All posts for the month June, 2007

Nothing too in depth today as it’s my final day at this office and I’m only in to delete my email, so just a couple of Andrew Weatherall things that might be of interest to some folk.

From the Perpetual Dawn remix 12″, this is the less common Ultrabass 1 remix of The Orb – Perpetual Dawn.


The Orb – Perpetual Dawn(Ultrabass 1)


Bocca Juniors, featuring the vocals of Anna Haigh. Anna Haigh appears in the Flowered Up – Weekender video as the bored shop assistant.

Bocca Juniors – Raise(63 Steps to Heaven)(Redskin Rock remix)


That Petrol Emotion – Abandon(Boys Own remix). Remixed by Terry Farley & Andrew Weatherall.


Peace Together – Be Still(Sabres of Paradise remix)

The Impossibles – The Drum(Andy Weatherall remix).

Galliano – Skunk Funk(Cabin Fever remix).

Jah Wobble – Bomba(Nonsonicus Maximus remix).

Search for Andrew Weatherall items on ebay.

Many years ago I was in Wales for a training weekend with my then employer, I only really remember smoking cheap No.6 cigarettes, drinking Flowers Ale and being very surprised in the local pub when the barflies moved from speaking Welsh to speaking English when we were at the bar. There’s a couple of photos from this time which have me in an odd light, as I look positively Asian in them. Which is odd as I hail from Glasgow with Irish & Scottish blood and may be the whitest man alive. A few years ago my dreams found me revisiting this place, and the most significant mental image was of a burnt out car with a vinyl sticker on the boot proclaiming the launch of the Andrew Weatherall Morning Radio Show.

I’ve cribbed some notes from elsewhere as my knowledge of the band doesn’t really extend far past their music. They were an Acid Jazz group with support from Leftfield that went on to produce some of the first few tracks that would generally be recognised as early exponents of the sound that would be described as Trip Hop, although the club oriented tracks they did release are probably more accurately described under the Progressive House banner. That said, neither label is all that accurate. Trip House? Progressive Jazz Hop?


Following their Leftfield produced debut for Acid Jazz records, the group were picked up by ffrr and produced the follow up single, Nothing, which also benefited from a Leftfield remix.

Shortly afterwards came my particular favourite, We Wanna Live, produced by Ashley Beedle & David Holmes(aka the Disco Evangelists) and assisted by Jagz Kooner and Gary Burns. Starting with a sample of Country Joe & The Fish’s Fixin’ To Die performance from Woodstock, this is a fairly demented and engaging vocal performance with great backing.


I’m not too sure about the DSS subtitle, maybe Disco, Sabres & Snapper referring to the involved parties?

In 1994, they found some mild chart success with the single Feet, which saw reworkings from the Chemical Brothers under the Dust Brothers moniker and also from Slam.

Unfortunately the loss of their A&R rep at London at the time stilted their development, rejecting a second album and the band frustrated by this split up.

Bonus kind of related tracks:

Four Girl One Boy Action (a.k.a. David Holmes, Gary Burns, Jagz Kooner & Kris Needs) – Hawaiian Death Stomp.

Disco Evangelists (David Holmes & Ashley Beedle) – De Niro. An early David Holmes collaboration sampling Ennio Morricone.


Based on a live performance of Strings of Life by Derrick May and Carl Craig, this is Ashley Beedle’s reconstruction.

Rhythim Is Rhythim – Strings of Life(Ashley Beedle remix). Attributed to the 10th Planet for some reason, although anyone that could put two and two togther would probably figure this one out. Quite a respectful reworking of the track, especially in light of the diabolical Soul Central ft. Kathy Brown – Stronger On My Own release.

Secret Knowledge – Sugar Daddy.

Secret Knowledge were Kris Needs and Wonder, a lady with a biiig voice. Recording primarily for the Sabres of Paradise, the duo had a side project on Leftfield’s Hard Hands label under the alias Delta Lady.

