Tiny Sticks have already shown that they won't be pigeonholed by diversifying from tech-house into indie, punk funk and modern disco, so it comes as no major surprise that Turbo Crystal is not your average French artist. PacoVolume's musical reference points extend out from Prince and his closest contemporaries are possibly Chromeo.
"French Girl" itself is a pretty self-explanatory song, crooned over rudimentary beatbox and bass guitar. New York's Escort make things comfier by plumping up a cushion of Kid Creole disco underneath. "Another Glass" is the punkier B-side, itself remixed in a nu disco manner by Bear Funk's Fabrizio Mammarella.
"REVERSO 68 is the studio based project of producer/djs Pete Herbert and Phil Mison. The two met many moons ago whilst Phil was a resident at the Cafe Del Mar in Ibiza and bought records from Pete who was running record shops in Soho, London at the time, just before he opened the infamous Atlas Records vinyl emporium. As well as djing extensively around the globe for the last decade and more recently working together ..(the duo have also recorded an album as Frontera for Music for Dreams out in Spring 2006).... they have also both recorded and released their own projects, Phil as Cantoma with Music For Dreams, and Pete as Bakazou and as part of LSB and Optimus for Eskimo Recordings and their offshoot Suicide and as Cuica for Ubiquity Records,California. Over the last few years Reverso 68 have released 'Piece Together' on Pete's label Specialist Interests as well as various remixes including reworks for Juan Maclean (DFA), Manhead (Relish), Bent (Ministry) and Stratus (Klein) to name a few..(see Discography). The REVERSO 68 sound could be descibed as a deep mix of Balearic disco and spaced out,melodic electronics made with the dancefloor in mind but definately a listening pleasure for all occasions
I receive today a advance Reverso 68 album... and its damn good! The album comes to me with no information at all!
...When i listen to some of my house records, the same question comes to my head, over and over again...
What happen to records like these???????????
I'm talking about 94/98 house records... In the present i can listen to NOTHING with a similar quality..
I dont know if some of you have the same opinion, but i can find a answer to that question..
Can someone help me?
Important note: These tracks are 2 of my all time house favorites!, and, btw, they are very hard to find on mp3 format. So please keep it gently, and enjoy it!
Co-written by Steve Kotey and Chas Jankel - presumably as part of the Kotey Extra Band sessions - this pair of Bear Funk Gold nuggets have been reassembled with the help of the label's live-in Italian Fabrizio Mammarella. The result is a couple of cheeky tunes indeed.
"Love Sprinkle" has been spliced with the musical DNA of Arthur Russell (multiple percussion tracks and those quirky touches are evident).
Le Pamplemousse was the brainchild of Michael Lewis and Laurin Rinder. Much like Phil Spector, a decade earlier, these producers would create outlets for their musical genius. These outlets or studio groups, would often feature the same musicians and singers. Interchangeable pieces in the master plan. The faces might change but the name and sound were constant.
Laurin Rinder was born in Los Angeles, California on April 3, 1943. He knew by the age of six that he wanted to be a musician. At seven, he was playing the trumpet. His father, who was an understudy for Bing Crosby during the 1930's and 1940's, encouraged Laurin to play and later built him a drum set out of trashcans and corrugated boxes. Soon the trumpet gave way to the saxophone and then finally the drums in his junior high school band.
He played on his first album as a session drummer in 1953 while only ten years old. During his sophomore year, he decided to drop out of high school to pursue music on a full time basis by playing with local bands around Los Angeles. The first band he played with was Dick D’Augustine And The Swingers who had a local hit with a tune called "Nancy Lynn."
At 19, Laurin enrolled in a correspondence course at The Berkeley School of Jazz and devoted his life to music. The great jazz artists of the day such as Davis, Monk and Mingus were his influences. Laurin was among the first in a small group of young musicians that played rock and roll in Hollywood during the mid-to late 1950's. There was a shortage of drummers, since little if any of the older musicians wanted to play this new style of music. Rock and roll in its infancy was essentially an amalgam of blues, R&B and country & western. During the period between 1956 to around 1963 Laurin claims to have played on roughly about half of the music that was released during that time.
In the early 1960's Laurin made the move to Detroit and was part of the early Motown history along with friend Bernard Purdy. While now based in Detroit he continued to travel and record in Philly, Miami, and the famed Muscle Schoals studios in Alabama where he played on Arthur Prysock, Anita O’Day and Billy Eckstein sessions among others. He traveled extensively with James Brown, Muddy Waters, Jimmy Reed and John Hooker by bus throughout the South during the 1960's where he was usually the only white player in a black group. Las Vegas also figured into his travels where he even did comedy as part of "Rinder, Ryder And The Swinging Brass" around 1966-67. When asked why so many different things under his belt his only reply is, "I’m an opportunist. I look for the door and go through it." "Things got a little thin in the early 1970s when we were doing hard rock and at this time is when Michael (Lewis) comes in."
