No one questions the importance of the Classic chef d'oeuvre by Jamie Principle with the beautiful vocals of Adrienne Jett: 'Your Love' infested the DJ charts and dancefloors on the House scene of United States on the mid eighties and became a standard of the genre that would dominate the Club scene since then. Released several times later under different labels, it's known to be a production created much before 1986, but what very few people may know is the fact that its classy futuristic bass lines were taken from the Electronic Disco masterpiece 'Feels Good' by Electra feat Tara Butler on Emergency Records, 1982. You can hear them repeatedly from 2'49 to 3'10 on the original Emergency single.

This Classic Electronic Disco masterpiece has very famous bass synthesized lines which made history on the dance floors. If you think they're familiar, you're absolutely right: they were sampled months later by Jamie Principle on 'Your Love' (original version). You can hear them repeatedly from 2'49 to 3'10.

What does it takes to experience a memorable moment in your life? Larry Heard gave the crowds a unique gift through the 1986 released timeless House classic 'Can You Feel It', based on elegant rhythm patterns and deep, futuristic synth hypnosis.
'Can You Feel It' stands for its Aesthetic perspective and also for bringing the intense listener to the years to come, just like an outstanding Future Soul piece would do. As a natural consequence, it would influence hundreds of Electronic Music heads since them from several genres, including House, Techno, Drum n' Bass, among many others.
The first pressing of that gem got a so huge feedback that it crossed the Atlantic Ocean to become a Standard not only for the House Music genre, but for quality Electronic Music Worldwide.
This explendid acclaimance gave 'Can You Feel It' countless other releases, notably the 1988 versions with Martin Luther King's "I Have A Dream" speech and Chuck Roberts "My House" Acappella, on Desire & Jack Trax, both considered timeless too. It was also included a little more than a decade later on the 'WARP 10+1 Influences' compilation, as a testimonial that it stood the test of time.

Fantastic early release of Derrick May's 'Innovator' album full of gems such as "Wiggin" (Juan Atkins Remix), one that really worths to mention, for Juan's remix goes on a ethereal, Soulful mood based on hypnotic dubby pianos & basslines, as well as neurotic hi-hats which makes it by far the greatest vesion of Wiggin (with the hot 'Sinister Mix').
The other treasures to keep (both eyes) on are Ken Ishii's version of "The Beginning", an exclusive of this album; the outstanding aesthetic "Strings Of The Strings Of Life" which appears complete on both LP & CD releases (even if it also came out on Ken Ishii's Mix Up Vol 3 CD, that one is mixed); "Another Relic (From The Relics)", a beautiful variation and sequence to the original Interval V by Derrick May & Carl Craig (1992) and "Some More Spaced Out" which also brings pretty much the same perspective from the Intervals released on Buzz (1992).

Very rare to find colored early pressing of Wiggin, Freestyle & Sinister classics by Derrick May. Kevin Saunderson's very danceable version of Wiggin (so called Reese Mix), added to the fact that it's the first time 'Freestyle' came out make this a very unique gem in the history of Techno and underground electronic music. All these tracks came out years later on other releases, but there will never be one as valuable as this one for those in question. Although I've never heard of colored pirate represses, watch out for pirate pressings of Pheerce Citi - always check the runout grooves).

'B-Cause' brings Marshall Jefferson and Jonathan Mann at the peak of their power. Amazing overlapped synth lines, from beautiful atmospheres to arpeggiated bass lines and peripheric soundscapes, surrounded by nice percussion and most of all those unmistakable piano melodies, in perfect harmony with the bass and synth pad variations.
If you are caught listening this for the first time, the more probable reaction will be you asking yourself 'Where the hell was I when this tune was released, back in 1987'.
Timeless tune, one of the most amazing pieces of House Music ever.