Additional information from, and not from the depths of my memory for a change.

Search ebay for items by The Sandals. Or maybe you could just buy some Sex Pistols Pink Punk Flip Flop Sandals instead, because that’s what Punk Rock was all about. Comfortable shoes.

Initially a one man band, Neil Barnes had signed to Outer Rhythm records for the release of two singles under the Leftfield alias, More Than I Know and Not Forgotten, attracting the attention of Paul Daley, one time member of A Man Called Adam. At this time, Paul Daley also collaborated with Neil Cole on the Djum Djum track, Difference.

Due to contractual obligations with Outer Rhythm, the band became unable to release their own works and issued Release The Dubs on a white label, garnering interest from various artists such as Adamski, Inner City, Sunscreem, The Sandals, Stereo MCs, & David Bowie among others for remix work. Additionally, a release for Billy Nasty’s Zoom Records called The Hunter under the name Herbal Infusion was produced, but there was no further output under this alias.

Apparently finding the remix on demand work dissatisfying, Leftfield went back to their own output releasing Song Of Life at the end of the year as a taster for what was to come.

1993 saw release of their first collaboration with John Lydon (later they would work on John’s own album with the tracks Psychopath and Sun), the punk house Open Up. Sadly not to find favour with the public at the time due to fires raging across Hollywood and the at the time radio unfriendly refrain “Burn Hollywood, Burn” it has nevertheless remained a staple of student discos.


Early 1994 saw the release of their first album, Leftism for Columbia Records. An obvious labour of love to anyone that has heard it, it features collaborations with Neil Cole on Afro-Left and Toni Halliday on Original among others.

In 1995, Danny Boyle approached the band for a track for the soundtrack to Shallow Grave, an Edinburgh based thriller in which Doctor Who and Obi-Wan Kenobi battle themselves and their consciousnesses when the Sherriff of Nottingham dies in their flat leaving a large sum of money behind (A further collaboration, A Final Hit, can be found on the soundtrack to the movie Trainspotting, as well as the track Snakeblood for the movie The Beach).

1997 saw the release of the aforementioned John Lydon album, and other than a collaboration with David Arnold for a James Bond tribute not much further as production on their second album was underway.

1999 saw the release of Rhythm and Stealth, featuring contributions from people such as Roots Manuva, Nicole Willis and Afrika Bambaataa. The latter especially notable for the accompanying video directed by Chris Cunningham, an ex 2000AD art droid and favourite of artists such as Björk, Squarepusher and the Aphex Twin.


Moving apart muscially by this time, the band split in 2002. Neil Barnes remixed God Save The Queen, collaborating in sort with John Lydon for a final time for the Queen’s Golden Jubilee.

Search ebay for Leftfield items.

Starting with the cut up mayhem of Beats and Pieces, Coldcut were early innovators of the UK electronic music scene. Taking their cue from Double Dee & Steinski, Beats and Pieces was a workout including sources as diverse as Vivaldi, Tom Baker, James Brown & Led Zeppelin.

A commission shortly afterwards led to a remix that is possibly their best known work, the Seven Minutes of Madness remix of Eric B & Rakim’s Paid in Full. Reputedly unappreciated by Eric B & Rakim due to a lack of proper street respect in the sound or somesuch, it was a sample laden masterpiece that nevertheless it went on to sell a load in the UK and featured on the Gang movie, Colors, in 1988 further cementing the cred that Eric B & Rakim didn’t see.

Around this time Coldcut had hooked up with Yazz & the Plastic Population for Doctorin’ The House, a puntastic title that would eventually inspire the KLF as The Timelords.

Further singles Stop This Crazy Thing and My Telephone followed, heralding an album, What’s That Noise? with contributions from Lisa Stansfield, Junior Reid, Mark E. Smith among others and including their commision for the theme from Reportage, part of the at the time innovative Network 7 news and current affairs programming headed by Magenta De Vine. At this time many remix commissions seemed to appear for bands such as INXS, with some more notable than others.

