parrish - hehehehe saves me a job :)
Steinski - :) Errrrm also saves me a job!!!!!
Apologies for my delay - my update on here and on DropBox are essentially interlinked, so here's a selection of some of my fave's from 2012...
Clark - Zabiela's final track from that mix I recently emailed over. Proper lush and highly addictive.
Goth-Trad - kind of an exorcism of sorts.... mate sent me a dubstep mix to listen to and this is track one.... can't get it out of my brain...f-cking eerie - wicked production and mood.
AES DANA - Warren kicked off a mix with this last year and it's one of those tunes which just builds nicely and has a great depth to it. It kind of reminds me of Sasha's production on ADD and Stephen W (ES Waves).
Chilly Gonzales remake - Chilly just letting rip on a piano and making a tacky, repetitive, gameboy sounding electro tune sound inspiring. Highly addictive - great in the car going fast.
Burridge - one thing this guy can do very well is make records sound very lovely and clean.... no better example than this beautiful record here. Dreamy, techy with superb mixture of understated tubular melodies and soaring drawn-out strings... Lush.....as for the title: not sure why they went for German, but I certainly understand the sentiment of labelling a track "For the love".
Onto my next two musc tasks - probably tomorrow night now...
KOKO,
H
D you wrapped up #10...
IT - never heard anything quite like this guy - absolutely brutal - a proper mic wrecker.
Guy J rmx - great remix - qaulity production on the bass.
MJ Nero rmx - not really feelin' this one I'm afraid. (Never liked original either!)
Emeli - loved this kid first time I heard her voice on radio.... easily my favourite newcomer from the UK pop scene of late. Check out her version of Lennon's "imagine".... Wow.
SR ( ) 3. No need to comment - straight onto Best Of, no questions asked.
S you opened up #11...
Hashim - proper, proper classic.... testament to your statement KS:- This got hammered at the NY Sushi Bikeshed HipHop nights at the Unit in Sheffield (c.98/99). Always got a massive cheer.
Newcleus - new to me - like it a lot, very quirky and nowhere near as commercial as the one in my 'potentials' list which is later referenced in your last track!
I.S - least fave of the five but still good to hear new tunes....Now I know you more I know exactly why this is a bit of you.... if I heard it anywhere I'd be putting your name on it. It's like Bowie vs The Cure vs Kraftwerk vs 80's electro.... the more i listen to it the more i like it.....In fact I'm convinced I'll end up adding it to a list of my own!
Parrish - hehehehe saves me a job :)
Steinski - :) Errrrm also saves me a job!!!!!
Apologies for my delay - my update on here and on DropBox are essentially interlinked, so here's a selection of some of my fave's from 2012...
Clark - Zabiela's final track from that mix I recently emailed over. Proper lush and highly addictive.
Goth-Trad - kind of an exorcism of sorts.... mate sent me a dubstep mix to listen to and this is track one.... can't get it out of my brain...f-cking eerie - wicked production and mood.
AES DANA - Warren kicked off a mix with this last year and it's one of those tunes which just builds nicely and has a great depth to it. It kind of reminds me of Sasha's production on ADD and Stephen W (ES Waves).
Chilly Gonzales remake - Chilly just letting rip on a piano and making a tacky, repetitive, gameboy sounding electro tune sound inspiring. Highly addictive - great in the car going fast.
Burridge - one thing this guy can do very well is make records sound very lovely and clean.... no better example than this beautiful record here. Dreamy, techy with superb mixture of understated tubular melodies and soaring drawn-out strings... Lush.....as for the title: not sure why they went for German, but I certainly understand the sentiment of labelling a track "For the love".
Onto my next two musc tasks - probably tomorrow night now...
KOKO,
H
Thursday, 3 January 2013
DHS-LP - Open for business...
Ok Chaps - happy new year - here we go...
The DHS-LP folder is now open (link to follow separately) and will remain so until 1st February - within that time you simply need to choose an album and deposit it, in its entirety, in the folder.
I've kicked it off with;
Interpol - Antics
In somewhat typical fashion I was given a copy of this in 2004 by a bloke at work who raved about it whilst I simply wasn't interested, so I sat on it for ages. And ages. In fact, around that time, a bunch of people from work organised tickets to go and see Coldplay playing Crystal Palace arena one evening - I got roped in and actively persuaded everyone to stay in the pub for another drink or two when a couple of them wanted to go and see the support band playing their latest album - thanks to me we all turned up just as Interpol were being massively applauded off stage. Then the CD I'd been given surfaced a couple of years later one rainy summer's afternoon when I was 'working from home' - I played it and was, once again, humbled. Mightily humbled.
There's nothing about it that I should like really and yet I absolutely adore every last single second of it. One of those very rare instances where every single damn track on the album is just as good as all the others. Lyrically it's always been far too dense for me to penetrate - but that has never once bothered me. Musically I'm at a bit of a loss to describe it - this sort of thing isn't usually my style so I'm limited in terms of comparisons - in fact, I'm not going to bother - if you've not heard it before then click and see what you think.
Right up there in my all-time favourite albums and one of the best 'driving-fast-alone-in-the-car-'singing'-very-loudly-albums' ever.
S
The DHS-LP folder is now open (link to follow separately) and will remain so until 1st February - within that time you simply need to choose an album and deposit it, in its entirety, in the folder.
I've kicked it off with;
Interpol - Antics
In somewhat typical fashion I was given a copy of this in 2004 by a bloke at work who raved about it whilst I simply wasn't interested, so I sat on it for ages. And ages. In fact, around that time, a bunch of people from work organised tickets to go and see Coldplay playing Crystal Palace arena one evening - I got roped in and actively persuaded everyone to stay in the pub for another drink or two when a couple of them wanted to go and see the support band playing their latest album - thanks to me we all turned up just as Interpol were being massively applauded off stage. Then the CD I'd been given surfaced a couple of years later one rainy summer's afternoon when I was 'working from home' - I played it and was, once again, humbled. Mightily humbled.
There's nothing about it that I should like really and yet I absolutely adore every last single second of it. One of those very rare instances where every single damn track on the album is just as good as all the others. Lyrically it's always been far too dense for me to penetrate - but that has never once bothered me. Musically I'm at a bit of a loss to describe it - this sort of thing isn't usually my style so I'm limited in terms of comparisons - in fact, I'm not going to bother - if you've not heard it before then click and see what you think.
Right up there in my all-time favourite albums and one of the best 'driving-fast-alone-in-the-car-'singing'-very-loudly-albums' ever.
S
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