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Monthly Archives: November 2007

Right, near the end of the line with this stuff. First up is Deep Heat 10, and it’s proving to be a rather poor selection of tracks. And when I say poor, I mean awful. There’s a remix of KC & The Sunshine Band on this one.

KLF – Last Train To Trancentral (Benio Over And Out) : Not even a particularly good remix of Last Train To Trancentral, but not available elsewhere.

Alison Limerick – Where Love Lives(Classic Mix) : Memorable to me for one of the remixes on the 12″, the Red Zone mix by David Morales IIRC.

Gary Clail & On-U Sound System – Human Nature (On The Mix Edit) : I’ve always wanted to hear the original version of this, which is supposedly built around a Billy Graham sample as opposed to Gary Clail’s shouty vocals.

Rebel MC – Wickedest Sound : An interesting melding of hardcore with bleeps, and possibly one of the blueprints for what became Jungle.

Friends Of Matthew – Out There

Deep Heat 11 shares some tracks with Deep Heat 10 and I assume is a last gasp to move the brand on or something as it was the final Deep Heat set. Not really much of note here other than a vocal performance from Kylie and the following.

Altern 8 – Activ-8 (Come With Me) : The Madness of Rave.

U.H.F. – U.H.F. : Early Moby alias from when he didn’t make music for adverts.

Anticappella – 2√231 : Massively cheesy Italo house from PWL.

SL2 – DJ’s Take Control : Slipmatt & Lime track based on the Nightwriters : Let The Music Use You. The following yeat would see them at Number 2 in the UK charts with On A Ragga Tip.

Fierce Ruling Diva – Rubb It In : Scary Dutch Techno.

2 Unlimited – Get Ready For This : Not sure what this genre was called although Lee Spoon’s suggestion of Youth Club House is probably pretty close.

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Robert Owens – I’ll Be Your Friend : I’ve always been very fond of Robert Owens’ vocals and this is a particular favourite. Again, I seem to be remembering a David Morales mix, possibly the Glamourous mix.

Around the same time as these releases, Polydor also released Thin Ice volumes 1 & 2 which branched off some of the tracks that would have ordinarily have appeared on these compilations but I suspect they merely divided their audience and adversely affected their own sales. I have Thin Ice 1 somewhere, the only track I’d really note of it is the Jeff Mills alias of True Faith or Pin Up Girls or Final Cut or whatever they were called with Take Me Away. Thin Ice 2 is immediately disqualified for the inclusion of Crystal Waters : Gypsy Woman mainly due to the nightmares I still have of her dancing on Top of The Pops. Ever seen the Seinfeld episode where Elaine dances? Yeah.

Deep Heat items on ebay. I realise I’ve missed some of what I assume were year end releases such as 89 & 90, but I don’t think their track listing deviated significantly from what was on the main discs.

Hi!

It’s my long held belief that celebrities really shouldn’t be making music. by way of proof, I present to you Steven Seagal : Strut from his album Song from Crystal Castles or whatever it was called. It’s pretty special.

Anyway, on to Deep Heat 9, I’m not going to bother with the majority of the tracklisting, as it is available as always over at discogs. Also, I’ve posted a few tracks that are on this already and don’t really want to repeat myself.

First track of some note, Project 1 – Ferrari, The Homeboy of A Homeboy, A Hippie and A Funki Dred, sampling A Guy Called Gerald : Specific Hate, also a _bit_ of a rip off of Shut Up and Dance : Lamborghini. Which is probably a hint from the title.

MC Tunes featuring some schoolkids : Primary Rhyming. I bought this. It was a pound, but even then I can’t really excuse myself.

Run DMC – What’s It All About? – Sampling Alfie & the Stone Roses. Probably not really the highlight of Run DMC’s career, see also their Ghostbusters theme.

The Scientist – The Bee : I’ve spent most of this week playing Super Mario Galaxy while ill.

The Farm – All Together Now. If I remember correctly, and I may not, this ended up as number one over Christmas this year. I seem to remember the Farm on Top Of The Pops on Christmas Day.

N-Joi – Anthem : N-Joi I mentioned previously in the context of the Adrenaline EP, but this one features the vocals of Saffron, later to find more fame with Republica : Ready To Go, a staple of sports show highlight reels ever since.

