From 1985 and bit of reggae/funk classic, with a the remix by Shep Pettibone. Smooth grooves indeed from the legendary group that managed to get reggae into the mainstream. Bassist Richard Daley said, “We took roots reggae music and put branches on top of it”
Included on here was the club hit, “Dancing On The Floor (Hooked On Love)” a taster track for the album, “Reggae Jam Boogie” and a great dub mix of the title track.
From 1986 and a very different sounding Working Week from the previous post, in a Simply Red kind of way. Vocals by Juliet Roberts are soulful and powerful but the backing nods toward commercialism. The B-side is far better with Latin Jazz, a hidden gem. The A-side was apparently written by Captain Beefheart French maverick, Don Glen Vliet , mmmmmmmm somehow the internet is pulling my leg?!?
Jazz/funk group Working Week, the brainchild of Simon Booth & sax king Larry Stabbins,this is the 1984 single release, the latin fusion Venceremos, a tribute to Chilean protest singer Victor Jara, with vocals from Robert Wyatt & Tracy Thorn. Producer Robin Millar was making a record to raise awareness about Pincohet and the “missing” people of Chile very Band Aid-like some people turned up to his studio and performed for nowt, this being Working Week and not their established vocalist Juliet Roberts so different to the one on the album , “Working Nights.” The B-side is not too shabby either, traditional Jazz arrangement with a Latino flavour, greeat!
How long ago for this pioneering slice of electro/hip-hop? 1983 ! Riding the wave of Break Dance but the sounds seem so timeless. A classic in all it’s forms I especially like the “Dub Mix” gotta love the synth bass line!
From 1987 and following the success of “How To Be A Millionaire” with its cutting edge use of the sampler a bit of a return to the original sound of early releases with this track. Helped by Chic founding member , Bernard Edwards this has that feel about it with an added ,sassy rap by newcomer Contessa Lady V. It proves that Martin Fry and Mark White had their fingers on the pulse of current musical trends. Cue horns, brass , funky bass and a remix by Julian Mendelsohn at over 8 minutes long, epic! The “Reply” has no Martin Fry vocals just the Lady V bit whilst the rare untitled mix has no Lady V in. “Minneapolis” is a slightly shorter version to the album with lush synths in a tribute to Jam & Lewis and Prince.
More campness with this Halloween inspired track from 1986. Still with PWL and mixed by Phil Harding this keeps their familiar sound with some horror film samples (From The Exorcist) and flamenco guitar (?) added. A completely different take is the “Flamenco Mix” which was a pleasant discovery, very summery with the Spanish guitar a la Gypsy Kings. The B-side is dancey synthpop with extra brass and was off the album “Youthquake”
A four track 12″ as the record company (Or the artist,Gabriel has always been quite business astute) milked every last drop out of this huge selling hit from 1986. Helped by the groundbreaking/ leg opening video (see above) this was inspired by Gabriels long time admiration of soul and funk. The John “Tokes” Potoker remix is quite different, the main bone of contention for me is the overuse of reverb on everything, but he does make it sound even bigger than the original (and for a change it’s a pristine copy)
So to add value to the pack you get “Biko,” in it’s extended version, which again sounds different to the original 12″ but still very powerful even though it drones on at the end. The Pete Walsh assisted remix of “I Have The Touch” with all the additional synth flourishes and the classic and haunting “Don’t Break This Rhythm.”
From 1985 and bit of reggae/funk classic, with a the remix by Shep Pettibone. Smooth grooves indeed from the legendary group that managed to get reggae into the mainstream. Bassist Richard Daley said, “We took roots reggae music and put branches on top of it”
