Unselfish Love

Another "one of those weeks" which I won't be sorry to see the back, whilst simultaneously fretting that 2025 is frittering away.

Music is the cure for all that ails ye, and that goes double for disco, especially on a Friday. I'm 99.9% sure that none of today's picks have appeared in previous Dubhed selections, so wrap your ears around these beauties.

Even the tech is less laggy, compared to yesterday. Music is the answer!

1) It's A Love Thing (Album Version By The Whispers, Dick Griffey & Leon Sylvers): The Whispers (1980)

2) I Got Protection (Album Version By Nile Rodgers & Bernard Edwards): Chic (1980)

3) Do Or Die (A Tom Moulton Mix): Grace Jones (1978)

4) You Can Do It (Special U.S. Disco Mix): Al Hudson & The Partners (1979)

5) Never Change Lovers In The Middle Of The Night (Album Version By Frank Farian): Boney M. (1978)

6) Macho Man (Special Edit By Jacques Morali): Village People (1978)

7) Over And Over (Full Length Disco Mix By Harvey Fuqua & Wes Bradley) (Cover of Ashford & Simpson): Sylvester (1977)

1978: Do Or Die EP: 3

1978: I Am What I Am EP: 6

1978: Nightflight To Venus: 5

1979: You Can Do It EP: 4

1980: Imagination: 1

1980: Real People: 2

2002: François K: Choice: A Collection of Classics: 7

Unselfish Love (44:26) (GD) (M)

How To Fall From Grace And Slide With Elegance From A Pedestal

Celebrating Marianne Faithfull, 29th December 1946 to 30th January 2025.

I was talking to Mrs. K, when Marianne's passing was announced on BBC News, so I was admittedly only half-listening as the prepared obituary was delivered, but the snippets I caught made me increasingly upset.

I know obituaries by their very nature frequently celebrate and devalue a life in a few paragraphs or minutes. Even so, the fragments that penetrated my consciousness seemed to focus on Marianne's achievements in the 1960s, living in the shadow of men (including several Rolling Stones) and the drugs. Of course, the drugs.

What I wasn't picking up was Marianne's incredible achievements beyond the 1970s and 1980s and well into the 21st Century, in the face of prejudice, preconception, misogyny, debilitating and near-fatal health challenges (not least COVID) and inevitably the ravages of time from life lived increasingly on her own terms.

I don't have a huge amount of Marianne's music in my collection, but it charts an incredible journey and a fearless confrontation and defiance of convention. Not just as a singer, but a songwriter (for Grace Jones), a collaborator (Bowie, Sly & Robbie, Patrick Wolf) and an interpreter of other's songs (everyone from Sonny & Cher to The Decemberists). 

Marianne released a single written by Serge Gainsbourg in 1967; forty years later, she revisited another of his songs to celebrate his life. Both are very special interpretations by a unique artist.

I've included a version of As Tears Go By, transmitted as part of a David Bowie special on US TV in 1973. The Rolling Stones regretted passing on the song when Marianne had a hit and belatedly recorded their own version. It's good, but not as good.

I've omitted Sister Morphine, the song Marianne subsequently co-wrote with and for the Stones. Likewise, I've not included the original version of Broken English, the title track of Marianne's 1979 album, opting instead for a remix and a cover version, both from the 2000s.

I bought a secondhand CD of Patrick Wolf's 2007 album The Magic Position (which is brilliant, by the way) and discovered halfway through the song Magpie, featuring a surprising and delightful appearance from Marianne. It's a highlight among highlights and just one example of her continuing relevance and inspiration to future generations of musicians.

Sliding Through Life On Charm, written with Jarvis Cocker, Mark Webber, Steve Mackey and Nick Banks from Pulp, is a semi-autobiographical rollercoaster and provides the title of today's post and tribute selection. To quote the full verse,

I wonder why the schools don't teach anything useful nowadays 

Like how to fall from grace 

and slide with elegance from a pedestal 

I never asked to be on in the first place

You can read much about Marianne, including much in her own words, but we'll never know the whole story, really know Marianne. But what a legacy she leaves.