Dimples D – Sucker DJ : pop rap sampling I Dream Of Jeannie. As a general note, it seems that Hip House is dying off by this point to be replaced by slightly more serious techno and whatever Indie Dance was collectively known as.

808 State : Olympic, aka the theme from The Word, blazing a new trail of disgustingness, amateurishness, granny snogging, L7’s genitalia and live testicle eating. And not to mention Hufty.

The Pack featuring Nigel Benn – Stand & Fight : A rough knockoff of The Power, but oh dear.

Deep Heat items on ebay

I feel awful. My wife is ill, my son is ill, my cat is ill and I’m only on my feet because I can’t be ill. On top of that, we’re supposed to be going back to North Kilttown for the best part of a week so that my wife can go and see Take That.

Might as well get on with the Deep Heat series in the hope my delirium eases the pain.

First up is Twenty 4 Seven : I Can’t Stand It, which is still kind of rubbish but was really quite popular inexplicably. I assume it was big in Torremolinos or somewhere just as English. One of the more depressing sights I saw there was while leaving in a taxi on Sunday morning to see the the folk that spent their entire night sitting in the town square drinking wine while pushing prams. I didn’t choose to go there, I was kind of press-ganged into it. Next, S’Express : Nothing To Lose, which I think dates from the Intercourse album and is a fine showpiece for the vocals of Sonique. Following, A Tribe Called Quest with what is likely to be the highlight of the album with the C.J. Mackintosh remix of Bonita Applebum, based on a sample of Carly Simon’s wonderful Why?

Bypassing some out of place 2 Live Crew, we hit on the relatively new invention of indie dance or whatever it was collectively termed with the single mix of Primal Scream : Come Together, voice of the Mysterons sampling Shamen : Make It Mine and The Farm : Groovy Train followed by a Technotronic alias chaser with Hi Tek 3 : Spin That Wheel. The remainder of this side is mostly crap with the only tracks of note being a beany cap wearing Mr Fingers jazz freakout The It : Rainforest Serenade, The Moody Boys remix of The KLF : What Time Is Love? and an old favourite from Warp Records in the form of Tricky Disco.

Changing the disc as I exorcise lumps of pure green from my nostril, the only thing worth noting is probably FAB featuring MC Number 6 : The Prisoner.

Anyway, enough of that. I promised to post some stuff by (the) Beloved, so here you go:

It’s Alright Now(Back To Basics)

Hello(Honky Tonk)

The Sun Rising(Mark’s Deep House remix)

The Beloved on ebay

And things get slowly worse for our author with Deep Heat 7. I had previously written off number 5 as being the worst, but scratching the surface of this one has led to some horrific moments, not only bad tracks and dodgy hip house but a whole new strain of pain with some of the laziest cover versions known to man over variants of the Soul II Soul break.

Firstly, Don Pablo’s Animals : Venus (Bonus mix). Suffering somewhat from Chad Jackson syndrome, this is chock full of samples, but to be fair that sort of thing was pretty popular. Following this, the Jungle Brothers : What U Waitin’ 4, this version sampling Saddle Up by David Christie, and I think this was remixed by CJ Mackintosh & Dave Dorrell, ex of M/A/R/R/S and the guys who weren’t members of either A.R. Kane or Colourbox. I’ve mentioned both fellows before as they’re responsible for one of my most favourite remixes in Roxanne Shante’s Live on Stage which I’ve posted a few times as well as Young MC’s I Come Off Southern Comfort remix, but I’ll revisit them at some point in future.

Next up, the Beloved : Your Love Takes Me Higher, I’m not sure if this is the original issue or the re-release after The Sun Rising, although on listening I’d guess at the first. Again, I need to post a bit about the Beloved if for no other reason than to post It’s Alright Now. This leads into the forgettable A Way Of Life : Tripping On Your Love, which could be a cover of the Bananarama track but I’m not certain as I can barely remember the Bananarama track other than a Maurice remix of it. However, the banality of that is not enough to prepare anyone for what follows. Powerjam : Nothing Compares 2 U, which seems to be a cover of the Nellee Hooper produced Sinead O’Connor cover of the Prince track. Unfortunately it’s been sped up and the pitch is off, so it gives the effect of the singer rushing to keep up with the music and is really quite terrible in execution.

