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We Want Your Soul


acidbearboy
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On 21/10/2021 at 19:53, acidbearboy said:

Cracking slice of Electro/Hip-Hop from 1984 - as sampled in Honey by Mariah Carey.

 

 


Incidentally I read Mariah Carey’s autobiography recently, and it’s brilliant. To say she had a troubled upbringing is putting it mildly, and it gives you real insight into her production chops.

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I was getting really into Bus Stop and Spanish Hustle the other day, so I dug out the only Fatback LP in my vinyl collection - 1977's Man With The Band.

 

 

I was a little disappointed to be honest. The opener and title track was a solid groove, but nothing much happened considering the 10 minute duration. Master Booty and Funk Backin' are both similar funky grooves, but neither excited me. Mile High is probably my favourite tune on the LP - a smooth disco groove with some jazzy chord progressions (with a SNES Pilotwings vibe about them), a funky bassline, plus a cool little electronic breakdown in the third minute. I Gotta Thing For You is a slower paced 4/4 groove but I didn't really like it. Midnight Freak has a sleazy funk/disco vibe with some nice organ work and a cowbell. Zodiac Man is not my type of Funk, man.

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Decided to check out the rest of Raising Hell from 1975 to see how it compares. It's so much better!

 

 

This is mostly a really good album. (Are You Ready) Do The Bus Stop is a funky classic that will never grow old. All Day is a very tasty uptempo groove centred around the horn section, with some nice percussion and some Moog(?) towards the end. Next up there is a solid cover of Put Your Love (In My Tender Care). Groovy Kind Of Day is a sweet and mellow soul/jazz number which I really like. Spanish Hustle is another disco classic. Unfortunately that's where the good stuff ends in my opinion. I Can't Help Myself isn't one of my favourite songs anyway and this cover seems rather uninspired. Party Time closes the album in a fairly average fashion. Still, 4 great songs and a tidy cover out of 7 is pretty good going, so this comes recommended.

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  • 2 weeks later...
  • 2 weeks later...

So. Friday night. Big game of football tomorrow. Nice quiet night in. Mrs is watching the new Sex in the City. So, on go the headphones and a wander through my collection of mp3's. I've always loved this band. But this is probably my favourite. Another bassline that Jamiroquai syphoned off onto one of their tunes. Starpoint.  One of their earliest hits. But that bassline along with the piano. Goosebumps!

 

 

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I've been listening to this a lot recently. I stumbled onto this amazing review by a user named MaximusMCX on Discogs yesterday!

https://www.discogs.com/master/118211-Sharon-Redd-You-Got-My-Love-Can-You-Handle-It

 

Once upon a time i was in Scotland and decided to visit the famous little church in Rosslyn. Famous because of its appearance in Dan Brown's book The Da Vinci Code. Many stories are told about this beautiful little church. It is said that the holy grail is buried beneath it. Another story tells the tale of one of the fourteen pillars where Rosslyn Chapel stands on. A pillar standing out in beauty from all the others. The three pillars at the east end of the chapel are named, the Master Pillar, the Journeyman Pillar, and most famously, the Apprentice Pillar. Its name comes from a legend dating from the 18th century involving the master mason in charge of the stonework in the chapel and his young apprentice. According to the legend, the master mason did not believe that the apprentice could perform the complicated task of carving the column without seeing the original which formed the inspiration for the design. The master mason travelled to Rome to see the original himself, but upon his return was enraged to find that the upstart apprentice had completed the column anyway. In a fit of jealous anger the mason took up his mallet and struck the apprentice on the head, killing him. The legend concludes that as punishment for his crime, the master mason's face was carved into the opposite corner to forever gaze upon his apprentice's pillar. So, what's the point of making a Special Remix? To make it better than it was before. Right? Why do so few succeed in that? There is only one man i know who made every mix better than it was before and that's Larry Levan. A true wizard and master. And then there was the apprentice Francois Kevorkian, who made this mix. A jewel. Four minutes of only intro. Sharon who starts singing, chanting along with the guitar, after those lovely four minutes. All the instruments coming together in one perfect blend of bliss including the awesome lyrics. Do you really think you can .... uhhhh .... Handle IT? I've bought this record in 1981 and 30 years later i like it as much as in the beginning. I never get tired of it. I do not know one song where the remix is so much better than the original. Not a bit better, way better! Seek no more, you've found the holy grail.

