This differs from the non-promo version in that the superior Francois Kevorkian dub takes up an entire side with its 11 minutes. The standard issue has the vocal on one side, and relegates the dub to the flip, squeezing it on with the album version. As we all know that narrow grooves are bad for DJ's, the promo version is superior because the dub gets a much cleaner, more open vinyl cut. And again, the dub is just a massive chugger that builds for quite a while before it really releases its energy, and beats the vocal version hands down any day. If you buy just one copy of this record this year, make it the promo.

Now that I've listened to more Black Dice, I have to take back wath I said above. Their noise is beautiful; I detect the pulse and heartbeat within that separates Black Dice from more harsh power electronics stuff. Bring on the next BD album...

Masterblaster seems to be built around samples from the Orb's "Massive Pulsating Brain..." track from Adventures Beyond the Ultraworld, which may explain the co-producing credit for Jimmy Cauty.

The version of Eddie Kendricks' "Date with the Rain" is a different mix from the extended disco version that's on the Motown 12" backed with Diana Ross's "Love Hangover". This version seems more rhythmic and the empahsis is on the funky breakbeat, happily. A massive, unbelievably funky and rootsy disco track that feels much better at 4X the length of the original.

Every single track on this is an absolute funk-fueled stripped-down disco stomper with no gimmicks, cheese or letdowns. Hamilton Bohannon took the raw funk of James Brown and fused it with the disco beats of the mid-70's philadelphia producers, but left out the embellishments of philly disco and concentrated on straight up dancefloor funk attitude with sparse, audience-prodding vocals. Some samples of these tracks turn up on the excellent Bohannon-centric "Tribute" album by sample-jackers Smith N Hack (http://www.discogs.com/release/35150).

Truly a new high for Carl Craig -- his remix of "Tides" is a stone classic; one of the finest example of of his minimal, mind-altering electronic soul. Oh, and the original Beanfield version is no slouch either. A truly wonderful release.

On the contrary to the previous comment, I find the de-evolution of the raw disco tracks into experimental but rhythmic noise collages are central to what draws me into these tracks--- he always brings you back to the groove after a trip through jagged spaces. Add to this the power of non-dancefloor material which is zany, psychedelic and unafraid, and I think you've got a throughly enjoyable discopunk album, a rare enough thing in a singles-oriented genre. And by the way, I've got the XL recordings jointly released 2X12", and there's plenty of stereo separation; the production sounds totally fresh and loud. Maybe the Flesh CD's aren't as well mastered?

A fine introduction to turntablism and the movement's innovators and standards-bearers. Great liner notes that really deconstruct the art of creating music with turntables and invite the reader to understand it in the context of the African drummer, the Shamen and the culture jammer. Booty's cover of Hendrix's "If 6 were 9" is smokin', and Rob Swift kicks and chops his way through martial arts film dialog.

A great last blast of late 90's big beat. I think Norman did some of his soulful work on this one, especially with turns from Macy Gray who really makes the album. But you've also got two of the harder tracks that Cook's done in recent years, especially the monster "Star 69" which devastated many a dancefloor when first unleashed on an unsuspecting public (by Danny Howells in my case). With only a couple of rough edges (while I love Jim Morrison, I'm not feeling "Bird of Prey"), I'd say it's probably my favorite Fatboy Slim album.

The soundtrack to a futuristic Playstation game, this CD is a great snapshot of the big beat, techno and electronica of 1997 featuring many of the major players. This album signifies a turning point for the video game industry as well, because they finally realized that licensing tracks from established artists could actually stimulate game sales not to mention make the games better!