Next, an unexpected jewel sandwiched between some poor hip house tracks, Coldcut & Queen Latifah : Find A Way and what follows are three covers in a row. Firstly, the Happy Mondays with Step On, one of their most memorable tracks and there’s no point in me posting it as pretty much everyone knows if off by heart. And then a double whammy of awful with Little Caesar : The Whole Of The Moon and Respect featuring Johnny D : Light My Fire.

At least the next track is worthwhile, being Rhythmatic : Take Me Back which brings some much needed bleeps to the table. The rest of this disc is not really worth talking further about other than to note the appearance of the bleeps from Unique 3 : The Theme and the synth stabs from Rhythim is Rhythim : Strings of Life in Liquid Oxygen : Planet Dance, but overall it’s kind of identikit techno.

Disc 2 starts with a Technotronic megamix, which is as stupid as it sounds and continues with another appearance by Queen Latifah : Come Into My House in a DJ Mark the 45 King remix and leads into more bloody hip house before picking up a bit with Leftfield’s Not Forgotten(Dub version) and then going off the boil with Salt n Pepa and Ultra Nate before the appearance of 808 State : Ancodia. It’s next where my personal lowlight of the album appears with Massivo featuring Tracey : Loving You proving that no-one should be trying to cover Minnie Ripperton. The only other track of note is probably Satoshi Tomiie with Arnold Jarvis : And I Loved You, but otherwise the rest of the disc is worthless.

To wash the badness out of your ears after that little lot assuming anyone has read down that far, a few words about Warehouse Raves 4. This series proves it’s worth almost immediately with the first track, one I’ve posted before and will doubtless post again in some variation.

A few years ago I found myself in close proximity to a television that was showing Jesus Christ Superstar, and I couldn’t help but notice the song playing was oddly familiar to my ears. This track, Heaven On Their Minds is a track which I believe inspired in no small part The KLF : What Time Is Love? Also on this disc is 3 A.M. Eternal in it’s Pure Trance original form, and as such represents a good source for clean copies of the tracks if needed. There is also an appearance by Genaside II : Death of the Kamikazee another excellent track with a bass sample that I’m at a loss to recognise right now and it’s annoying me*. Of the other tracks on here that are notable, Shut Up And Dance : Lamborghini which I’ve posted previously and Juno : Soul Thunder.

*Oh, I know now. It’s the same rhythm used in D-Shake – Yaaaah.

Warehouse Raves on ebay

To be read in the best Saturday afternoon teleprinter football scores voice while waiting for it to be 5:15 and time for Tom and Jerry. Which will mean little to those unfamiliar with Frank Bough and his life as a sports commentator on Grandstand before Breakfast AM and his later to be revealed sexual debauchery.

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And yes, I know that’s a picture of Dickie Davies, but look at how stylish this man is in his seventies garb compared to Frank Bough’s perennial jumpers and stockings.

Anyway, on to the music. Warehouse Raves 3 is somewhat of an improvement on the mixed bag that made up the content of number 2, but I’m only going to mention a couple of tracks specifically as otherwise I’ll be procrastinating about the rest of these series for the remainder of the year. That said, it also has one of the most terrible crimes committed to vinyl in Candy Flip : Strawberry Fields Forever. I’m sure this made a significant dent on the charts at the time, but I’d be surprised if anyone would admit to ever owning it these days.

The standout tracks on this set are Force Legato : System (which I posted a couple of weeks ago), Rhythm Device : Acid Rock & Off – Electrica Salsa which features the vocals of a young Sven Vath, and I’m sure I’ve posted these tracks before but I can’t seem to find any record of them right now.

As to the rest, full track lists are available at discogs for Warehouse Raves 3 and also for the following Deep Heat 6.

Deep Heat has a number of people who don’t have full surnames and were presumably signing on at the time of these releases. The DJ Svenless MC Miker G : Show Em The Bass, Anna G with Gding Gding, The Adventures of Stevie V : Dirty Cash and Exclusive T with something I don’t remember.

Tracks that are perhaps more notable on here are Westbam : Hold Me Back, Baldy Lucozade icon Adamski : NRG, Lil Louis : Blackout(which for some reason is the Phase 2 remix), Baby Ford : Wigan(which was an album cut and an odd choice for a compilation), Izit : Stories(sampled by Bentley Rhythm Ace’s fab Gutbuster) and A Man Called Adam : Amoeba. The rest is best represented by the Brits 1990 megamix which if my memory serves me correctly appeared as part of the pre-recorded Brit awards of 1990 which was trying it’s best to shake off the shambolic nature of the previous years presentation by Mick Fleetwood & Sam Fox.