One year later, a more dancefloor orientated album “Some Like It Cold” would follow with a lead track featuring Queen Latifah on vocal duties, but it didn’t seem to grab the public’s attention the same way and Coldcut were in the background for a while, surfacing in 1992 for the Coldcut vs The Orb Kiss FM special in the virgin hours of the new year.

In 1993, Coldcut reappeared on BMG/Arista, with a more serious persona and the intent to create a more mature sound, covering the Jazz standard Autumn Leaves among other more soulful tracks such as Dreamer on the album Philosophy. A Label showcase for Ninja Tunes by way of a DJ mix for DJ Magazine called the The Morning After appeared in 1994, and in 1995 Coldcut released their acclaimed mixset, Seventy Minutes of Madness for the Journey By DJ series.

In 1996 the Coldcut name saw a return to their previous recording form (IMO) with Atomic Moog 2000/Boot The System.

After building on a significant number of releases for their NinjaTunes label, Coldcut went on to record a new album, Let Us Play and releasing an overhaul of their earlier Bits & Pieces at the same time with a diverse set of remixes.


Let Us Play was quite an unusual album at the time, including as it does a second disc full of toys and games with Coldcut branding. A remix set, Let Us Replay followed with remixes by such artists as Shut Up & Dance and Cornelius as well as a demo of the fascinating VJamm software.

Presumably touring and working from 2001 onwards(although two points of note for me were the Doctor Whooligan remix that never saw light and a contribution to the Rez soundtrack) last year saw the release of Sound Mirrors with contributions from people such as Jon Spencer, Spank Rock and Robert Owens.

Search ebay for Coldcut items.

The Lights Come On, The Lights Go Off

On a Sunday evening we would have the radio on in the background as my mother made dinner, invariably tuned to Radio One as Mark Goodier went through the new Top 40 record by record. The debut of the latest club smash one week changed that.


At a touch over ten minutes long, it was one of the odder tracks to debut so highly, partially because it was mostly instrumental but mainly because it has an over the top, overdubbed orgasm and wasn’t really suited for Sunday teatime with the family. As I remember the record was only banned after complaints from listeners as opposed to something like Frankie Goes To Hollywood’s Relax which was publically denounced by Mike Read et al. Then again, I doubt Mike Read had seen the inside of a real club at any time prior to this, instead likely playing charidee stuff instead. As a quick aside, I remember being at a gig in a club by one of Glasgow’s popular Radio DJs who would very publically drink from a bottle of Irn Bru, avoiding being seen drinking alcohol as he had an image to uphold.


What others didn’t see was the bottle of vodka stashed in the record crate and used to top up the refreshment. This was a popular occurence on the buses going into the city at the weekend, a bottle of Irn Bru with the top third poured out and a quarter bottle of vodka poured in would start the weekend quickly and efficiently in the 20 minutes it took to get to the city centre by bus.

Getting back to the point, French Kiss by Lil Louis was sold out through the land, the bumping and grinding tempo of the tracks struck a chord with many clubbers who loved it and bought it in their droves. Quite unmarketable in general, a few remixes followed with jazzier flourishes and a female vocal (well, one with actual lyrics) to prolong it’s staying power.

Not the most convincing sounding orgasm after Raze’s Break For Love had already ploughed that groove, but enough to annoy anyone over the age of 30. I think we were tuned to safe old Radio Scotland after that.

Following this, Lil’ Louis scheduled the earlier track Blackout along with a new one, I Called U on the A Side. For some reason I seem to remember Record Mirror despised Blackout, although it was definately more a club orientated track than the deadpan stalkerism of I Called U was.

The accompanying album “From The Mind Of Lil Louis” went a bit too far into the jazzier sounds for my liking, but a remix of one track does stand out, the Luv Bug remix of Nyce and Slo.

Search ebay for Lil’ Louis.