Rest in power, Marianne.

1) Broken English (Baron Von Luxxury Light Touch Remix By Blake Robin) (Downtempo): Marianne Faithfull (2008)

2) I Got You Babe (Live @ The Marquee, London) (Cover of Sonny & Cher): David Bowie ft. Marianne Faithfull (1973)

3) I've Done It Again (Album Version): Grace Jones (1981)

4) The Crane Wife 3 (Cover of The Decemberists): Marianne Faithfull ft. Nick Cave (2008)

5) Guilt (Album Version): Marianne Faithfull (1979)

6) As Tears Go By (Live @ The Marquee, London): Marianne Faithfull (1973)

7) Hier Ou Demain: Marianne Faithfull (1967)

8) Lola R. For Ever (Lola Rastaquouère) (Cover of Serge Gainsbourg): Marianne Faithfull & Sly And Robbie (2006)

9) If I Never Get To Love You (Cover of Lou Johnson): Marianne Faithfull (1965)

10) Broken English (Cover of Marianne Faithfull): Claudia Brücken & Andrew Poppy (2004)

11) Magpie: Patrick Wolf ft. Marianne Faithfull (2007)

12) Sliding Through Life On Charm (Album Version): Marianne Faithfull (2002)

1965: Marianne Faithfull: 9

1979: Broken English: 5

1981: Nightclubbing: 3

2002: Kissin Time: 12

2004: Another Language: 10

2006: Monsieur Gainsbourg Revisited: 8

2007: The Magic Position: 11

2008: Easy Come Easy Go: 4

2016: Love Hit Me! Decca Beat Girls 1962-1970: 7

2017: The 1980 Floorshow: 2, 6

2021: Luxxury Edits Vol. 3: 1

How To Fall From Grace And Slide With Elegance From A Pedestal (46:05) (KF) (Mega)

Decade III: 1985

Side 2 of a misplaced mixtape, compiled circa March 1990, wrecked or abandoned some years later, resurrected and repurposed 18th August 2024.

 

In stark contrast, the hits don't keep coming in this selection, the number of singles that failed to chart in the UK (4) outnumbering those reaching the Top 20 (2). 

 

I could have easily filled the 45 minutes with bonafide hits from a-ha, China Crisis, Fine Young Cannibals, Kate Bush, Level 42, Pet Shop Boys, Simple Minds, Thompson Twins and The Waterboys without finding myself in the dire straits of having to include, er, Dire Straits. However, I think this recreation is a pretty fair representation of where this nascent goth was in 1985.

To acknowledge the elephant in the room, I've fallen foul of the record label info again and included Godstar, Psychic TV's tribute to Brian Jones of The Rolling Stones, as a release in 1985. The Official Chart Company insists that the single didn't begin to trouble the charts until the end of March 1986, peaking at a dizzying #67 in its fifth week. 

 

In my defence, I can't confirm the single's official release date but promos were circulating in late 1985 and the record sleeve states that Godstar "is the theme song from the forthcoming feature film of the same name about the Life and Times of Brian Jones which begins shooting on February 28th 1986". So, it's staying put in 1985 as far as I'm concerned!

Continuing the ropey Six Degrees Of Separation theme that I failed to extend beyond three songs yesterday, there is a further connection between sides 1 and 2 of this cassette. Godstar is co-credited to The Angels Of Light, including Rose McDowall, who featured yesterday with Strawberry Switchblade. 

There's a further connection between Since Yesterday by Strawberry Switchblade and track 2, You've Got The Power by Win, in that both were David Motion. You can't make this stuff up, you know.

Fire In The Twilight by Wang Chung didn't trouble the Top 100 here, but is forever etched in my mind for its inclusion in John Hughes' film The Breakfast Club, sound tracking the scene where the tearaway teens are racing to get back to their desks ahead of scumbag teacher Vernon. It's an unfeasibly enormous school, based on this scene.

