V.A. Saturday

This Saturday series is jumping around all over the place, a celebration of the various artists compilation album, something that when done well is as good as any 'proper' album. Recently I've posted Lenny' Kaye's mid- 60s garage and psyche rock extravaganza Nuggets, a pair of Andrew Weatherall collated compilations (9 O'Clock Drop and Force Tracks), the Detroit techno classic Retro Techno/ Emotions Electric and Colleen 'Cosmo's Murphy's Balearic Breakfasts. Today I offer you a Bob Stanley and Pete Wiggs modern classic, their 2022 compilation Fell From The Sun, an album that is very specific in its parameters spanning a period lasting two years (1990- 1991) and solely tracks that are at 98 beats per minute. 

The lost in ecstasy face on the front cover, snapped at legendary London club Shoom, gives more than a hint at what's inside, fourteen slices of blissed out, shuffling, slightly woozy, indie- dance crossover/ straight dance music from the early 90s, a period where there seemed to be exciting, genre busting, record deck hogging 12" singles released weekly but also a time when tempos were suddenly cut, where the paced slowed and people took a breather before heading back to the floor. Bob and Pete were part of the scene, Saint Etienne releasing their own contribution to the scene in the form of their cover of Neil Young's Only Can Break Your Heart. Fell From The Sun opens with Primal Scream's Higher Than The Sun (Higher Than The Orb), a record that redefined Primal Scream as a band (something that Andrew Weatherall had already done not once but twice wit their previous two singles, Loaded and Come Together). If they'd stopped after Higher Than The Sun, it would have been enough, a sun dappled, sky scraping ode to becoming unlocked and going with the flow, of losing oneself in the moment. Bobby Gillespie isn't always the man I'd go to for lyrics but Higher Than The Sun is close to perfection, 'My brightest star's my inner light/ Let it guide me/ Experience and innocence bleed inside me/ Hallucinogens can open me or untie me/ I drift in inner space free of time/ I find a higher state of grace deep inside'. 

Higher Than The Sun (Higher Than The Orb Extended Mix)

Spaced out sounds and whispers swirl around, a faint pulse bumps in, and a rising synth line appears and then the rhythm gently kicks in, as Bobby coos 'I believe you get what you give', and then organ and drums and woooo sounds. Saxophone. Eight minutes of bliss. 

After that Bob and Pete guide us through a version of 1990- 91 at 98bp, stopping off for the mighty Cascades by Sheer Taft, The Grid's Floatation, Saint Etienne's glorious B-side Speedwell, One Dove, Transglobal Underground, BBGs Snappiness and The Aloof and finding room for a few lesser known gems- Elis Curry's U Make Me Feel, Massonix's Just A Little Bit More, History and Q- Tee's Afrika. 

The track titles alone conjure up the look of 1990- white Levi's, Travel Fox and Converse, long sleeved t-shirts, boys with centre partings and shoulder length hair, girls with short hair, dungarees, football shirts, Happy Mondays t- shirts, Spike Island and Kate Moss on the cover of The Face. 

Towards the end of the album are this pair of tracks. Firstly, I Don't Even Know If I Should Call You Baby by Soul Family Sensation, a British trio switched on by Chicago house in 1989. They split in 1992. Johnny Male went on to Republica. Guy Batson worked with Saint Etienne. Singer Jhelisa Anderson sang with The Shamen on LSI. None of them ever sounded better than on this song. 

I Don't Even Know If I Should Call You Baby

Fell From The Sun closes with Moodswings' Spiritual High, a cover of Donna Summer's State Of Independence, with a typically 1990 drum pattern, Chrissie Hynde, loved up synths and keys, bouncing bass, rattling rim shots, a wheezy organ, a choir, tumbling piano chords, and eventually, finally, Martin Luther King-  Grant Showbiz (a former Smiths and Billy Bragg roadie) and drummer James Hood creating a sound that is the very essence of that period between early spring 1990 and autumn 1991.

Spiritual High (The Moodfood Megamix)

Sunshine After The Rain

Denise Johnson's death in July came as a sudden and sad shock, the voice of so many records over the last three decades and a lovely person too- she was a voice of  reason and warmth on Twitter and someone about whom everyone says nice things. It's impossible to imagine Screamadelica, many of ACR's songs since 1990, Hypnotone's Dream Beam or Electronics' Get The Message without her voice on them. 

Her solo album was released posthumously in September and sold out immediately (leading to a second pressing). It is only seven songs long, some covers and some of her own songs, done acoustically with her voice at the fore. Three of the covers are of Manchester bands (Denise was a proud Mancunian) and show her roots and love for the songs- New Order's True Faith, Well I Wonder by The Smiths and I'm Not In Love by 10cc. The other cover was this, Sunshine After The Rain, stripped down and personal. 

