Monthly Archives: November 2011
Found this deep house track while over at Loose Village’s website. This track is clean house refurbishment of Bill Withers’ funk classic “Who is He?” Coincidentally the post prior to this one features a track that re-edits the 1987 remake of “Who is He?” by house music producer Prioritee. Love hearing these back to back!
For more music from Steve Ryback you can check out his soundcloud.
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“Hey man do me a solid, run this note over to Latoya’s house and tell her I can’t make it tonight, alright?”
Text messaging certainly has made the task of flaking on someone so much less painful, hasn’t it? So easy to let our fellow man or woman down through an SMS, a truly victimless crime. But the poor sad folk from the old days actually had to confront an individual face to face or call on the telephone, unless you’re lucky enough to have someone do your dirty work for you and run a note over to Latoya’s house. It’s rough having two women… as the gentlemen states in track B1 on this Strobe Light Honey release.
A “Persia” (Solid State re-edit)
B1″Who Is He?” (Solid State re-edit)
About the release…
This piece of wax comes from All Out War label head, Richard Hardcastle. It is released on the vinyl only label run by legendary UK DJ, Terry Farley. Track A, “Persia,” is an edit from the now defunct Chicago label Trax. Richard had submitted it into the djhistory.com remix competition for the 25 year anniversary of the label. Track B1, “Who is He?”, is an edit of Prioritee’s 1987 version of Bill Wither’s funk classic. Richard takes Prioritee’s version cuts some keys out, adds some dub elements from the B-side and layers the male vocalist over the song (originally was just an intro over silence.) It makes for an interesting conversation that the original version lacked. Track B2, “Boom Combined,” is an original piece by Richard that has been under wraps for twelve years now. Needless to say this record has a lot of meaning behind it, you got to love a record that materializes after such a long journey through dance music history.
Blood Orange hits the spot with this Urban Balearic number, its great decompression music after a long day, week or what have you. Get your hands on this slightly uptempo edit from Buzz Compass, an up and coming master of the craft from St. Petersburg, Russia. He takes a song that is more or less mood music and gives the beat just enough edge that it could work to wind down the night as a set closer.
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If ever the opportunity arose, to obtain for your own, just a sliver of magnificently arranged yet deranged electronic hedonism then now is the time and here is the record. The second release from the mysterious Eros imprint brings you four untitled tracks erected upon burning pedestals of dance music glory. As you pagans already know, Eros (Eρως) is the primordial Greek God of sexual love. A fitting host to the close encounters made in the night.
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This single caught my gaze first of all because of the kitsch graphics, second because there is an instrumental version and third because it was shared via the web by DFA, a label who I’ve trusted to bring me sounds from left field. I love a song with vocals but I also highly appreciate a song that has a powerful enough production to qualify for an instrumental version. It adds to the shelf life.
The song is a cover of Ministry from 1983 and features Nancy Whang of LCD Soundsystem and Jaun Maclean of… well, himself.
Thinking back to others on DFA, like Black Leotard Front’s “Casual Fridays” and Mock and Toof’s “Underwater,” I’m hoping this gets a 12″ release. I’ve been hurting for more of these jamming instrumentals.
Download the vocal version at 320kbps here
I’ve run into the problem of accurately describing to people what exactly I mean when I say I play disco music. I can describe my dilemma by looking back to 1976, a pinnacle year for mainstream disco, the top selling singles were songs like “Shake, Shake, Shake” by KC & The Sunshine band, “Boogie Fever” by the Sylvers, and “You Should Be Dancing” by the Bee Gees. All quality and iconic pieces of music in their own right but also, sadly, the basis for pigeon holing all other disco music.
To really understand the drastic variation I now look at another single released that same year by Patrick Adams’ and Peter Brown’s collaboration, Cloud One. Their production “Atmosphere Strut Pt.1 & Pt.2″ is roughly ten minutes of raw electronic soul, heavy head music that rips to shreds the glittery gold of the televised disco-pop and brings in the true grit that is a late night, substance fueled party. In my opinion Cloud One’s productions showcase the redeeming values and persisting elements of disco that are still found in quality dance music today and throughout it’s evolution. Extended rhythm, squelching electronic synthesizers, and a raw instrumental back-beat. It’s the stuff pure magic is made of. It’s the matter that fuels late night dance floors, it fueled it in the days of Cloud One, it fuels it now and as far as I’m concerned it will fuel the floors forever.
Here are 3 Cloud One productions that can not be missed.
“Atmosphere Strut” (1976) (My favorite by far)
“Music Funk” (1977)
“Patty Duke” (1979)