Bring On The Dancing Horses was the first 12" single that I bought by Echo & The Bunnymen, along with their Songs To Learn & Sing greatest hits compilation. Late to the party I may have been, but both have been enduring favourites. 

How Soon Is Now? was the first 12" single I owned by The Smiths, but I've gone for my second purchase, The Boy With The Thorn In His Side, rescued from the ex-chart bargain bin at my local WH Smiths (in the days when there were enough WH Smiths to have a local one). 

The Dream Academy couldn't even quite match Psychic TV's peak, The Love Parade entering the charts at #96 on this day in 1985 and reaching a disappointing #68 a couple of weeks later. A far cry from their previous high of #15 with Life in A Northern Town. They tried again later in the year with a cover of The Smiths' Please Please Please Let Me Get What I Want. The record buying public clearly misinterpreted this request as "another flop single", as it limped to #83. Still, at least the inclusion of the instrumental version in another John Hughes movie, Ferris Bueller's Day Off, guaranteed immortality.

By 1985, Frank Tovey had shed his Fad Gadget persona and was arguably aiming for a slightly more commercial sound, ably demonstrated by the single Luxury. Personally, I liked the new direction. It wasn't a hit, of course, and Tovey ploughed a different, darker, folkier furrow with subsequent albums.

No G.D.M. (Dedicated To Quentin Crisp) by Gina X was first released in 1979, again in 1982 and then re-mixed and re-released by original producer and collaborator Zeus B. Held in 1985. It didn't trouble the UK charts on any of these occasions, which understates its impact and brilliance. I guess Radio 1 playlists - and our sensitive ears - remained unprepared for a song about lesbians, transvestites and "red haired queers". Philistines!

What I Wouldn't Give by Pink Industry is one of the greatest singles of the 1980s. Seriously. I read a review of it in Smash Hits, of all places, where Chris Heath described it as "A very strange record, but a good one" which says it all really, though he had a word count to deliver so does go on a bit more. What I Wouldn't Give contains the brilliant verse,

 

There's my Smiths tapes you never wanted to hear

Throw them away, Morrissey in the bin

If that would bring you back again

A similar fate befell Mozzer's collection in households across the UK years later, when he devolved into a complete prick.

Some loud guitars from either end of the spectrum, first off with The Jesus & Mary Chain, followed by The Cult. I bought the latter, along with The Smiths, O.M.D. and, er, Animal Nightlife with a bunch of other 12" singles whilst holidaying with the family in a caravan in (I think) Bournemouth in the summer of 1985. 

It was a while longer before I owned a record by The Jesus & Mary Chain (not counting their appearance on The Hit Red Hot EP), though my love for their continuing recordings has outlasted that of The Cult by some distance. 

ZTT scored a coup by signing Grace Jones. Slave To The Rhythm was originally written and intended as a follow up to Frankie Goes To Hollywood's Relax and their demo finally saw the light of day a few years ago. It's good though I don't think anyone will argue that gifting it to Grace was the right move. For this selection, I've re-edited sections from the 7" and 12" 'Blooded' remix, including Ian McShane's introduction, to create a - for me, at least - more satisfying composite version. Heeeeere's Grace!

Normal service resumes next weekend, as I revisit the Decade cassette that I recorded in 1990, covering 1986 and 1987. Expect the unexpected. Well, a little.

 