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That’s amazing, love finding stuff like that on Discogs.

 

This one is a brilliant piece of Levan production. He almost turns it inside out. I was reading how obsessed he became with dub, to the point where you’d have queues of people turning up to the Paradise Garage waiting for a wall of disco and then be presented with Larry in the mood to play hours of King Tubby. This whole album is an audio masterclass of dub in disco. Miles ahead of its time.

 


Francois K has been doing some live mixes recently where he has been able to explode tracks into stems and then do in-set dub remixes. It’s unbelievably clever software that somehow unscrambles the omelette, but anyone interested in music production should check it out. It’s really an incredible use of technology.

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31 minutes ago, acidbearboy said:

 

I've been listening to this a lot recently. I stumbled onto this amazing review by a user named MaximusMCX on Discogs yesterday!

https://www.discogs.com/master/118211-Sharon-Redd-You-Got-My-Love-Can-You-Handle-It

 

Once upon a time i was in Scotland and decided to visit the famous little church in Rosslyn. Famous because of its appearance in Dan Brown's book The Da Vinci Code. Many stories are told about this beautiful little church. It is said that the holy grail is buried beneath it. Another story tells the tale of one of the fourteen pillars where Rosslyn Chapel stands on. A pillar standing out in beauty from all the others. The three pillars at the east end of the chapel are named, the Master Pillar, the Journeyman Pillar, and most famously, the Apprentice Pillar. Its name comes from a legend dating from the 18th century involving the master mason in charge of the stonework in the chapel and his young apprentice. According to the legend, the master mason did not believe that the apprentice could perform the complicated task of carving the column without seeing the original which formed the inspiration for the design. The master mason travelled to Rome to see the original himself, but upon his return was enraged to find that the upstart apprentice had completed the column anyway. In a fit of jealous anger the mason took up his mallet and struck the apprentice on the head, killing him. The legend concludes that as punishment for his crime, the master mason's face was carved into the opposite corner to forever gaze upon his apprentice's pillar. So, what's the point of making a Special Remix? To make it better than it was before. Right? Why do so few succeed in that? There is only one man i know who made every mix better than it was before and that's Larry Levan. A true wizard and master. And then there was the apprentice Francois Kevorkian, who made this mix. A jewel. Four minutes of only intro. Sharon who starts singing, chanting along with the guitar, after those lovely four minutes. All the instruments coming together in one perfect blend of bliss including the awesome lyrics. Do you really think you can .... uhhhh .... Handle IT? I've bought this record in 1981 and 30 years later i like it as much as in the beginning. I never get tired of it. I do not know one song where the remix is so much better than the original. Not a bit better, way better! Seek no more, you've found the holy grail.


Yup, I am obsessed by this mix…whenever I get new headphones I whack this on to try them out, that intro is just perfect.

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Talking of Sharon Redd there’s a nice Shep Pettibone mix of Beat The Street.

 

I’m also partial to this early nineties mix of Never Give You Up by Dimitri from Paris.  It turns a bit housey half way through so folk in here may prefer the Francois Kevorkian original.

 

 

 

 

 

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I’ll give them both a listen side by side. 
 

I been listening War’s 1972 album “The World is a Ghetto” recently. I had the title track on 12” but the LP version is quite different in tempo and mood. The real highlight though is the epic instrumental “City, Country, City”, which combines funk, jazz and latin influences over its 13 minute duration. It’s a cracking album from start to finish actually. Recommended. 

 

 

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Another gem from Patrick Adams. I found it via Al Kent's Disco Love Vol.3 compilation.

 

 

The song formed the basis of the track "Making Love", which was released by Sammy Gordon and the Hip-Huggers, Pam Todd and The Universal Robot Band. Personally, I prefer this version without the trademark Patrick Adams synth work.

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On 15/12/2021 at 17:07, acidbearboy said:

These two are very similar, which do you prefer? If you know where I can find either on CD or mp3 please let me know.

 

Ullanda McCullough - Gotta Dance Now - 1979

 

 

 

Peggi Blu - I Want It All Now (b-side to the excellent Girls It Ain't Easy) - 1985

 

 

 


Blimey, they’re the same aren’t they?! I’ve never heard either of those artists / tunes before. On balance I’d have to say the Peggi Blu one I prefer because she seems to have a better voice and I liked the backing singers going for it more…but surely it’s a rip off of the Ullanda McCullough one?

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