Happy Birthday, Red Faced Man! This month it was exactly ten years ago that Laurent Garnier first played his eternal classic "The Man With The Red Face". If I understood him correctly the story behind this track is as follows: when Laurent was first booked for the Montreux Jazz Festival on July 9th 1998 he reckoned that since he was performing at a Jazz Festival he should play something jazzy and hence wrote a track for it - with Philippe Nadaud doing the live saxophone. As the two worked on it and eventually got to the saxophone solo part Laurent started teasing Philippe - "Weak! This is shit!!" - more and more to the point where the saxophonist got so worked up that his face turned all red from playing the sax so ecstatically. Apparently that is how this record got its name.

The track as such is clearly one of the biggest Dance classics out there - and that for a good reason. Not only does it combine elements of Jazz with such of Techno origin like no other, with its dynamics it also creates a very unique, emphatic atmosphere that could give almost any party that one special moment where everything just seems great. That bassline, those ride cymbals... simply wonderful. In fact I have seen "The Man With The Red Face" being performed live twice (both times at the Montreux Jazz Festival actually) and each time was a pretty memorable experience. Laurent (and the live musicians who usually accompany his live acts) likes to push the long build ups and endless breakdowns over countless minutes and to an extreme level that makes crowds go absolutely mental. I have never seen anything like it - and unfortunately Techno just doesn't do that anymore these days. What on earth happened in those ten years??

Laurent Garnier's _The Man with the Red Face_ got plenty of playtime when it first came out, and there's no disputing why: the deep techno with just a hint of jazz keeps things moving on the floor without becoming just a mindless drumtrack. Stephen Greider and Jesper Dahlback from Svek (may it rest in peace) go for more of a deep house touch with their mix, while Funk D'Void from Soma puts in some atmospheric breaks. Three nice tracks.

One of my "Big 5" favourite dance tracks. Officially a Techno track, but a tune that has a great amount of cross-over potential, having seen the track in House/Prog/Techno/Tech-House sets. I'm torn between the Original & Jan Driver mixes over what is the better mix, I've been leaning towards the original recently.

As previously noted, LG apparantly didn't/doesn't like the Driver mix, but in truth both are very similar in structure. The Jan Driver mix is possibly a touch more dance-floor friendly, but could do with being a bit longer IMHO.

To see the best version of the track, you have to see him live where he will rework/remix the track live stretching the experience to close to quarter of an hour. I've seen him do this in the UK and on the terrace at Space in Ibiza which was special.

One confession. My TMWTRF vinyl is my most prized vinyl as I had it signed by the man himself. He was really good about it when I saw him in Bristol. Bit train-spottery I guess, but as this has been such an important tune for me in my clubbing,mixing,dance music time his "Merci, Much Respect" message means a lot.

This is a seminal release in terms of classic feel good house/techno and can always be played at a party. It is clear that Garnier is well influenced by detroit techno styles but it is his use of the live saxaphone that makes this tune his own, not only fusing but forgeing a style which will never be forgotten. Never the mainstream but always a classic Garniers album release Unreasonable Behaviour is the perfect vessel from which to deliver this amazing tune.

Laurent Garnier doesn't like the Jan Driver Remix and didn't want to release it. But then bootlegs of that mix occured in the UK, and Mute decided to release the mix for the UK market.

Jazzy synths & crazy saxaphone riffs makes this record a different but refreshing tune. Made it's first appearance in 2000, definitely one for the collection.

Can't believe I wrote that nonsense in my other comments about this track. That's what happens when you log on to Discogs after a night out.

The remix is of course by Svek, and I'm warming to Funk D'Void's mix, although it still falls short of the original and the Svek mix.

What a track. My hope is that in the future they'll be encouraging our kids to listen to this in the schools. What a motivation.

There are so many words that could be used to describe this track, however none would give it justice. You have to hear it, feel it, dance to it, ride with it !!!!!!!!

On the flip UMEK rises to he challenge and delivers the house mix, retaining that phat bassline with the emphasis on the sax solo, yet never losing the integrity of the original take.

Funk D'Void attempts to create the techno alter-ego by leaving his mark on the track utilising breaks, (that initially don't work, eventually make sense, then lose it again ....) underpinned by a sweeping bassline and his take on the original melody.
Lars' mistake, in my opinion, is that he tries to make the track his own..............!!!

Perhaps he should have rejected the opportunity to rework it in the first place. But then..... How could you?