1) Godstar (7" Version): Psychic TV ft. The Angels Of Light

2) You've Got The Power (7" Version): Win

3) Fire In The Twilight (Specially Remixed Version): Wang Chung

4) Bring On The Dancing Horses (Single Version): Echo & The Bunnymen

5) The Boy With The Thorn In His Side (Album Version): The Smiths

6) The Love Parade (7"): The Dream Academy

7) Luxury (Album Version): Frank Tovey

8) No G.D.M. (7 Inch): Gina X

9) What I Wouldn't Give (Album Version): Pink Industry

10) Never Understand (Album Version): The Jesus & Mary Chain

11) She Sells Sanctuary (Album Version): The Cult

12) Slave To The Rhythm (Cold Blooded Edit By Khayem): Grace Jones

3rd March 1985: Psychocandy (#47): 10

20th April 1985: Fire In The Twilight EP (# n/a): 3

?? May 1985: No G.D.M. EP (# n/a): 8

?? June 1985: You've Got The Power EP (#95): 2 *

?? July 1985: New Beginnings (# n/a): 9

28th July 1985: Love (#15): 11

?? August 1985: Snakes & Ladders (# n/a): 7

8th September 1985: The Love Parade EP (#68): 6

6th October 1985: The Queen Is Dead (#23): 5

20th October 1985: Slave To The Rhythm EP (#20): 12

27th October 1985: Bring On The Dancing Horses EP (#21): 4

20th April 1986: Godstar EP (#67): 1 **

 

Side Two (45:35) (GD) (M)

* You've Got The Power was originally released in June 1985 then twice more, the third time proving lucky - kind of - when it got to #95 the week of 16th March 1986.

** According to Discogs, and my personal copy of the 12" single, Godstar was released in 1985. The sleeve info also notes that Godstar is the theme to a Brian Jones biopic "which begins shooting on February 28th 1986". I've no recollection why the single didn't enter the charts until late March 1986 and the film never saw the light of day, if indeed filming ever began...

Who Can Define Infinity?

A belated happy birthday to Grace Jones for 19th May who, depending on varying sources, celebrated her 71st, 73rd or 75th year on this planet. Really, who cares? The fact that she's here is all that matters.

I'm of an age where I can't be certain if my first encounter with Grace Jones was her music or the infamous chat show appearance with Russell Harty in 1980, but it's almost certainly the latter. 

 

The song that I really remember making an impression on me was Living My Life, which was included on an Island Records promo cassette, free with Record Mirror circa 1982. I don't remember much about the specific magazine but I guess that it was around this time I would also have seen some of the striking imagery inextricably linked with Grace, not least her album artwork. I also recall seeing the lyrics to her cover version of The Apple Stretching in Smash Hits. The first record that I bought by Grace was the 12" single of Slave To The Rhythm, with it's unforgettable cut-up photo by Jean-Paul Goude and 12" mix by Trevor Horn and Stephen Lipson, introduced by actor Ian McShane.

Only the first of these makes it onto today's random selection and even then in a dub version (although with vocals intact). And just the one cover version, not the aforementioned Melvin Van Peebles nor Joy Division nor Iggy Pop but Gordon Sumner's old band (although still very much a going concern in 1981). 

 

The eight songs don't stretch back into disco-era Miss Jones, but there are a few selections from the early 1980s, a couple of oddities from the late 1980s and 1990s and two remixes following her spectacular comeback (and to date most recent album) in 2008...as if Grace Jones ever really went away.

Still a force of nature to be cherished and never underestimated, Grace has a fair few UK festival appearances lined up in June and July, having curated last year's (pandemic delayed) Meltdown Festival. As I enthused last March, any live performance is unlikely to be anything less than spectacular.

 

1) Demolition Man (Long Version By Alex Sadkin & Chris Blackwell) (Cover of The Police) (1981)

2) Victor Should Have Been A Jazz Musician (The Jazzclubmillionminutemix By Ben Liebrand) (1987)

3) Love You To Life (Cagedbaby & Guy Williams Paradise 45 Rework) (2010)

4) Cry Now, Laugh Later (Vocal) (Remix By Steven Stanley) (1983)

5) Corporate Cannibal (Dan Donovan Remix) (2009)

6) Living My Life (Dub Version By Stephen Street) (1983)

7) Love Bites (7" Deep Into The Night Mix By The P.O.D.) (1996)

8) Nipple To The Bottle (Album Version By Alex Sadkin & Chris Blackwell) (1982)

 

Who Can Define Infinity? (44:55) (Box) (Mega)

Another Teenage Remix

Side 1 of a 1980s 12" mix cassette compilation, recorded 24th April 2000. According to my sleevenotes on the reverse, "these 12" singles kept me going even when my hairstyle just couldn't keep pace". It's fair to say that in the mid to late 1980s, I went through an environmentally unfriendly amount of hairspray and gel, rarely to impressive effect.