Heavy Funk standard from Ripple that became a main influence to artists such as Kid N'Play, Mary J. Blige, Special Ed, X-Clan, La Bouche, among others. Make no mistake, this seven inch is a Top-Of-The-Notch kind of record, if you have the chance to find it don't miss this precious piece of music history.
'I Don't Know What It Is, But It Sure Is Funky' ended up on important compilations such as 70's Funk 'n' Soul, Stone Cold Funk, Funk Soul Brothers, Jazzie B Presents Soul II Soul At The Africa Centre, The Original Rare Groove Selection, just to mention some.

More than a decade before Kraftwerk, Dick Raaijmakers, also known as Kid Baltan (a pseudonym created by the spelling of his name Dick and Natlab - his working place - backwards) was, together with Tom Dissevelt, behind the early contemporary Electronic Music compositions.

Between 1957 and 1958, the duo composed through the use of primitive synthesizers timeless masterpieces, 'Song Of The Second Moon' and 'Sonik Re-Entry' being the most notorious of them.
Even before the landing of men into the Moon or any Space travels, majestic 'Song Of The Second Moon' captured the essence of the space mood and Science Fiction esthetic. 'Song Of The Second Moon' was the blueprint for a future sound, later recognized as 'Electronic Music'.

On the cover of the seven inch single first pressing on Philips, you could read 'Electronic Popular Music', and there was an astonishing text about the 'new possibilities of expression' concerning the Electronic Music and the independance between the spirit of the composition and the medium of its expression. (Don't miss the chance to read and realize how modern this concepts are).

"Demon's Theme" is not only the Good Looking Records very first release and a Danny Williams' masterpiece that would change the course of the rivers for Breakbeats, Jungle & Drum n' Bass, but a primal mark that is part of the history of electronic music itself.
Making use of amazing samples (the flutes of Marshall Jefferson's "Open Your Eyes", shouts of "Buffalo Gals" by Malcolm McLaren and pianos from 'Rhythmatic - Frequency'), Danny Williams aka LTJ Bukem creates a majestic atmosphere with very elegantly shaped basslines and overlapped classic Breakbeats - the Amen Breaks from 1969 Soul classic "Amen, Brother" by The Winstons with 1974 Funk-Soul marvelous "The Breakthrough" by Isaac Hayes (Bizzy B & Peshay would also use this Bukem's Breaks combination on "Merder Style" and Simon 'Bassline' Smith on "Palamino").
"Demon's Theme" was released when the whole Electronic-Breakbeat scene was changing. It was a blueprint of a new sound. The rest, as we say, is history.

Jens Lissat and Peter Harder, who worked together on several other projects such as Komtur and The Beat Pirate are behind the Sigmund Und Seine Freunde winter 1989 club hit "Der Erdbeermund".
With the help of other studio experts (Harald & Wolfgang), they released in 1989 "Der Erdbeermund"; while the original version had a more House mood, the remixes that came out the same year on this second single were what they used to call Techno-House versions.
'The Original DJ-Version' starts with a small quote of Glenn Miller & His Orchestra classic "In The Mood", suddenly interrupted by a backspin that gives place to the version itself. The lyrics are from "Der Erdbeermund" classic ("Ich bin so wild nach deinen erdbeermund", which means something like "I'm so wild with your stawberry mouth"), were hot & easily chanted by the club audiences; Lissat and Harder also put samples from synths fragments of "Los Niños Del Parque" 1981 classic from Liaisons Dangereuses, and shout samples from 'Lyn Collins - Think (About It) - 1972' as well.
'The Orchestral-Strobelight-Version' on the other side of the single is an instrumental version of the A Side and has no sample from Glenn Miller & His Orchestra at the introduction, but very nice harmonic-melodic arrangements (even if the beats, snares and riffs were pretty common type, the Germans always counted on their best tradition of synth timbres and melodies arrangements).
Affirming that these remixes of "Der Erdbeermund" were a sort of a prenouncement of what Trance Music would become is not wrong at all, for they both reflect the 'German school'.