Around 1968 Laurin was living in Laguna Beach, California when he called his friend Dick Dodd, the leader singer of the group The Standells, to arrange for an audition. The Standells had scored a number 11 hit in 1966 with "Dirty Water." Michael, who hailed from Alabama, was their keyboard player and had just come from another group, We Five, which had the 1966 hit "You Were On My Mind." Michael had also performed on fellow Alabamian Percy Sledge’s "When A Man Loves A Woman." The two met and later went on to form a rock group called Joshua. The six-piece group was comprised of former members of The Righteous Brothers and Bonnie And Delaney. After several unsuccessful years the group disbanded. The bands manger, Seymour Heller who was the president of "The Conference of the Personal Managers of the World" and guided the careers of such stars as Liberace and Debbie Reynolds, had other plans for Rinder and Lewis. Heller was the owner of "Producer’s Workshop" and partners with Ray Harris in the "American Variety International" (AVI) record label.
Around 1973 that they were asked by Harris if they knew anything about "this new music called Disco." They were then asked if they would like to go into the studio and try something out. Laurin recalls, "We went in and did all this stuff and we were the first ones to do this thing. And I was putting in these sh, sh, sh hi-hat things on R&B songs that turned into Disco songs. Then I said why don’t we start using bells and whistles and I do some strange sounds like ew-ee, ew-ee…we’ll put breaks into it and play some bass drum…boom-boom and who cares…" to which everyone agreed. A very popular gay disco called Studio One was near Laurin’s home, so one night Laurin and Michael decided to stop by and see what this new Disco music was all about. The two found themselves dumbfounded.They could not help noticing that the crowd was eating it up and thought we can do this with no problem at all.
Ray Harris, who had been in contact with D.J.-producer and remixer Rick Gianatos via Chicago's Dogs Of War Record Pool, gave Rinder and Lewis their next hit. Gianatos was working at the pool and spinning at Dingbats (a local straight black club). Rick told Ray about a dance that he saw nightly at the club, the dancers did this thing called "The Spank" to Peter Brown's "Do Ya Wanna Get Funky With Me" and Barry White's "It’s Ecstasy When You Lay Down Next To Me." Rick picks up the story: "Ray Harris thought doing a record about The Spank was a fantastic idea and he and Michael Lewis flew in to Chicago the following week to hang out a little and observe the dancers carrying on to these songs. I made sure to play music appropriate for the dance when they were at the club, including both of the favorites, Peter Brown and Barry White. Ray wasn't impressed with Peter Brown, but that beat of Barry White got him excited. (Peter Brown was a more outrageous and less predictable track, for sure.) He told Michael they would go back to LA and Michael and Lauren should write something new with that Barry White groove. A few days later Ray called me and told me he had christened the concept "Le Spank," to continue in his "European Import" flavor of AVI releases." And the rest is history as they say. Laurin took the track and changed the lyrics to make it become "Le Spank" which became the first hit for the branch of Rinder/Lewis under the name Le Pamplemousse. The duo had previously released 2-12" singles as Le Pamplemousse to moderate success, 1976's "Gimme What You Got" and 1977's "Get Your Boom Boom (Around The Room Room)" before "Le Spank" hit number one in 1977. The 12" singles: "Monkey See, Monkey Do" and "Sweet Magic" followed in 1978 and the final 12" single, "Do You Have Any, Do You Know Where I Can Get Some" in 1979. The "group" had three albums between 1977 and 1979: "Le Pamplemousse" (1977), "Sweet Magic" (1978), and "Planet Of Love" (1979). The musicians listed on the credits of the Le Pamplemousse albums are fictitious. Laurin says, "None of them existed, Mike and I played all the instruments…on every album. Every single album."
Some of the many singers that comprised Le Pamplemousse were: Brenda, Valerie and Shirley Jones (The Jones Girls), Alexandra Brown, Patricia Hall, Mortonette Jenkins, and Laurin himself. This facet of Michael and Laurin's genius ended in 1979 as they moved into recording under their own monikers. For related releases see: El Coco, In Search Of Orchestra, St. Tropez, Tuxedo Junction, and of course Rinder & Lewis.
Michael has since continued in the music business and Laurin, who left it in the mid 1980's, is now a gallery owner and renowed artist.
AVI Part 3 Taken from the album "Le Spank" [AVL 6032] (1977), Le Pamplemousse - Le Spank
"Nards" is the 1st release of Trusme, which is all the more surprising considering it was the first recording from an unknown Manchester kid on a black label import 12" with absolutely zero information. The Record becomes a best-seller on all good record shops...