The selection starts off with Act, who featured here in their own right last year. A short-lived but oh-so-wonderful collaboration between Claudia Brücken and Thomas Leer. Unfortunately for them, Act was launched just as label ZTT experienced a dip in popularity, post-Frankie Goes to Hollywood and pre-808 State and Seal. A shame as Brücken and Leer looked and sounded great, with satirical lyrics and none-more-80s production. 

 

Snobbery & Decay was Act's opening statement and deserved a far better UK chart placing than #60, which would sadly prove to be their biggest 'hit'. As with most ZTT releases, there were multiple formats and remixes. As this mix title suggests, this limited edition 12" was housed in a beautiful sleeve with a photo of Quentin Crisp by Anton Corbijn on the reverse. What's less obvious is that the remix heavily samples Cybil Shepherd and Bruce Willis from US TV series Moonlighting, which was hugely popular at the time. In fact, the song proper doesn't kick in until five and a half minutes into a remix just shy of nine minutes. All good fun, but you had to buy the other formats to get more Claudia and Thomas.

Visage arguably made one good album (their debut) and it was all downhill from there. Personally, I also have a lot of love for second album The Anvil and, singles-wise, everything up to Pleasure Boys. Night Train is one of their best and the record-buying public seemed largely to agree as it proved to be their fourth UK Top 20 hit, pipping Mind Of A Toy by one place to peak at #12. I first got the dance mix of Night Train on vinyl courtesy of the Old Gold series, which would usually slap two extended mixes on a 12" single in a hideously generic sleeve for a bargain price. I tracked down the original 12" single years later in Replay Records in Bristol. I still love it.

 

What can I say about Associates? Well, other than whether to use the definite article in their name or not. Billy MacKenzie and Alan Rankine created some of the finest pop music of the 1980s, managing both perfect and off-kilter often in the same song. Club Country had a tough gig, being the follow up to Party Fears Two, but it managed #13 in the UK and matched it's predecessor's 10-week run in the charts. I love the song, whether the 7" single, slightly longer album cut or here in it's extended version. And, for my money, the best phrasing of the word 'pseudonym' in a song, ever. 

 

It's only occurred to me whilst writing this that there's a Scottish theme running though this selection: Thomas Leer, Midge Ure, Billy MacKenzie and Alan Rankine. Zeke Manyika was born in Zimbabwe, but moved to (and I think still lives in) Scotland, joining Orange Juice in 1982, so that's good enough for me. 

 

Runaway Freedom Train was released in 1989 as the follow up to Bible Belt and sadly also seems to have had little impact on the charts. It carries a similar political heft to Bible Belt, albeit with a slightly more oblique comment on apartheid in South Africa:

"No matter how hard you try
To break this motion,
It's a one way ticket,
Only one destination,
You can't break the wheels of history" 

 

I still have the 12" single of Runaway Freedom Train, but I haven't digitised the songs or currently have the means to do so. The original 12" version is about eight minutes long and a fairly straightforward extended mix by Keith Cohen. The only version available online is the "U.S.A. Extended Club Version", which appears to be a re-edit of the Cohen mix, initially by The Latin Rascals and re-edited in 2009 by Mixmaster DJ Heavy M aka Malik Jefferson. The tracks runs to nearly ten minutes and is a veritable frenzy of scratches and edits. I tried cutting it down for use in this selection, but it just sounded way out of place with the rest of the tracks. I also didn't want to use different mixes of any of the other tracks to maintain the original running time.

 

So, what you've got here is my own re-edit of the re-edit of the, er, re-edit. Largely the album version from Zeke's second album Mastercrime, I've spliced a chunk of edits a little way into the intro and dropped in a further slab of edits at the end. It still runs a little short at just over seven and a half minutes, but (I think) it just about works. As ever, you'll be the judge of that. The mix title says it all.