There was a Lucozade promotion at the time of the Adamski album where you could get a T-shirt with N-R-G emblazoned on an image of the iconic lucozade bottle in a similar matter to the Adamski sleeve.

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I was particularly fond of Lucozade Lite* and duly saved up my labels for the T-shirt. The first day it was washed it was subsequently stolen from my mother’s washing line by a presumably lost raver.

aren’t you going to read out the nominations first?

* I can’t actually find any proof that it existed other than a few bylines in a CV, it was in a green glass bottle and had a lime flavour and quenched many of my thirsts when returning home at 4 in the morning. I miss you Lucozade Lite, we had great times together.

[edit]Side One
The album’s opening song, “Hey Hey We Are Not The Monkees”, begins with simulated human sexual intercourse noises arranged as a rhythm. The album’s first plagiarism is a sample “Here we come…” from The Monkees’ theme. It progresses into a cryptic and bleak spoken verse from Drummond: “Here we come, crawling out of the mud, from chaos primeval to the barnyard sun, dragging our bad selves from one end of time, with nothing to declare but some half-written rhymes”. A cacophone of further samples from The Monkees’ theme and Drummond’s voice follow – “We’re not The Monkees, I don’t even like The Monkees!”[12] – before an abrupt cut takes the track into an original a cappella vocal line that later became The KLF’s “Justified and Ancient”[28] – “We’re justified and we’re ancient/We don’t want to upset the apple cart/We don’t wanna cause any harm”.[29]
The track ends with a long sample of a London Underground train arriving at and leaving a tube station, with its mechanised warning to passengers, “Mind the gap…”. “Don’t Take Five (Take What You Want)” (sample (help·info)) follows, featuring The JAMs’ associates Chike (rapper) and DJ Cesare (scratches). Built around The Dave Brubeck Quartet’s “Take Five” and Fred Wesley’s “Same Beat”,[11] the lyrics are cryptic: “I was pushing my trolley from detergent to cheese when I first saw the man with antler ears. I tried to ignore but his gaze held my eyes when he told me the truth about the basket of lies”. Sounds considered the message of the song (if any) to be secondary to its spirit: “This is piracy in action, with the venerable music industry figure, King Boy D, setting himself up as the Robin Hood of rap as he steals from the rich vaults of recording history”.[29]
The first side of the LP closes with “Rockman Rock (Parts 2 and 3)”, a homage to Jimmy Cauty that plagiarises from an array of sources, including the “Bo Diddley Beat” and “Sunrise Sunset” from the Fiddler on the Roof soundtrack.[11]

[edit]Side Two
The second side begins with “Me Ru Con”, an emotive traditional Vietnamese song performed a cappella – without backing instrumentation, rhythms, or samples of any kind – by The JAMs’ friend Duy Khiem. According to Drummond, it was a spontaneous recital by Khiem, who was in the studio contributing clarinet and tenor sax to the album.[11] Khiem’s vocal performance was later sampled by The KLF on the ambient house soundtrack to their movie, The Rites of Mu.
“The Queen and I” (sample (help·info)) features long samples from ABBA’s “Dancing Queen”, often overlain with a rasping detuned accompaniment. These lead into Drummond’s satirical and discontent rapping, a fictional account of his march into the British House of Commons and Buckingham Palace to demand answers. The piece also protests the involvement of cigarette companies in sport (“When cancer is the killer/John Player run the league”) and lambasts the “tabloid mentality” (“They all keep talking about Princess Di’s dress”).[29] The Sex Pistols’ “God Save the Queen” is briefly sampled.[12] After nearly three minutes of pure sample from the television show “Top of the Pops”, Drummond cries “Fuck that, let’s have The JAMs!”. The acerbic “All You Need Is Love (106 bpm)” (sample (help·info)) follows. A “stunning audio collage” featuring an AIDS public information film, a rerecording of glamour model Samantha Fox’s “Touch Me (I Want Your Body)”,[16] and the nursery rhyme “Ring a Ring O’Roses”, “All You Need Is Love” comments on sex and the British media’s reaction to the AIDS crisis.[30]
The final song is “Next”, which Drummond describes as “the only angst-er on the album”, with “imagery of war and sordid sex”.[11] The track uses Stevie Wonder’s “Superstition”, Scott Walker’s “Next” from Scott 2, and Julie Andrews’ “The Lonely Goatherd” from The Sound of Music,[12] alongside Khiem’s original melancholy clarinet and tenor saxophone contributions (“a saxophone of stupefying tediosity”, according to Danny Kelly[31]).
Bill Drummond summed up The JAMs’ approach to composition in the first “KLF Information Sheet”, sent out in October 1987: “We made [the album] not giving a shit for soul boy snob values or any other values, we just went in and made the noise we wanted to hear and the stuff that came out of our mouths…. Not a pleasant sound but it’s the noise we had. We pressed it up and stuck it out. A celebration of sorts.”[8] Jimmy Cauty defended sampling as an artistic practice: “It’s not as if we’re taking anything away, just borrowing and making things bigger. If you’re creative you aren’t going to stop working just because there is a law against what you are doing.”[5]
In 1991, Drummond admitted: “We didn’t listen to 1987 What The Fuck’s Going On for a long time, and when we did we were embarrassed by it because it was so badly recorded. But I still felt we were able to get a lot out of ourselves through it.”[23]

