"My purpose was simple: to catch the feel, the pulse of rock, as I had lived through it. What I was after was guts, and flash, and energy, and speed" - NIK COHN -
------------------------------------------------------------------------------------------------------------------------------------------------------------------- "When the music was new and had no rules" -LUNA C
Showing posts with label THAT'S WHAT YOU CALL A CONTINUUM FOLKS. Show all posts
Showing posts with label THAT'S WHAT YOU CALL A CONTINUUM FOLKS. Show all posts
grrrrrrrrrrrrrrreat 2step-tribute relick remake redream of one of the grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrreatest of ardkore tracks ever
Ever!
Vocal ghosted from
Ah, never noticed before, or perhaps forgot - but there's a snippet of the Urban Soul vocal once again - garbled and ultrawoogly - in "Jim Skreech", the track that immediately follows "Menace" on the Darkrider EP.
At 0.56
Making it all even more nuum numm nuumy, there's a lovely bleep-tinkle-echo-echo swipe from Sweet Exorcist's awesome "Clonk's Coming" in "Menace"
Oh never knew this - sweet tremolo'd-2-fuck vocal rip from "Menace" appears in this tune "Sensi Addict" by The Candyman - at 2.26
Nice tune
Back to "Jim Skreech", always wondered if there was an inspiration taken from this Big Youth track
Must be surely (Goldie had a Rastafari-phase in his past)
In the Rufige Cru tune "Jim Skreech", there's an ultra-jittered vocal lick - "fee-eee-eee-eel it" - sourced in the postdisco song "Life Is Something Special" by the Peech Boys, an era of music where dubby FX enters the mix and especially the remix, the flipside versions on 12 inches
But I wonder if Goldie + kru got the "fee-eee-eeel it" second-hand, via late-bleep classic "Feel It" by Coco Steel & Lovebomb?
Well, I never heard this mix...
It's dubbier, yet tepid compared to the fevered original. Worthy of Guerrilla Records or Hard Hands.
There's a Justin Robertson remix that's even duller yet presumptuously calls itself "Dub Excursion".
This "5 am" mix by Kid Batchelor is a bit better but still too muted
Oh god, somehow I've strayed far far from all that was glorious and world-historical in 92-93!
It's funny how almost the exact same sources and constituents - dub, house, disco + postdisco- could produce such drastically different results at more or less the exact same time.
"Dub", in the early '90s- as a track title parenthetical / remix title or just vague invoked ancestry - could be the promise of "Babylon shall fall" tectonic wreckage or milquetoast numbing nothingness
But let's end on a high
Back to the era of D.E.A. and its "Menace" remake "Sacrifice"
Goldie knew what the score was, where the spirit had gone (saw him once, at one of the UKG clubs, gladhanding Spoony from Dreem Teem up in the deejay booth)
But I wish these guys - M.J. Cole, Groove Chronicles, Grant Nelson aka Bump n' Flex - had been remixing this earlier Goldie + kru tune with the exact same title
That would have been a true "now that's why they call it..." moment...
At Christmas, my 17-year-old niece was playing tunes and this one grabbed my ear like a terrier snatching turkey shreds from under the table.
I was like, "I know that groove"
I had an irresistible urge to inform her what the tune underneath the tune was - regale with tales of buying the 12-inch at the time... just how exciting the UKG-into-2step moment had been.
But I resisted it. Who wants to be the boring old uncle droning on about things prehistoric?
Funny thing is, this grime refix of Some Treat - which I'd never heard - is itself really old, from 2009. Back then only slightly older than my niece, Chip(munk) is now in his mid-30s!
The kingdom of atemporality isn't it, music today? Chronology all jumbled, sequence flattened out. Doesn't matter to the youngers, and why should it? They find what they need by lateral drift.
Later, I remembered there was yet another intertextual layer, a deeper stratum of nuumological history beneath.
Some Treat's "Lost In Vegas" (1998) is itself a partial rewrite of Shut Up and Dance's 1990 tune "£10 To Get In"
The Suzanne Vega element - doubtless heisted indirectly, via the 1990 dance bootleg turned smash hit by DNA - is just one element of deliciousness that gets transferred from "£10 To Get In" to "Lost in Vegas" to "Going On Sho".
There's also the "turn it down... cos it's too fuckin' loud".
Now where's that bit from?
It reappears in a couple of Luke Vibert bits - including a tune named "Turn"
And Shut Up and Dance self-sample the Vega lick for just a flicker in this tune
But back to the meat in the middle of the Nuum Historical Sandwich
I don't remember this remix
But I do remember the name Angel Farringdon
Ruff 'n 'rollin' - lovely flickers of filtered breakbeats draped across the 4/4 pump 'n' flex
Flipside is tuff 'n' slinkier still
Delicious clattery swing to it. The horn fanfare! The peculiar thin whistling refrain. And that gluey rolling B-line.
JBR - Johnny Biscuit Records!
Who was Lil Smokey, then?
Angel Farringdon - that's Helen T, aka Helen Taylor - who engineered and programmed Some Treat
That was their one shot - this follow-up is tasteful and flava-free. Spindrift is a Helen T alias.
Angel Farringdon did a record with Russell Square, tee hee. Credited to The Railway People on the white label.
But although there's another portentous horn part, just like in "Clean Riddem", it's not quite in the same league.
I do like like the backwards-vocal - combined with the ceremonial-sounding horn, there's a bit of an "Eastern promise" vibe. The reverse drums bits. I suspect a past in drum + bass.
This is identified as "Prototype" but appears to be the same tune.
Angel Farringdon also did a record with Warren Street, tee hee hee.
Helen T's discography is much more extensive than Some Treat's. Multiple identities, a string of releases.
El B was prevailed upon to darkdubrmx this one
There are some vaguely hardhouse, London underground acid, and breaksteppy things later in the discography
Back to the peak moment
What days they were...
In my mind I always cluster "Lost In Vegas" and "No Fighting" / "Clean Riddem" with this glorious one-off by Napa-Tac, which samples heavily from SUAD's contemporary Rebel MC
It's like the two ends of the '90s - 1990 and 1999 - are in communication, forming a loop, a perfect circle - or rather an imperfect circle, as things cycle around without merely repeating and reiterating.
You know it's coming... you know it
That's why they call it a continuum, folks!
Aha, here's what I wrote about "Lost In Vegas" back in '98 when rounding up the year's blisses
SOME TREAT -- Lost In Vegas (JBR)
A tribute to/remake of Shut Up And Dance's 1990 (or was it even 1989?) track "Ten Pounds To Get In," this samples the Suzanne Vega vocal-riff from "Tom's Diner" that SUAD must have got from DNA's unoffical-then-subsequently-sanctioned dance version of the S. Vega track. We're talking multiple levels of citation here, serious intertextuality. On a broader level it's a tribute to the hardcore continuum--getting on for ten years of London's multiracial rave scene, a culture of mixing it up, of hybridising hybrids and mutating mutations; the continual reinvention of flava and vibe. A tradition of futurism. Roots N' Future = the endlessly fresh now.
Now I think about it, that might be the very first time I used the term "hardcore continuum".