 

Grace Jones next, with Living My Life. I first heard the song in 1983 on The Master Tape, a freebie compilation with Record Mirror which I think was a sampler of forthcoming releases. The irony with Living My Life was that it didn't appear on either her album of the same name or as a single in the UK, although a limited 12" was released in Portugal. I could have used the Long Version from the latter to solve the issue with Runaway Freedom Train, but true to the original mixtape, I've stuck with the 1986 remix by Steven Stanley, which is much closer to the version that I originally heard on the Record Mirror compilation. Neither Grace Jones nor Steven Stanley were born in Scotland and regretfully, I can't find any evidence that either have lived there, so my Scottish theme ends there.

 

But only briefly, as Aberdeen's own Annie Lennox leaps to the rescue with, er, Sunderland native David A. Stewart as Eurythmics. Would I lie to you? No, siree. This was the lead mix (of two) from the 12" single, with Eric 'ET' Thorngren bringing his customary BIG drums in and pushing everything bar Annie's vocals back in the mix. He likes his drums, does ET. I did buy the accompanying album, Be Yourself Tonight, but this was pretty much the point that I started checking out on Eurythmics. I like this single but it was all getting a bit slick and aimed squarely at global domination for my liking. Fair play to Eurythmics, they achieved it, but it's the first three albums that I return to time and again.

 

And blowing the Scottish theme once and for all (well, it was good while it lasted), Side 1 ends with Scarlet Fantastic, who both hail from the West Midlands, and are remixed here by Australian Karen Hewitt. The wonderfully named Maggie De Monde and Rick Phylip-Jones were previously in Swans Way, who had a Top 20 hit with the avant-garde pop of Soul Train. Scarlet Fantastic were more out-and-out pop and No Memory is a fantastic example, although it sadly didn't quite find an audience, reaching #24 in 1987. The pick of the bunch is the Extra Sensory Mix but the Ecstacy Mix is also a corker. The version here was ripped several years ago from my copy of the limited edition 12" single in  - what else? - "scarlet fantastic" red vinyl.

 

Have a fun Saturday, everyone!

 

1) (The Naked Civil) Snobbery & Decay (Remix By Stephen Lipson): Act (1987)

2) Night Train (Dance Mix By Visage & John Luongo): Visage (1982)

3) Club Country (Extended Version By Associates & Mike Hedges): Associates (1982)

4) Runaway Freedom Train ('All This Scratching Is Making Me Itch' Re-Edit By Khayem): Zeke Manyika (1989/2022)

5) Living My Life (Remix By Steven Stanley): Grace Jones (1986)

6) Would I Lie To You? (An Eric 'ET' Thorngren Mix): Eurythmics (1985)

7) No Memory (Ecstacy Mix By Karen Hewitt): Scarlet Fantastic (1987)

 

Side One (45:49) (KF) (Mega)

Side Two here

I'll Be A Hurricane, Ripping Up Trees

Closing song from a 13-song set in 2009, the then-61 year old Grace Jones delivers an astonishing version of the title track of her (still most recent) album, Hurricane.

Grace Jones is curating this year's Meltdown Festival, postponed from 2020. Too much to hope for a new album, perhaps, but her energy and presence is inspiring. And that's before you even consider her incredible musical back catalogue.

 

After a show-stealing performance for the Queen's Golden Jubilee back in 2012, Grace proved that she was still handy with a hula hoop in 2017 and 2019. Here's hoping for a comeback special for the Platinum Jubilee, which has been conveniently scheduled to coincide with the Meltdown Festival...

Hurricane (Live @ AVO SESSION Basel, Switzerland, 13th November 2009): Grace Jones

Bass, The Final Frontier

Celebrating Robbie Shakespeare, 27th September 1953 to 8th December 2021.

I read the sad news less than an hour before posting this, so today's selection is particularly on the fly and, like Lee 'Scratch' Perry and Richard H. Kirk previously, how do you begin to do justice to an artist whose contribution to music has been so vast, so far reaching?

