The final release by short lived duo Dessau. Indie Rock with a growling bass. Too commercial sounding for the Industrial scene but it still has that technology / guitar mix.
“Beijing” is about the Tiananmen Square incidents from the previous year. It’s a hard hitting sound, rock riffs and shouted lyrics.
“Europe Light” has layered drum machines and some nice bass that bounces around the speakers, flanged guitar. Reminding me of a lighter sounding Ministry and a bit over remixed by Rick Will.
Picking through the Indie remixes and to this early Blur stomper from October ’91.
The US version has the limited Blur remix, here called the “Red Sleeve Mix” and the rarer “Rock Mix” all tweeked by Stephen Street. The Rock mix is more like the single in an extended form with more guitars.
“Explain” was originally on the B-side of “Bang” a classic Coxon guitar interplay with the piano, great fun.
“Fans will buy ‘owt; Oi Kendall ! Go into the studio and mess around on the mixing desk and come out with 2 tracks for tomorrow!!!” I could just hear Mute boss Daniel Miller shout from his office.
From 1990 and the very different mixes of top hit “This Is How It Feels” given the looped beat treatment by Paul Kendall, hopefully to be played at some Rave or ‘aaapenin.
The first mix is just about listenable as an alternative and repetitive take.
Does this dance crossover work ? It nearly did with Pulp’s “Boys And Girls”, this sounds of its time- 1992
The opening mix gives it a hip-hop beat and scratches and a different bass , listenable in a weird alternative way.
Housed up on the “Weird Mix” by Scott Christian (who adds some more tinkly keyboards) and John Debo under their Mindwarp tag. Not sure about this lighter version of the original. It certainly seems to have a touch of Madonna as the growling organ has been diluted.
As always it’s up here as a dated oddity. I wonder if it ever got played in the Hacienda ???
From the 1990 album, “Cake” this Scottish band was fronted by Francis Reader (vocals, acoustic guitar) Eddie Reader’s brother, with Paul Livingston (lead guitar), John Douglas (rhythm guitar, vocals), Grant Wilson (bass) and Stephen Douglas (drums, backing vocals)
Shades of Morrisey and a hint of Prefab Sprout. This is a real grower. Acoustic jangle all the way. The quality does stop with “Useless” a gentle track with biting lyrics that Beautiful South would be proud of. “Tonight You Belong Me” is a gentle cover of an old 30’s sing, duet ting with his sister Richael and featuring in the film “The Jerk”
Manchester Scene Mavericks, the New Fads released this 4 track E.P. in 1992. Exploring the more rhythmic side of indie dance, the first track fits nicely with the baggy scene with their own take on Mutant Funk. “Head On” (my fav) is almost grunge in the amount of guitars. “Beatlemania” can also be heard on the album “Body Exit Mind” – what a great intro ! The closer is the atmospheric “Beautiful” bursts into an instrumental guitar heaven.
Completist Alert. Previous post is on here but in the edited version 🙂
“Smalltown Boy” was released to promote “The Best Of” compilation and here the Harvey Goldberg 12″ version runs for 9 minutes, taking an age to build up until the beats kick in.
Of interest, and actually released in 1988, is the Clivilles and Cole House mix of The Communards track “There’s More To Love….” and it does sound very early House.
Had to take this down, apologies to the Artist.
London Records – 869 283-1
A
Jimmy Somerville With Bronski Beat
Smalltown Boy (Extended Version)
9:00
B1
Jimmy Somerville
To Love Somebody (Boilerhouse Mix)
3:56
B2
The Communards
There’s More To Love Than Boy Meets Girl (Jalapeno Mix)
Had some Jimmy Somerville stuff waiting to post for the current 90’s theme.
If you think about it he has probably had more releases covering someone elses songs than stuff he has penned himself (or with The Communards or Bronski Beat)
This reggae-lite interpretation of the Bee Gee’s much covered song was released in 1990 (Written for Otis Reading apparently but he died before he could record it) Here we have a gathering of tracks from across the various formats.
Boilerhouse (Ben Wolff & Andy Dean) remix over the production by Stephen Hague giving it a more electro feel. I do like the acoustic, unplugged version.
As a bonus and to promote a compilation that was out at the time there are a couple of remixed Bronski Beat tracks, Pascal Gabriel’s radical remix gives “Why?” I slower, more menacing House feel, weird shrieks and all (I’m sure it’s a re-recorded vocal)
From Mike B this time and this bizarre collaboration released as a dedication to Keith Moon – a hell raisers party! This came out in November ’92 amid a cluster of TV Chat show appearances with Reed, sporting a moustache and leather jacket, gave some rather unhinged performances.
Engineered Sid Wells (ex- member of The Transmitters and collaborator with Nina Hagan and Les Rita Mitsouko) and produced by Richard Niles , the go-to producer and mixed by Sean Chenery (Sultan’s Of Ping F.C. producer)
It comes in original rock version and a weird, quasi indie dance mix. Reed can be heard muttering odd phrases over the top of a re-recording of the original. There are different Reed soundbites in all versions. Not sure where snooker player Higgins comes into it but he does appear in the video!
myvinyldreams 