The question you're all asking is - can he do it again? Well judging by the pneumatic shape-throwing that a blast of "Tony Does What Tony Wants" incites, the answer is very much so,
On one of my 1st posts, i featured a advance escort remix of Antena. Now i have more information about this new Permanent Vacation album.
In 1981, Isabelle Powaga, Pascale Moiroud and Sylvain Fasy decided to leave their sleepy hometown in the south of France for the City Of Lights. Taking their love for the mechanical electronics of Kraftwerk, the Latin sounds and rhythms of Jobim & Gilberto and a few suitcases, they formed the band Antena. Signing with Belgium's Les Disques Du Crepescule (which formed an alliance with Factory, creating Factory Benelux), in 1982 they travelled to London to record their version of "The Boy From Ipanema" with ex-Ultravox electronic pioneer John Foxx for a 7" release, tagged 'electro-samba' by a pre-Pet Shop Boys Neil Tennent in Smash Hits. However it was their own self-produced material of later twelves and mini album release "Camino Del Sol" that made the most impression. Definitely rougher in sound, this was the real electro-samba! The title track is a Balearic classic and was recently remixed for a special 12" by Todd Terje and Joakim.
Antena's classic album "Camino Del Sol" in new versions, mixes edits including the hit mix by Joakim plus Nouvelle Vague, Escort, Chromatics, Todd Terje and many others. "This is not just a boring collection of mixes, but actually an album with a good flow that works just like a real artist album". Summertime 2007!
In 1993 Munich's Into Somethin' crew started a clubnight entitled 'Maiden Voyage', dedicated strictly to classics and undiscovered gems from the soul / boogie era. Here the Into Somethin' members Rainer Truby, Theo Thoenessen and Roland Appel pick out 13 favourites from those nights, all sought after titles, by the likes of Cameo, Toto, Roy Ayers, Alicia Myers, James Mason, Debra Laws, Raw Soul Express, Xavier etc.
Maiden Voyage - A Journey Into The World Of Soul & Boogie...
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester's majorly influential Legend. He was a pioneer of mixing in the UK and in 1983 he became the first ‘dance music’ DJ hired for a regular weekly session at Manchester's now legendary Hacienda club. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’. In 2003 he set up his own website electrofunkroots to document this crucial era in the evolution of dance culture. After retiring from DJ work at the end of 1983, Greg returned to spinning records 2 decades later to massive acclaim, with red-hot appearances at renowned nights including Electric Chair, Horse Meat Disco, Fabric, Back To Basics, Asylum, Melting Pot and the Sub Club, to name but a few. He’s also appeared in the US, Australia and various European countries during recent years, plus a number of major festivals in the UK and Ireland. In 2005 Tirk Records released ‘Credit to the Edit’, a compilation of re-edits spanning Greg's entire career, some even original tape edits from back in the day (Greg still uses his trusty old Revox reel-to-reel tape machine when DJing out). This wasn't Greg's first compilation either, having collaborated on most of the tracks to appear on the Street Sounds ‘UK Electro’ LP in 1984, as well as being the selector behind the ‘Classic Electro Mastercuts’ LP in 1994. Other firsts for Greg include being the first DJ to mix live on British TV (the Tube in 1983), putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester (beginning 1982) and showing a certain Norman Cook how to scratch (Dec ’83). Greg has written for magazines / webzines like Wax Poetics, Grand Slam and Discopia, and has a monthly online radio series, ‘Time Capsule’, on Samurai FM.
I have here a really advanced track of one of the greatests disco Dj's ever! Its gonna be released this year, i hope...
In this days im spending some time ripping some of my records. Records like Prince (I've posted one track of him), Skyy, NYCC, Hi Voltage, Montreal Sound, Rinder & Lewis, etc, etc, and also some for this genius... Im talking about Michael Jackson of course. For this post i choose the brilliant "I Cant Help It", in is pure album version, who have already a arrangement of the man of the moment, Todd Terje.
This track is taken from the album "Off The Wall", released in 1979. Sit down, relax, and enjoy...
The second release on Paul 'Mudd' Murphy's recently conceived label, Claremont 56, 'Shulme' sees the return of dynamix duo Smith & Mudd, last heard together on their jaw-droppingly balearic "Blue River". S&M have stolen the essence of Vangelis, combined it with the chuggy brightness of 'Stop Bajon' and added a Van Halen-style rock solo to create this summertime downbeat monster. Limited to a run of 500 one-sided copies.
For today i have a little precious thing... A really rare 12" version!