“Hey Hey We Are Not The Monkees (100 BPM)”[37] – 6:00
“Mind the Gap” [unlisted sample of ambient noise in a London Underground station] – 1:02
“Don’t Take Five (Take What You Want) (89 BPM)” – 3:59
“Rockman Rock Parts 2 and 3 (105 BPM)” – 6:29
“Why Did You Throw Away Your Giro?” [unlisted] – 0:20
“Me Ru Con (0 BPM)” – 2:23
“The Queen and I (99 BPM)” – 4:43
“Top of the Pops” [unlisted samples of television programmes including Top of the Pops] – 2:51
“All You Need Is Love (106 BPM)” – 4:55
“Next (100 BPM)” – 7:15

“ This record is a version of our now deleted and illegal LP ‘1987, What The Fuck Is Going On?’ with all of the copyright infringing ‘samples’ edited out. As this leaves less than 25 minutes of music we are able to sell it as a 12-inch 45.
If you follow the instructions below you will, after some practice, be able to simulate the sound of our original record. To do this you will need 3 wired-up record decks, a pile of selected discs, one t.v. set and a video machine loaded with a cassette of edited highlights of last weeks ‘Top of the Pops’. Deck one is to play this record on, the other two are to scratch in the missing parts using the selected records. For added authentic effect you could use a Roland 808 drum machine (well cheap and what we used in the original recordings) to play along behind your scratching.[11]

Adventures in digging through the virtual crates, no real theme for today as I don’t seem to have been suitably inoculated against Hip House and the trip through Deep Heat & Warehouse Raves is a dangerous place for the unwise.

Firstly, and in the running for some of the worst crimes against children’s television, Eurobop featuring the Rainbow Crew : Raynboe.

There’s a video interview with the Rainbow crew over at youtube which talks about why they did it, but I think Shaun Ryder probably slipped Zippy a little something when they appeared on The Word.

Following this with something potentially even more terrible, Jeff Wayne – Eve of The War (Ben Liebrand Deepspace remix), from the musical version of War Of The Worlds featuring Richard Burton, Phil Lynott and David Essex among others. As a snapshot of 70s pompous rock, it’s fascinating if somewhat dated. This version from the early 90s manages to miss the point completely dressing it up in a silly beat.

E-Zee Possee featuring Dr. Mouthquake – Love On Love, after my post last week about E-Zee Possee a few folk mentioned this. I’m not sure it was the version I had as I’m sure there was a release credited solely to Mouthquake, but this is the only one I can find so far.

Genaside II – Narra Mine : The last two and a half minutes were so ahead of their time it’s astonishing.

Rhythm Controll – My House : Most folk would probably have associated the vocal from this with Fingers Inc. – Can You Feel It, but this vocal predates that by a couple of years. There are a couple of vinyl copies of this up on discogs for a few quid.

The Residents – Kaw-Liga (Housey mix), IIRC remixed by the Moody Boys who may or may not have had Jimmy Cauty as a member at this time.

Cybersonik – Backlash : An early Richie Hawtin / John Acquaviva project.