From 1988, Renegade Soundwave’s The Phantom. One of the most influencial pieces of music you’ve never heard before, remixed by one of the least appreciated musicians, namely Holger Hiller. Eagle eared listeners might recognise a Clash sample in this.

The daytime persona was all a bit Comedy Cockney, but the flipside of this produced some absolutely deadly bass destroying beats, such as the remixes of Biting My Nails.


Biting My Nails makes use of the Knock On Wood guitar sample I previously mentioned.

Also, Ozone Breakdown makes use of the same sample that Roxanne Shante’s Live On Stage does. Not the “The Warriors” one from the beginning, the bedededeewoo ehuheh guitar.

The band were remixed by those who should probably be considered as bands inspired by their sound, or at the very least contemporaries, but Renegade Soundwave never did find the acclaim they deserved. Things like Probably a Robbery and Can’t Get Used To Losing You didn’t really help, to be honest. Bands such as the Prodigy and the Chemical Brothers found the same groove a few years later once it had been properly matured.

Brixton(Sabres of Paradise remix).

Renegade Soundwave(Leftfield Dub).

A few years later, the Phantom was remixed and released under the Subsonic Legacy moniker.

Versions Excursions:

The Phantom(Subsonic Legacy vs Dreadzone)

The Phantom(PFN vs. The Light)

Renegade Soundwave on ebay.

Their name was born out of a misunderstanding at the NME, Wild and Wandering submitted a demo tape with the slogan Pop Will Eat Itself to have it then reviewed with that as the band name. Taking the cue, they changed their name to fit. Releasing further singles on the Chapter 22 label, the band embraced the house and hip hop sound of the time and incorporating it in to their particular musical brand of grebo. Building on their popularity, an album, Go Box Frenzy soon followed featuring among other tracks covers of the Wild Knights track, Beaver Patrol and Sigue Sigue Sputnik’s Love Missile F1-11.

Soon after this album, the Poppies released what was to become a mainstay of their act, Def Con One and began to attract courtship from major labels. In 1989, they signed to RCA records and released another soon to be anthem, “Can U Dig It?“, a list song built around a sample of Cyrus, the visionary gang leader of the Gramercy Riffs from the movie The Warriors and namechecking such people as Alan Moore, Renegade Soundwave and the Furry Freak Brothers.


Aided visually by the Designers Republic, the Poppies were as much a brand as a band and the range of T-Shirts featuring the iconography was a common site at clubs and indie discos. The album “This Is The Day, This Is The Hour, This Is This!” soon followed featuring the previous two singles as well as the highly imaginative “Not Now James, We’re Busy” based on samples of the Godfather of Souls grunting and unique vocal stylings.

An exceptionally productive band, 1990 saw the release of another album “The Cure For Sanity” featuring another glut of singles such as Dance of the Mad, Another Man’s Rhubarb, 92° and one of the odder World Cup anthems, (Touched By The Hand of) Ciccilonia.


Although a very popular live act, the RCA investment didn’t seem to be paying off and after two years and the release of their third album “The Looks Or The Lifestyle?” for the label, they found themselves dropped on the eve of their biggest hit “Get The Girl, Kill The Baddies.” and went on to the peculiar position of performing on Top of the Pops while unsigned to a label.

Shortly signed up by Infectious Records, the band stepped back from the overtly pop house style and took up more of a industrial sound with political overtones on the album Dos Dedos Mis Amigos with Familus Horribulus as a dig at the monarchy and collaborating with Fun Da Mental on Ich Bin Ein Auslander. A companion remix album “Two Fingers, My Friends” followed with contributions from artists such as Renegade Soundwave, Die Krupps, The Orb, Secret Knowledge and Fluke, but by this time the Poppies were burned out and effectively spent.


Clint Mansell went on to produce soundtracks for various Hollywood movies such as π and Requiem for a Dream and probably lives in Scrooge McDuck’s mansion swimming in profits. Richard March went to form part of Bentley Rhythm Ace and plays Spinball or whatever the tethered ball on a pole thing is called.

