Someone mentioned they would like to see some Christians up on here, seeing that it’s Sunday I acquired this little gem released in 1992. Smooth and soulful, ideal for a Sunday afternoon chill. This was taken from their 3rd Album, “Happy In Hell” , which is also included. The thing I liked about them was they always some interesting electronics going on in the background, it wasn’t just harmonized soul over a traditional backing, “Forgotten Town” being a fine example of this mix of technology and soul. This was produced by Martyn Phillips and in places reminds me of Propaganda’s “Heaven Give Me Words” Here in the definitive , full length version with all its electro bubbling’s. Additionally, “Happy In Hell” showcases those famous harmonies with a rerecorded, older B-side, “You Never Know” that has some interesting , spoken word samples in it.
No one can write about the apocalypse better than Andrew Eldritch. Doom and gloom from 1988 with the bizarre involvement of a certain Jim Steinman (the man who produced Meatloaf’s Bat Out Of Hell) This is just the single version without the “Mother Russia” added bit, as ground breaking as the more well known “This Corrision.” This sees Eldritch finally define himself as the anti-rock star he always wanted to be , helped by his then partner the vampish , Patricia Morrison.
The other tracks comprise of “Untitled” , a slowed down instrumental that uses parts of “Dominion”, “Sandstorm”, a short saxophone led track that appears at the start of the video and the wonderful, passionate cover version “Emma”. This track was originally recorded by Hot Chocolate in 1974 and was co-written by Errol Brown, it is slightly different to the original, that is all I am saying!
After much enquiry and deliberation I made the decision on a recommendation by my mate Hairy Al a long time Death Cult/Cult fan who put me onto this beauty. From 1983 and sounding like Bloc Party had a lot to answer for! B-side is a brings out the bassline and has the sinister spoken word ending, “We Are All Flies” , “Thieving Hands” very appropriate seeing the pure greed of Black Friday.
It’s full on Indie dance with Duffy’s guitar making it’s usual jagged shapes.
From 1986 and the weird combination of legendary producer Don Was (of Was (Not Was)) and three brothers from Barnsley, Yorkshire. This is classic 80’s pop/rock with some added electronics. Big drums, solid bassline and some atmospheric guitar work and that annoyingly catchy riff. Suitably extended with a very effective dub mix on the flip.
Was there a more cocksure bunch of poseurs than Mark Shaw and his chums, Then Jericho ? The Lewis Hamilton of late 80’s guitar pop. Massively hyped but never quite cementing themselves amongst Simple Minds and U2 as leading stadium rockers, it never quite happened. This was their breakthrough hit from 1987, here with both the “Extended” and not very different “Midnight Mix” although you can’t go wrong with a Greg Walsh production. “The Word” was recorded live somewhere , I’m sure the crowd applause at the end was overdubbed, but it is lively enough! Alas happy memories for a lot of people so it goes on here.
From 1987/88 and a ground breaking mix of samples, dub and electronics from Tackhead via Gary Clail’s mixing desk. Tackhead were Doug Wimbish, Keith LeBlanc, Skip McDonald and Adrian Sherwood who mixed several musical influences to create a unique sound for the time. I’ve kept the first 2 tracks together (couldn’t find the edit gap!) but with the plethora of samples, Thatcher on “Far Left” , Cameo on “What’s My Mission?” this could be described as on of the first cut-n-paste records but with social commentary or industrial music with soul and humour, you can’t beat a bit of live drumming!
I’m Back! Thanks everyone who posted words of thanks and encouragement.
Keeping with some early 90’s Dance stuff (I try to cater for all tastes on here) with producer William Orbit’s Bassomatic and their last single release, the band then included vocalist Sindy Finn who replaced Susan Musgrave and rapper MC Inna One Step. However on this final release rap collective Sound of Sha’bass, take the main credits. They were Glory B, Divine and Cesare. The latter being Cesare Marcher, Italian-British DJ who was involved with the early Stereo MC’s releases. Again the Orbit was joined by Mark Rutherford and Sugar J (John Gosling a.k.a Mekon) in the studio to produce this soulful and funky little number. B-side “Attack Of….” is a blinding slice of beat driven house, layered and loop beats and a phat bass, remixed by Matt Clark.
From 1994 and the limited edition of one of Cud’s last releases the superb “Sticks And Stones”, produced by Al Clay (Erasure, Therapy?) A quality 4 tracker that the press and general public overlooked. No one really got Cud and I’ve only fallen for them recently. Indie guitar jangle with a bit of tongue in cheek humour. “Ski Bum” is a 2 and a half minute thrash, “Down The Plug” a romantic Smithsonian number, the groovy “My Keyhole….” Enjoy…..
SO I AM OUT OF VINYL AS I APPROACH MY 700 POST, BEREFT OF ANY FEEDBACK (APART FROM DAZZZ) I ASK THE QUESTION WHY BOTHER! THE TAKERS CONTINUE TO TAKE AND NOT ONE THANKS, IT’S A HOBBY I KNOW BUT WHY DO I BOTHER?
Some Blue Grass banjo over a Techno backing anyone? From 1994 and the tremendous banjo part played by Roger Dinsdale (R.I.P)
Him and Dave Ball opened the door for the Rednex’ “Cotton Eye Joe.” which eclipsed its predecessor ! It has shades of Leftfield and is creative techno at its most sublime. Line Dancing optional.
A second post by The Bridewell Taxis that swirls around like the Inspiral Carpets but with a horn section! From 1990 this contains a full-on Techno remix by L.F.O. on the B-side (how bizarre!) A very underrated band this sounds very Teardrop Explodes in a good way. No extended version and the LFO mix is under 5 minutes, although it does do the sub bass thing rather well.
Someone mentioned they would like to see some Christians up on here, seeing that it’s Sunday I acquired this little gem released in 1992. Smooth and soulful, ideal for a Sunday afternoon chill. This was taken from their 3rd Album, “Happy In Hell” , which is also included. The thing I liked about them was they always some interesting electronics going on in the background, it wasn’t just harmonized soul over a traditional backing, “Forgotten Town” being a fine example of this mix of technology and soul. This was produced by Martyn Phillips and in places reminds me of Propaganda’s “Heaven Give Me Words” Here in the definitive , full length version with all its electro bubbling’s. Additionally, “Happy In Hell” showcases those famous harmonies with a rerecorded, older B-side, “You Never Know” that has some interesting , spoken word samples in it.