"America" was the final U.S. single off Prince and The Revolution's 1985 album, Around the World in a Day. The song is appreciative of the mid-1980s United States, condemning Communism, and worrying about nuclear war. The song begins as if it is a record being spun by a DJ. This leads into a guitar solo and a rising keyboard line. The main tune is standard rock and roll and fades out at 3:40. The 12-inch single extended version is notable for being over 20 minutes and including various instrumental solos. The song even fades in this version; in the original extended version the listener can actually hear the audio tape run out, being that Prince and the Revolution had jammed the song out until there was no more room on the tape.
Bill Laswell & Jah Wobble - Alsema Dub Map Of Africa - Map Of Africa Plastic Bertrand - Stop Ou Encore (SDC Re-Edit) Patrice Rushen - Remind Me Brenda Taylor - You Can Have Your Cake (SDC Re-Edit) Roy Ayers - Everybody (SDC Re-Edit) Mudd & Pollard - Villa Stavros Astrud Gilberto - Black Magic (Tangoterje Edit) Sharon Redd - Can You Handle It (SDC Re-Edit) Gaznevada - I.C. Love Affair (Munk Edit) Kathy Diamond - All Woman Lindstrom And Solale - Let's Practise (Wade Nichols Dub Mix) B.W.H. - Stop (Nathan Wilkins & Midnight Mike Edit) The The - Giant (Pilooski Edit) Wolfmother - Love Train (Chicken Lips Malfunction Vocal) Todd Terje - Eurodans Eddy Grant - Time Warp (SDC Re-Edit) Antena - Camino Del Sol (Joakim Remix) Chilly - For your Love (SDC Re-Edit) Donna Summer - I Feel Love (Patrick Cowley Remix) Unknown - Mary Don't Weep Moodyman - Shades Of Jae (Part 1) Cleavage - Barah Cara E - Safari Ari (Re-Edit) Hi Voltage - Somewhere Beyond (SDC Is Horny Edit) Mel & Kim - That's The Way It Is (SDC Acid Dub) Steve Barnes & Riley Reinhold - Odyssey I Am A Bandit - Gimme Special Thrills (Bootleg) KC & The Sunshine Band - Boogie (Wade Nichols Edit) Sarr Band - Double Action (SDC Re-Edit) Spandau Ballet - Chant Nº1 (US Mix) Panama II - Long Train Running (SDC Re-Edit) Lordy - The Watchtower (Stevie Kotey Kosmik Dub) Dub Pistols feat. Terry Hall - Rapture (Prins Thomas Diskomiks) E.S.P. - It's You Marlon D - Love Will Save The Day (Lounge Organ Solo) Âme Strong - Tout Est Bleu (Francois K Remix) Inner City - Good Life Double - Woman Of The World (Pilooski Double Dub Edit) Crue-L Grand Orchestra - Psyco Piano (Intro) Mark E - Scared Jacksons 5 - I Want you Back
The The's "Giant" is already an art-pop epic as the original 1983 version is over nine minutes in length, but Dirty Edits' Pilooski (or PSKI as he is more often referred to) adjusts it enough to warrant this full 12" on his infamous D.i.r.t.y. Edits / Dark & Lovely imprint.
D.i.r.t.y. Edits are always very good, but this, is one of my favorites..
New label from the people that brought us all those lovely Supersound 12's! Their first release has got Venus Gang's ultra-cosmic and itensely epic "Love To Fly" . On the flip we get the instrumental version of "Stop Ou Encore" by Plastic Bertrand (mostly known outside France for "Ca Plane Pour Moi" as covered by Sonic Youth").
What a surprise... I find this compilation for a few days and its really good. Some tracks are (cool) covers of know artists (Earth, Wind & Fire ; Boney M ; Bob Marley, etc), with a touch of Soul, Disco, Jazz, Funk. Nice!
Various - The Roots Of Scandinavia Soul Jazzfunk And Boogie (2007)
TrackListing:
01. Alex: I Gotta Feel Something 02. Henryk Lysiak: Inner City Blues
03. Bjorn J-Son Lindh: 3rd Meter Stroll 04. Calypso King & The Soul Investigators: Good Food 05. Jeannine Otis - Heikki Sarmanto : Magic Song 06. Tomas Ledin: You've got To Be Kidding 07. Nikolaj Bentzon Brotherhood: Let's Groove 08. Buki Yamaz and Debbie Cameron: Maybe We 09. Heavy Joker: Heavy Duty 10. Cox Orange: Dedication To Ironside 11. Njaal Helle: Nottingham Forest (is in my soul) 12. Debbie Cameron & Richard Boone: Time 13. Lasse Wellander: Hotel 167 14. Kirka & The Islanders: Taas Nousen Junaan 15. G-Litter: Maan Alle 16. Kjell Karlsen's Norwegian Big Band: Sunny
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