Bentley Rhythm Ace – Midlander(There Can be Only One).

Bentley Rhythm Ace – Theme From Gutbuster.

Pop Will Eat Itself and friends – Gimme Shelter.

Search ebay for Pop Will Eat Itself products.

When We Funk We’ll Hear Beats

Trip Hop is an unpleasant term. It’s a horrible marketer’s tag for the richly layered, smoky Bristol Sound of the early 90s.

Initially pioneered by Smith & Mighty, the production style was imprinted on a cover of Wishing On A Star, by the local band Fresh 4. Fresh 4 were an offshoot of another Bristol collective at the time called the Wild Bunch. The Wild Bunch went on to be known as Massive Attack featuring a number of local rappers and musicians.

Uncomfortable with the acclaim that Massive Attack garnered for their first albums, Tricky opted to record his own work with Martina Topley-Bird under the Tricky moniker, releasing this later as his own debut album, Maxinquaye.

Massive Attack – Karmacoma(UNKLE Situation).

Tricky – Black Steel (In The Draw remix).

Tricky – Brand New, You’re Retro (Alex Reece remix).

Shunning the acclaim, Tricky opted to record a self described collection of demos under the name Nearly God, featuring collaborations with people such as Neneh Cherry, Björk, Martina Topley-Bird, Alison Moyet, Terry Hall, and Cath Coffey for his own label, Durban Poison. Also at his time his skills as a remixer were in demand, remixing folk such as Garbage, Intastella, Bush, Yoko Ono, Black Grape & The Notorious B.I.G.. I must say, I’m not exactly sure what the contribution is for Grandmaster. Featuring Tricky on a cup of tea and John Tonks on spliffs I’d guess.

Nearly God – Poems (featuring Terry Hall).

Nearly God – Children’s Story.

Double checking this album leads me to suspect that it was released under the Tricky name in the US, but I’m fairly sure it wasn’t the case in Europe as the Poems single is certainly attributed to Nearly God and Pre-Millenium Tension was the second album, but I might be misreading this.

One other point of note is that Children’s Story wasn’t included on the album, only the Poems single. It’s an odd cover of the Slick Rick track, and I find it’s kind of missing the end of the track without the children at the end.

Anyway, Tricky’s second album, Pre-Millenium Tension is a dark, difficult listen, although not without appeal and definately a snapshot of the time. Later albums find him in a lighter mood covering tracks such as the Love Cats and the Wonder Woman theme, but nothing quite meets the bleakness of this release.

Tricky – Christiansands (Imposters remix).


Search ebay for items by Tricky.

Hailing from Belfast, David Holmes was responsible for the greatest Essential Mix so far, eschewing the usual upbeat electronics in favour of a boat load of funk.


One of the early tracks of this mixset is a fantastic version of California Soul by the always astonishing Marlena Shaw.

Marlena Shaw – California Soul

The opening of this track, the di-di-di-di, did-did-did-did-di-di sound is sampled by Adam Freeland for the soundtrack to the videogame Rez. One of my favourite videogames to date, Rez was directed by Tetsuya Mizuguchi and developed by UGA. Rez is a wireframe 3D on rails shooter with a soundtrack by Coldcut, Ken Ishii and Oval and is the sort of thing I used to dream about at night. This particular piece is used for the fifth level, an allegory of evolution. Or something. I liked shooting things in time to the music.


The available versions of Fear that were officially released somehow manage to remove all of the good bits from the track, leaving the rather lacklustre Mindkiller in it’s place.

Adam Freeland – Fear (ingame edit)

Continuing in his career, David Holmes went on to produce a number of remixes for acclaimed and not so acclaimed artists, collaborating with many of the usual suspects in the at the time scene such as the aforementioned Andrew Weatherall, Slam, Back to Basics, and remixing artists as diverse as U2, Therapy?, Justin Warfield, Monkey Mafia and others.