Mandy Smith – I Can’t Wait. Yes, that Mandy Smith. Mandy was a vector for the appearance of Balearic Beat and eventually Acid House et al. in the press due to her previous old man nobbing and getting in the papers credentials.

Marva Whitney – Unwind Yourself, sampled by DJ Mark the 45 King for The 900 Number. I think I mentioned it before, but the 900 Number was a popular dancefloor hit and was picked up for release in the UK after having been a massively popular import for a while. It was remixed by DMC world mixing champion Chad Jackson who went on to stuff the remix full of samples, and it was eventually released under his name and bearing very little resemblance to the stripped, hypnotic original.

Tons of stuff labelled Balearic on ebay.

Break For Love reappears in the first track of Warehouse Raves 2, sampled by Quartz – Meltdown. Listening back to this, the best description I can give it is mundance, a word seemingly just invented by my fingers which sums it up quite well. And no, it doesn’t have anything to do with Van Morrison. Following this is a cover of the perennial Tainted Love by Impedance, of which the last 30 seconds are probably of most interest with a sultry female spoken vocal closing it out. There are a load of version of this track, with the best known likely to be the Soft Cell version. My favourite is probably the version by Electronicat which I posted a while ago.

The first time I heard this album I found the inclusion of the next track to be quite out of place, but moreso because I expected an album of underground dance music, and was kind of taken aback by Gil Scott-Heron – The Bottle. I’ve since come to appreciate the funkier side of things in these 20 or years, but at first I didn’t enjoy this track. Or the following one for that matter, AC Fax – Eventide is a kind of mid eighties sounding instrumental with a choral like synthesized element to it. Things improve slightly with Droid – Hipnosis, a knock-off of I Feel Love with a cheesy piano over the top of it, but compared to the first Warehouse Raves compliation this isn’t really letting me hear anything I’d want to listen often.

Passing over the somewhat forgettable Rico – Spring Rain & DJ Lelewel – House Piano next up are Stardust – Love Will Find a Way and Blaze – If You Should Need a Friend, both of which are reasonably good garage tracks. The Blaze track especially sounds fairly recent, but time hasn’t been entirely kind to Stardust. The less said about Snowboy’s House of Latin the better as Snowboy is part of the Acid Jazz movement and I’m not entirely fond of much that came out of that other than the Weatherall remix of Galliano’s Skunk Funk and the Sandals. To be fair, the Sandals do make it all worthwhile.

Towards the end now, Landlord featuring Dex Danclair – I Like It is fairly interesting for it’s use of the rave stab, the last 50 seconds or so of this track probably forming the basis of a large number of Altern 8 tracks. Also, the name Dex Danclair makes me think of a superhero villain. Following this are Adonte – Dreams, a fairly innocuous piece of house music and the bizarre Ralphi Rosario I Want You, which has a horridly fake English accent to begin with and is just an uncomfortably dated piece of music.

Warehouse Raves on ebay, interesting to note there are 8 volumes of this. I was only previously aware of 5.

Starting with Silver Bullet’s Robocop sampling Twenty Seconds To Comply which is rather abrasive on the ears these days as Silver Bullet sounds positively rabid and…you know what? Fuck this compilation. Deep Heat 5 is by far the worst of the series.

The only other tracks of note are KC Flightt – Planet E, The Mixmaster – Grand Piano and Rob’n’Raz featuring Leila K – Got To Get, an infectiously catchy number which I remember particularly for the transcription of the lyrics in Smash Hits listing “Ain’t down with horse”, which greatly confused me. To this day I don’t know if it was whores or a reference to Heroin.

Going by her wikipedia page, it would seem that she is indeed down with Heroin these days and is either homeless, in prison or on myspace, whichever is worse.

Also, I wouldn’t normally do this sort of thing, but a friend has pointed me to this and I’m happy to pass it on as it makes a change from the usual Folk Rock out of Athens, Georgia shite I get sent.

Deep Heat on ebay.

Time for Deep Heat 4! (Oh god.)

This one starts off the same as the aforementioned Warehouse Raves with Starlight’s Numero Uno, although in a slightly neutered radio edit chopping 2 minutes from the end of the track. The Deep Heat compilations started off with a statement to the effect of full 12″ versions on disc on and 7″s on disc 2, but by this time that has been dropped in favour of fitting as many tracks into the space as possible. In this case, there are 32 different tracks across the discs. I’ll skip over the majority of what was side one of the vinyl as it’s fairly ropey, and the only real notable track in my opinion is Kaos – Definition of Love, which is one of Kevin Saunderson’s weaker efforts and move on to the last track on this side.

