This has been on my todo list for a while, but I always had some problems finding the right version of the disc. My discogs adventures would inevitably turn up the wrong version, which was an easy mistake to make as I didn’t know how to tell one version from the other until a wonderful soul noticed a difference on the runout groove. On the bright side I’ve got a few generic Perfecto sleeves if I wanted to paper the wall or something.
Something shorter today. I do hope you’ll excuse the odd indulgence as I’m trying to keep up momentum but don’t always have suitable content at the point of posting.
Spotify is kind of neat, isn’t it? It takes mere seconds to find Pinball Cha Cha, Nlogax, the Cinematic Orchestra’s fabulous Late Night Tales session or Blanck Mass without having to journey down to the archive. Which is admittedly about 5 steps over there and 15 steps downstairs but it’s the principle that counts. From an artist point of view it doesn’t seem to be all that fair, each play probably nets you about 0.000003 pence per play which is about as much exposure as you get from some guy on the Internet posting the tracks you hoped were in the permanent bin.
It’s probably been nearly two years since I’ve posted anything so I guess it’s about time I changed that. What I wanted to achieve with this blog was to share music that hadn’t been heard in some time or only by a limited audience, so I did that for a while but couldn’t find the momentum to go on and kind of gave up.
The Warehouse Raves series ended with volume 8, by this time the series had changed name to the slightly more generic Warehouse 8. Unfortunately trying to find this final volume proves to be somewhat tricky due to the Dave Matthews Band releasing a series of bootleg/live CDs called live at Warehouse 8. Hrr. Anyway, might as well pick up where I left off last year with this series. I had intended to come to this one day, but just didn’t find the time.
First up, and needing no introduction Nomad (ft. MC Mikee Freedom) – I Wanna Give You Devotion. Supposedly based on Ten City’s Devotion, but I’ve never really noticed the match between the two tracks.
Secondly, another anthem of the time that doesn’t really need me to say anything about it, but I’m going to ramble over the front of the track much like an uninvited stranger who turns up before your dinner. Originally a track that may have been indirectly responsible for a million mashups, this takes a Candi Staton vocals and layers it carefully over the bassline from Frankie Knuckles ft. Jamie Principle – Your Love. I am of course talking about The Source – You Got The Love. It’s presented here in the Erens bootleg variety, but I’ve also included the less common Morning Time remix by the very lovely Olimax.
This is followed by fairly forgettable tunes from DJ’s Rule with Get Into The Music which is just weak and very out of date, Oval Emotion with Go Go which is fairly dreadful filler with Marshall Jefferson samples. Orchestra JB follows with Come Alive sampling Madonna’s Justify My Love. As a general observation by this point a lot of the content is nothing more than filler, and the next track, Baby Doll House – What’s Up is proving this theory due it’s general terribleness. I’m not even sure what sort of sound this is trying to acheive, weak flutey bollocks. And speaking of flutes, B.D.J. & Warriors 6.1.0. Welcome (Big Flute) is one flute away from Secchi – Flute On, which is about the only Flute House track I remember liking.
Continuing with the task in hand, next is Greed – Give Me (The Quadrant Remix) which seems to make liberal use of Lost – The Gonzo (more of this later) and Kariya – Baby Let Me Love You For Tonight, a classic house track from around the same time.
Tuff Little Unit – Join The Future has a sound that I’ve always identified with early Warp releases, the rubbery sub bass sound that I could have sworn was given out with every contract for the label, or lived in the water there. The other highlight of this disc is the aforementioned The Gonzo, named after my favourite muppet, samples “Hey, We want some Pussy” and has an awesome 90s rave breakdown.
The final two tracks are both great for different reasons, Undercover Movement’s – Moonstompin’ which is a great piece of early Drum ‘n’ Bass and Indo Tribe – In The Mind Of A Child (First Born Mix) is a Future Sound of London pseudonym.
Tip! Don’t image search google for Gonzo expecting to find just pictures of muppets.
I’ve mentioned my Trainspotting anecdote before, but I don’t think I posted the track in question so that’s something I need to resolve.