After a dalliance with Warp Records for Johnny Favourite, David signed to GO! Beat recording the soundtrack to a non existent movie, “This Films Crap, Let’s Slash The Seats”. A fairly cold record IMO, there are some elements hinting at what’s to come such as Gone featuring the vocals from Sarah Cracknell of Saint Etienne.

By comparison, David Holmes second album Let’s Get Killed is the soundtrack to the streets of new York. Featuring dictaphone recorded dialogue of the denizens of the city, it’s a warm, balmy album that hasn’t dated and was David’s first commerical success.

David Holmes – My Mate Paul (Major Force remix)

David Holmes – Don’t Die Just Yet (LA Funk Mob mix)

I alluded to my techno colleague in a previous post, he was in the position of a Journeyman in the factory I once worked. I think he moved completed pieces from area to area. Anyway, both him and I would end up working night shifts invariably talking about music as it was a passion we both held dearly. He would hang out with the cool kids at 23rd Precinct while I was book smart about music. I particularly remember he brought me some stuff by Major Force, Tycoon To$h, The Orchids etcetera from Japan that had been smuggled out. The 12″ singles had a run in groove with a minute or so of fairly non descript Japanese water music or something, and then it erupted into Return of The Original Artform.

There are later Cut Chemist, Fatboy Slim & DJ Format reworks of this, but I’m not so fond of them.

Soon afterwards, Danny DeVito approached David to score and soundtrack Steven Soderberg’s Out Of Sight. Featuring contributions from the Isley Brothers, Walter Wanderly and Willie Bobo as well as David’s own contributions, it’s a fantastic soundtrack and this led to a commission to score Steven Soderberg’s next project, a remake of 1960’s Oceans Eleven.

Search ebay for David Holmes items.

Initially notable for the Club remix of Happy Mondays – Hallelujah with Paul Oakenfold, Andrew Weatherall went on to turn the junior Stones sound of Primal Scream’s I’m Losing More Than I’ll Ever Have into the dub influenced student anthem Loaded.

Continuing in this theme for a couple of year, Andrew Weatherall turned out a number of remixes for a diverse set of artists, such as S’Express, James, Deep Joy, Sly & Lovechild, The Grid, Saint Etienne, Love Corporation, The Orb & New Order, That Petrol Emotion, etcetera before forming the Sabres of Paradise with Jagz Kooner & Gary Burns previously of The Aloof.

The Sabres of Paradise recorded two and half albums for Warp, the third being a retread of the first and including another version of Primal Scream’s “Dont Fight It, Feel It” under the alias “Still Fighting”.

Sabresonic II contains one of my most favourite remixes of anything, the David Holmes remix of Smokebelch II. I’ll further cover David Holmes at another time.


The Sabres of Paradise – Smokebelch II (David Holmes remix)

As The Sabres of Paradise, the band produced a number of remixes for many artists, in this case Björk was one of the more notable due to her ongoing reinvention as a serious artist and not just Einar’s “How Much Is That Fish” foil from the Sugarcubes. The following remix of One Day is more interesting when compared to it’s companion, the slow, juddering Endorphin remix which is available on The Best Mixes From The Album “Debut” For All The People Who Don’t Buy White Labels compilation.

Bj̦rk РOne Day (Sabres of Paradise Adrenaline remix)

As part of their own output, many of the Sabres tracks were further available remixed by other artists such as the Chemical Brothers, Depth Charge, Portishead, LFO & Nightmares On Wax. Of these, The Underdog remix of The Theme is a particular favourite.

The Theme (Sabres vs Underdog)

Dissolving the Sabres Of Paradise and further forming Two Lone Swordsmen with Keith Tenniswood, Weatherall went on to record several albums under this moniker for his own label, Emissions and later back with Warp Records. Of this alias, the remix of 1989’s System is a particular favourite.

Force Legato – System (Two Lone Swordsmen remix)

Find Andrew Weatherall items on ebay.