Kariya – Let Me Love You For Tonight : I seem to remember a slightly filthier version of this, but I can’t seem to find any trace of it so either I’m making it up or it’s an unknown cover version. This track also appears on Warehouse Raves, and again the version here is about 2 minutes shorter. As this is the end of side one the track following is one of Dave Lee’s many alias, Raven Maize – Forever Together. After this there are some interesting if fairly dated tracks from the likes of Royal House – Get Funky, Bang The Party & Maurice – Get Into The Dance.

T.C. – Hello I Love You : A Belgian New Beat cover version of the The Doors track. Thanks very much Belgium. T.C. followed this up with a cover of the Monkees’ Stepping Stone a year or so before The Farm took a stab at the same track.

We get back on track quickly with the wonderful Model 500 – The Chase and then things really start to improve with the pop house stuff that is beginning to take off in the charts, in particular the very lovely Beatmasters & Betty Boo – Hey DJ(I Can’t Dance) and Technotronic featuring a Skinny Model that isn’t actually the singer on this track aka Felly with Pump Up The Jam.

pump-up.jpeg

Skipping over the out of place Ya Bad Chubbs, an odd Hip House track over a disjointed Break For Love which is only really notable for the production by Howie Tee, also responsible for the Real Roxanne, there’s an oddly schizophrenic DJ Fast Eddie mastermix which doesn’t really know if it’s trying to showcase Acid House or Hip House and ends up all over the place in just under 4 minutes.

Next, the Frankie Knuckles/Jamie Principle – Your Love, the main melody of which was later appropriated by John Truelove for the Eren’s Bootleg remix of The Source featuring Candi Staton – You Got The Love. It’s not quite the same melody though, I remember trying to mix the two records togther in the past and being utterly confounded by the cacophonious racket produced. I’ll ignore the next few tracks as they’re a mix of Hip House again, a rip off of Marshall Jefferson’s Truth, the previously mentioned Out of The Ordinary & De La Soul who don’t really need me to rescue them from obscurity and we hit the final side of the disc if I was working from the vinyl issue. First up is Inner City – Ain’t Nobody Better, which is still reasonably good track even thought Kevin Saunderson has produced a boatload of lacklustre house and techno, and we’re quickly back into the Hip House ghetto with Farley Jackmaster Funk’s Hip House track called Think. I don’t think (ho ho) that I need to say anything further about that other than Lyn Collins.

Things start going even worse as the next up is Smokin’ Gang featuring DJ Jack Boy Rapper – Just Rock (Rap House Anthem) trying to define an unwelcome new strain of Hip House called Rap House and I daresay that it’s in this slot so that most folk would turn the record off at this point and just give up, especially as the next track up is Samurai Sam – House The Japanese and I can pretty much hear this one already in my head, but surprisingly enough it doesn’t actually feature the Japanese instrument that I can’t remember the name of that is synthesized at the beginning of Yie Ar Kung Fu just before it declares “Fight!” and then Blue kicks the crap out of you.

I’ve had a few close shaves in a car with not so careful drivers, one being the previously mentioned Bill who didn’t have a Driving License and almost drove straight into a roundabout while we we listening to The Orb as he was somewhat distracted by the music and possibly slightly under the influence. The other one was while driving into Glasgow City Centre and myself and a friend are talking nonsense about Street Fighter 2 or something and while sitting at the red light waiting to turn one of us shouts “Fight!” and our driver takes this as a primal instruction to drive at full speed into the oncoming traffic.

What, procrastinating, me?

Almost at the end, and next is Monie Love – Granpa’s Party, which I don’t remember at the time and it hasn’t exactly aged well. Until fairly recently Monie Love was a Morning show presenter in Philadelphia and is now a an Official MySpace.com DJ, whatever that entails. Next is Total Eclipse, not to be confused with the French Trance folk on Dragonfly record and better forgotten with their contribution and finally we’re at the end and have what is probably the highlights of the disc hidden away here with two Derrick May tracks, R-Tyme – Illusion & Mayday – Sinister, although both are criminally short here.

Deep Heat items on ebay.