it's amazing how this can be from 30 years ago, and it can still whip the right dance floors into a frenzy. just let French Boy roll from start to finish...

HAHA! This must have been released as a response to Ron's Edits series, in particular #2, as released by parties in Europe back in 2004. Regardless, if these are indeed the reel-to-reel edits created by the Ronnie himself, it's worth tracking down just to have in your collection. I first came across the Let No Man Put Asunder edit on many of Ron's mixes about 1998, and after listening to it repeatedly, it really changed the way I listened to "house" music music. No, I never danced to him playing his legendary sets at the Muzic Box, or have any sordid stories relating to girls I never hooked up with behind the speaker stacks or sherm sticks for that matter, but that Ronnie really worked some magic behind the decks and the reels. These edits capture some of that magic.

The original mix is an excellent atonal DJ tool. It's a pretty basic track with a constant "popping" sound clocking at 127 bpms, sampling the key vocal bits from Peech Boys - Life Is Something Special. There is a gradual build from just the kick to the inclusion of hi-hats / snares and a few drum rolls starting at the midsection. I recall this being kept in the mix by DJ Sneak for at least 10 - 15 minutes at Buzz DC circa 98/99. I also recall this being played by Terry Mullan and King Britt. Definitely a favorite of mine still.

While it's my most recently acquired Bluetrain release, this is my favorite release on the label. Though most have followed Steve O'Sullivan for his minimal dub techno projects, I've always enjoyed the short 1 minute or shorter snippets of reggae featured on the other Bluetrain 12"s. Now this one is a 12" with full reggae tracks.

You may pass on this one if you're looking for ~125 bpm cuts. However, if you are interested in hearing some nice dubbed out reggae, definitely check this one out.

"Work It" is an excellent example of bitch tracks that did the rounds for venues playing US underground house in the early 90s, especially for voguers and their hags. You can trace this cut's influences from Steve Poindexter's "Work That MF" and "Computer Madness."

The not often cited MK Blades dub is quite a hidden gem on this 12" - it's not very complicated and very minimal, but complexity isn't necessary to make this a top shelf after-hours deep house groover. I heard it when I first started getting into DJing back in '93 and the cut up electric guitar riff has stayed with me to this day.

Found this 12" sealed and in a $1.00 bin and picked it up just because I knew of "I Can't Wait." If you're interested in the fusion of freestyle and drugged up club music that was played in places like the Better Days NY during the mid to late 80s, head straight to the Acid Shooz mix. With Bruce Forrest at the mix duties, what else can you expect?

I'll admit that the "Stick it in Again" mix is one of my favorite Idjut mixes. For years, I was turned off by its 132+ tempo, the overall cornball Eurodisco overtone, and the intermittant off-beat splices. Yes, don't try to ride this one through, deep house fans. Still, I found myself strangely drawn back to this cut. First, I think it was the heavy bass line. Then it has to be those darned phased sleazy and cheesie string/synth/horn sections which further made their way into my head. ACK! Disposable as it may be, this 12" has wormed its way into my circulate pile. Let this sucker roll from start to finish, and then STICK IT IN AGAIN! what a concept, dubbed out and cut up Eurodisco.....

hot to def, yo.