I couldn't avoid including some of the obvious choices that will have been popping up all over the internet in the wake of his passing, but I've tried to include some less well-known pieces, whether as Sly & Robbie, providing essential bass to iconic songs or at the controls, producing and remixing. If Robbie Shakespeare had 'only' been a bass player, he would still be a legend. His impact on my musical education and the sheer joy of hearing him in perfect harmony with Sly Dunbar gets me every time.

 

1) Legalise The Dub: Sly & Robbie Meet Bunny Lee (2002)

2) Fu-Gee-La (Sly & Robbie Mix): Fugees (1996)

3) Dub The Government: Sly & Robbie (1997)

4) Sound Man Style (Prince Jammy Presents Uhuru In Dub With Sly & Robbie): Black Uhuru (1982)

5) Night Nurse (Sly & Robbie Dub Mix): Sly & Robbie ft. Simply Red (1997)

6) Aux Armes Et Cætera: Serge Gainsbourg ft. Sly & Robbie, Ansel Collins & The I Threes (1979)

7) Private Life (Long Version By Chris Blackwell & Alex Sadkin) (Cover of The Pretenders): Grace Jones ft. Sly & Robbie (1980)

8) Superthruster (Album Version): Sly & Robbie & Howie B. (1999)

9) Spasticus Autisticus (12" Version): Ian Dury ft. Sly & Robbie (1981)

10) Ruined In A Day (Rhythm Twins Dub By Sly & Robbie): New Order (1993)

11) Mop Head: Sly & The Revolutionaries (1977)

12) Strange Turn: Adrian Sherwood ft. Sly & Robbie (2003)

13) Getting Hot (Original 12" Version By Steven Stanley): Gwen Guthrie ft. Sly & Robbie (1983)

14) Boops (Here To Go) (Vocal 12" Version By Bill Laswell): Sly & Robbie ft. Shinehead & Bootsy Collins (1987)

 

1977: Go Deh Wid Riddim: 11

1979: Aux Armes Et Cætera: 6 

1980: Warm Leatherette: 7

1981: Spasticus Autisticus EP: 9

1982: Uhuru In Dub: 4 

1983: Padlock EP: 13 

1987: Boops (Here To Go) EP: 14

1993: Ruined In A Day EP: 10

1996: The Score: 2

1997: Dub Rocker's Delight: 3 

1997: Night Nurse EP: 5

1999: Drum & Bass Strip To The Bone By Howie B.: 8

2002: Sly & Robbie Meet Bunny Lee At Dub Station: 1 

2003: Never Trust A Hippy: 12

 

Bass, The Final Frontier (1:00:39)

In A Discotheque At Dawn Is When It Came To Me

Nothing clever or fancy about today's selection: 7 randomly selected 12" mixes, sequenced in alphabetical order by artist. Some unexpected and welcome treats, though: a welcome return to this blog for Act aka Claudia Brücken & Thomas Leer; Bryan Ferry goes clubbing*; an early remix by Justin Robertson; François K taking on The Cure; and disco and dub classics from Grace Jones and Gregory Isaacs. To close, a track from modern dub colossi Youth and Gaudi, remixed by Cambridge DJ/producer Kuba, which has introduced me to a couple of new genres, psychill and broken beat. Every day an education. And a reason to keep moving.

1) Chance (Throbbin' Mix By Stephen Lipson): Act (1988)

2) You Can Dance (John Monkman Remix): Bryan Ferry (2010)

3) Redhills Road (Most Excellent Mix By Justin Robertson): Candy Flip (1991)

4) Hey You!!! (Extended Remix By François Kevorkian & Alan Gregorie): The Cure (1988)

5) La Vie En Rose (A Tom Moulton Mix): Grace Jones (1977)

6) Cool Down The Pace (10" Mix By Godwin Logie & Paul 'Groucho' Smykle): Gregory Isaacs (1982)

7) Empress Of The Tarot (Kuba Remix By Laurence Harvey): Youth & Gaudi (2020) 

 

* This is very good, but the original version by DJ Hell is the best.