I’ve always found dreamtime to be an odd sequence, my dreams tend towards abstraction and nonsense. An old friend, who we’ll call Marcus on account of his name being Marcus once said that dreams would usually fall apart once you were faced with something you couldn’t deal with in real life. His example of the time was that you would be trying to drive a car up Berryknowes Road and then things would turn once you passed Joy Sinclair’s home and the car would turn into an Irn-Bru bottle and things would slowly dissolve into bizarrity as you progressed further. No real need to get weirder as the home in question later became a focal point when her mother’s partner was kidnapped and beheaded, but I digress somewhat. I was once a leader in the scouts, and Beverley was one of the named Jungle Book members. My strongest memory of her was once in Wales we took a number of young boys for a week or so camping, and she wanted me to clear up a pants explosion accident by one of the youngsters but I made myself scarce for some time until Bagheera or someone dealt with it. This grouping feeds back into my early DJ partnership and initial learning with my previously mentioned colleague, but that’s not for today.
Anyway, back to the dreamtime. In previous installments I’ve mentioned dream confusion, and in particular I have a very strong memory of a different time in Wales and a dream of seeing a sticker for the Andrew Weatherall Radio Show emblazoned on a burnt out car. My dream memories were tickled recently with something I consider similar, but not originating from a dream.
A few weeks ago, myself and the entourage (Mrsstx & ministx) were shopping in Germany for the usual assortment of cheap meat and beer and we were returning to Swissyland. Due to our recent move, we pass a local Bio-store called Hoheners(which I think has many more umlauts than I’ve given it) and while we pause at the traffic lights I notice a poster with a familiar face that is strangely out of place on a street corner.
I rub my eyes in my best overblown Harold Lloyd fashion, and again as I wonder if the few times I’ve tried acid have come back to me in force. I realise I’m looking at a poster of Dieter Meier promoting his own brand of wine.
Bedrock featuing Kyo – For What You Dream Of
Bedrock featuing Kyo – For What You Dream Of (Instrumental Edit)
When I was 14 or thereabouts, I formed an uncomfortable relationship with the local newsagent. I delivered newspapers for them for about 8 quid a week battling extreme weather conditions while riding a Grifter bike and spent my profits on Star Wars figures. This was about the time of Return/Revenge of the Jedi and the Ewoks that were blocked out on the back of the figure card so George Fatbeard could unleash a kiddy friendly marketing campaign on the back of those damned teddy bears. Anyway, one day the shopkeeper had a new box of delights, computer games for 2 quid. Or more accurately, games for Â£1.99. Mastertronic games in particular, but not solely those as there were other publishers of cheap pabulum, one in particular (who I’ve just found out was called Atlantis Software Limited) produced a game called Mosquito.
This was in no way a complex piece of software, but it was important to me in that it was the first one I figured out how to modify the running code. We had 3 televisions at home, one in the living room that was for general TV, one black and white with rotary dial for my use and one in the back room for other usages. I was sometimes allowed to use the back room TV for gaming, and it had a fault that meant that anything with execssive black on screen caused the screen to roll in a fashion similar to displaying NTSC on PAL native hardware. While trying to get Mosquito to work, I somehow found that the game could be paused and the in memory code could be rewritten. Kind of like the way you could run an IDE in debug mode. I learned that I could then poke the address (36879) corresponding to the border colour of the game and force this into light blue instead which would allow me to play the game on the back room TV without rolling screen.
It wasn’t a particularly great game, a kind of Lock & Chase knock-off but the empowerment I found from fixing this bug this lead me into the areas of computing that I wouldn’t have discovered otherwise and probably helped direct my career as it was. I’ve found a tape image of the game on the internet, and there is a screen capture of it below. I can’t seem to figure out the joystick settings though, so haven’t been able to play it so far. It seems to have borrowed some sound effects from Defender, although that might have been the limitations of the sound chip on board as I’m pretty sure the Vic didn’t support samples. Not only that, but with only 3.5 Kb of addressable memory it’s kind of tricky to find space to place them. I think the first sample used in a videogame was in Ghostbusters for the C64/Spectrum, a supposed rendition of “He slimed me” came out sounding more like “He’s floon loo”.
Anyhow, enough reminiscing about videogames for now.
The Scientist – The Exorcist
The Scientist – The Bee : It was listening to this earlier that had me thinking about insects. Well, this and the massive insects that lurk outside of my home now that I live somewhere more rural than I used to. I don’t think I had ever seen a fly with distinct feet before.
I don’t think I’ve posted these in the past.
Paul Weller – Wildwood(Portishead remix)
Portishead, I’m sure you all know so no explanation needed there, Brendan Lynch on the other hand may not be so familiar. Another Weatherall et al collaborator, IIRC he’s been a producer for Primal Scream and sundry other indie folk.