Sunshine After The Rain was written and recorded by Ellie Greenwich in 1968, a slightly baroque mod- pop floor filler. The lyrics are classic, post- relationship break up and hoping for better days fayre.

The Sunshine After The Rain 

It's probably best known as a cover by Elkie Brooks a 1977 single and as a 1994 pop- rave single for Berri (which also borrowed from I Feel Love). Berri's version may not be great art but it is a highly effective piece of pop music, a song which soundtracks drunken nights out in 90s pub discos, ironing out the heartbreak in favour of hands in the air and fistpumps. 

A Nice Little Pub In The Middle Of Nowhere

More golden age hip hop for you today but seriously less angry than Public Enemy's 1989 single Fight The Power that raised the temperature here yesterday. I've been meaning to write about De La Soul and their thirty year old debut album. I was listening to Eye Know recently and it sounded ace, really fresh and inventive. But instead today we have De La Soul's Native Tongue's compatriots A Tribe Called Quest. The group's debut single I Left My Wallet In El Segundo came out in 1990. A year later it was remixed by the then fairly unknown Norman Cook and this version was put out as a promo. Norman samples/borrows liberally from/rebuilds the song entirely around Donna Summer's State Of Independence. El Segundo's rap is led by Q- Tip, whose lighthearted drawl sounds wonderful. He narrates the story of coming into some cash, heading south to Mexico and the dangers that lie within- buying gas, eating enchiladas and at the moment of payment being so distracted by the beauty of the waitress that you forget your wallet. Easily done.

I Left My Wallet In El Segundo (The State Of Independence Mix)

As a bonus track here's Donna's sublime early 80s single. State Of Independence was written and originally recorded by Jon and Vangelis. Donna recorded and released her take on it in 1982, a lolloping reggae based groove with sunshine drizzled all over it and Quincy Jones at the controls.

State Of Independence

Bonus, bonus track. In 1992 State Of Independence was covered by Moodswings, laid back, downtempo house groove with Chrissie Hynde and Martin Luther King on vocals. Moodswings were James FT Hood and Grant Showbiz. Grant spent his 80s being road crew and guitar tech for Billy Bragg and The Smiths.I'd imagine being a roadie for The Smiths involved moodswings on a daily basis. The version here is nine minutes of bliss.

Spiritual High (Moodfood Megamix)

I Feel Space

More space-disco from Norway today with Lindstrom and I Feel Space, a track inspired by I Feel Love. Norway by way of Giorgio Moroder and Donna Summer. I Feel Space was released back in 2005 but in no way sounds thirteen years old, its Italo synths and rhythms sounding completely current in 2018 (but then I think I Feel Love still sounds modern, which goes to show how ahead of the game Moroder was).

I Feel Space was covered by fellow Norwegian Marius Circus earlier this year, a 12" single which came with a very tasty, slightly acid-tinged Andrew Weatherall remix. I posted it here.

I Feel Space

Let Freedom Ring

To start the week, at what can be a bit of a miserable time of year, we need something soothing and uplifting. Moodswings were a late 80s duo made up of Grant Showbiz (formerly roadie and guitar tech for The Smiths and Billy Bragg) and James Hood (drummer for the Pretenders and Kid Creole and The Coconuts). Inspired by club culture, sampling and all the rest they made a very of its time album most of which still sound spretty good today although the drums have dated. It's a datedness I like admittedly. The 1991 single Spiritual High married that Soul II Soul drumbeat, Jon and Vangelis, Martin Luther King and Donna Summer with Chrissie Hynde on vocals.



This dubbed out nine minute version is a delight and a pick-me-up.

Spiritual High (Moodfood Megamix)

Donna

Listening to Richard Fearless' new single Gamma Ray put me in mind of a track he put at the end of the Death In Vegas All Back To Mine compilation- Donna by MMM, high quality lysergic techno. And then, lo and behold, I clicked on a link to a Richard Fearless Q&A interview somewhere on the internet and there he was, still praising it and calling it the 'record he wished he'd made'. Inspired by Donna Summer's Our Love and crafted by  Erik Wiegand and Michael Fiedler in Berlin. Vorsprung durch technik.

Donna

Donna Summer RIP

Surely one of the greatest records ever made.

Ramba Ho!

One for your next compilation cd of weird and wonderful cover versions. This is Indian singer Usha Uthup tackling Donna Summer's 1977 sex and ecstacy fest I Feel Love. Usha is one of the biggest selling stars of Indian music and has recorded tracks in 16 Indian languages as well as 12 others, including Swahili, Nepalese and Creole. You'll love this, but it's a million miles from Donna's disco epic.

I_Feel_Love.mp3

Independence

This came on the mp3 player in the car on the way home and it was almost a religous experience. One of those records for when it's very late, you're in a bit of a mess, but need to play something else before you go to bed. Ripped from scratchy vinyl with a very battered sleeve for that authentic end-of-night experience.

Edit Post removed by Blogger, reposted without track.