In A Discotheque At Dawn Is When It Came To Me (44:12)

History Reinvented

You can blame it all on Tom Moulton, for inventing the remix in the 1970's and creating floor-filling club classics, resurrecting 'old' hits by The O'Jays for the disco generation. For the past five decades, there has been a continuing, arguably obsessive, need to review, refresh and reinvent our rich musical history to reflect changing dancefloor tastes. Ironically, the remixes themselves end up being a snapshot of a particular period in time. From Tom Moulton to Ben Liebrand to 808 State to Blank & Jones to Luxxury and The Reflex, there is a constant stream of DJs and artists diving into their record collections to pull up (& pull apart) a classic song.

Some artists appear to embrace the deconstruction and tinkering, for example The Cure and Soft Cell. Others take a much different view. When Talk Talk's former record label EMI, buoyed by the success of singles compilation Natural History, decided to release a follow-up, History Revisited: The Remixes in 1991, Mark Hollis asked them not to. When EMI did it anyway, Talk Talk successfully sued and EMI was forced to withdraw and destroy all remaining copies of the album. The Wikipedia entry on the remix album includes an extract from a contemporary Melody Maker interview with Hollis and you can understand where he's coming from:

 

"I've never heard any of this stuff and I don't want to hear it . . . but to have people putting this stuff out under your name which is not you, y'know, I want no part of it. It's always been very important to me that I've got on with the people we've worked with. People's attitude has always been really important to me. So much of why someone would exist on one of our albums is what they are like as a person. So to find you've got people you've never given the time of day to going out as though it's you . . . it's disgusting."

 

Manager Keith Aspden put it even more succinctly:

"It's a distortion—more like History Reinvented".

 

I'm guilty of having bought - and enjoyed - the Talk Talk remix 12" singles and album (okay, with the exception of the Talk Talk Recycled megamix by Jive Bunny, which is an abomination). I also have a broad interest in new remixes of old songs, although there's generally more shit than shine.

To be honest, you'll find a bit of both in this selection, depending on your attachment to a particular song. My approach to the playlist was a very simple one: I've simply referred to the running order of 2005 compilation 12"/80s and pulled together a selection of updated remixes and reworks that I happened to have in my collection. Arguably, none are better than the original version, and some do little more than sling  some dance beats under the song. Others take the song somewhere new or present the music in a new and interesting way. I'm particularly fond of Fluke's remix of The Human League, Jakatta's remix of Tears For Fears and, yes, Dominic Woosey & JJ Montana's controversial Talk Talk reinvention.

1) A Forest (Tree Mix By Mark Saunders): The Cure (1990)

2) Tainted Love '91 (Remix By Julian Mendelsohn); Soft Cell (1991)

3) Promised You A Miracle (Mylo Promised U A Remix): Simple Minds (2013)

4) Love Action (I Believe In Love) (Fluke's Dub Action Remix): The Human League (2003)

5) Fade To Grey (Bassheads 7" Edit): Visage (1993)

6) Situation (Richard X Remix): Yazoo (2006)

7) It's My Life (Tropical Love Forest Mix By Dominic Woosey & JJ Montana): Talk Talk (1990)

8) Kiss Me (Remix By Rusty Munno): Stephen "Tin Tin" Duffy (1993)

9) Pull Up To The Bumper (Funk's Extension Mix By Funkstar De Luxe): Grace Jones (2000)

10) Sinful! (Scary Jiggin' With Doctor Love) (Remix By Pete Wylie): Pete Wylie ft. The Farm (1991)

11) Shout (Jakatta Thrilled-Out Mix By Dave Lee): Tears For Fears (2004)

12) Ever So Lonely (Remix By Ben Chapman): Monsoon (1990)

13) Wonderful Life (Deepend Bootleg): Black (2013)

14) Dr. Mabuse (Blank & Jones so80s Reconstruction): Propaganda (2014)

History Reinvented: 12"/80s Reimagined (1:24:32) (KF) (Mega)