To clarify, this isnt an original track. On the contrary, the original version was by an artist simply named "Jane". It was released in 1983 via a 7" on the Cherry Red label. The song is a straight vocal track with no music at all, just the singers voice. In fact, I'm not sure whether Opus III sampled the original track itself and put a beat under it or if the Opus III singer is trying to sound like "Jane" as both vocals sound almost the same.

Let me make one thing perfectly clear before I begin, I am completely sober. That said, I will now discuss what is, in my humble opinion, Optical's shining moment, "his pinnacle of perfection" if you will, "High Tek Dreams". Now I know that many of you out there will moan and try to convince yourselves that "To Shape the Future" is his best work, but let's set a precedent that all of our politicians should follow and be honest, on the creativity/rockin' your ballsack tip, this tune is hands down a tour de force of drums and devastating basslines. It's a tune so brilliant that the dancefloor, your bedroom or your mom's house is instantly transformed into that opening scene of the first Terminator movie, you know the scene, with the really bad but still kick ass special effects, humans running for cover getting all kinda fucked up in a futuristic world that they cannot win in. And just as the Terminator does to that skull in the same scene, your skull too will be crushed, but in a good way.

From the opening drum pattern youre already hooked, shit, before you even put the record on youve already noticed four very important things: 1. Its a Prototype record, 2. Its by Optical, 3. Ed Rush has nothing to do with this record thereby saving it from the shitter and 4. It was produced in 1997 which any DnB head will tell you was a very, very good year indeed.

Now, once you've placed this tune on the platter youre waiting for one thing, the BIG drop and once you hear it, you then begin to realize that I am certainly justified in my praise and you will send me emails of praise thanking me estaticily for turning you on to this record. And really, if it is your first time hearing the ultimate in Optical tuneage then I evny you, I really do.

I once read an interview in 1995 or there abouts with Gary Daly when speaking on the band's forthcoming acoustic album, he said that he "looked forward to doing an acoustic show" as it would finally help the band shed the "synthy-pop" image that they were tagged with since the early 80's. It is my opinion however that this album, easily their best work, predates that notion by about 6 years as there is nary a synth note to be found on the entire l.p..

Produced by Steely Dan's Walter Becker who had also produced the band's seminal "Flaunt the Imperfection", it is a recording light years away both musically and lyrical from anything which had preceeded it. From opening track "St. Saviour Square", "In Northern Skies", "Singing the Praises of finer things" and the second single "Red Letter Day", this album finally shows that the band were more than writers of simple 3 minute pop songs but rather accomplished and mature song writers as well as polished musicians. Drummer Kevin Wilkinson was so good that even Rush' own Niel Pert offered up praise.

Sadly however, Virgin records couldnt market it well enough and the album failed to chart. What should have been a milestone for the group instead turned into an album barely heard by anyone. Shame really, as I rate it up there with the Stone Roses first album, New Order's "Technique" and Simple Minds "Street Fighting Years" as best albums of 1989.

"All RUDEBWOY 'ARDCORE!" . What a tune and I cannot believe that no one has commented on what is probably one of the most underrated hardcore tunes of all time. Now, granted, it does sample "Orinoco flow" but hey, it was the earlly 90's and it could have been worse, he could have sampled "Sesames Treet".

This tune reminds me of "Dance before the police come" by SUAD in its sound which is just solid dance floor bizness. From the bass to the drums once you drop that needle on vinyl you know that its time get 'awdcowah!

Where have all the greats gone? I used to think they had all died off. Lennon, Buckley, Rawls, White etc....but then along comes Mr. Lee and my faith in mankinds ability to make great music is restored.

This album was released in Japan well before being released to the rest of the world and it was well worth the wait. From the "Witchita Lineman" rework to the incredible "Throwing Shadows" this is easily one of the best albums of the millinea. I actually rate it on par with the 1st Stone Roses l.p.

Buy on sight.

This was a pretty bizarre addition to the Junk Culture album and made even more so by the fact that they released a Spanish promo 7" of it as well ( which I have ). The song is just some random noise elements similar to some of the tracks off of 1983's Dazzle Ships album. Why its listed here as a 1-off "single" I dont know as it was given away free with the first 5000 copies of Junk Culture.

This track actually samples the strings to New Orders "Your Silent Face" from 1983's "Power Corruption and Lies". Its funny that that hasnt been mentioned before as the sample is what makes the song so good. They didnt even get a credit on the sleeve notes.

"Take a lick, take a lick..." oooooooooooooohhhhhhhhh this tune is the damajah! Straight up rude bwoy 'ahdkowah with a touch of the amen bizness to set the dancefloor on fiyah! The bassline is no joke and after the first break, watch, this tune is runnin; it red and you have to be ready to reload as its instant rewind time! This tune is essential for anyone building an old skool ragga collection and a must in any and every record bag. "Take a lick" is only the beginning with "Pushing me" finishing off the punters with style. This tune is just outrageously refreshing with the use of the amen break and stomping dubwise bassline.

Easily one of the best old skool choons of all time.

This is the famed version that the KLF played live at the Brit awards. Basically its a thrash metal version and the story is is that Bill Drummond wanted to sacrifice a sheeep live on stage and throw the blood on the "upper crust" of British music. E.N.T. ( Extreme Noise Terror) being staunch vegans were completely against the idea so Drummond settled for firing a machine gun into the crowd, with blanks of course. At the end of the set the announcer broadcasted "the KLF have left the music industry" and the following day the KLF, true to their word, quit the music business and deleted theeir back catologue.

Their are 2 versions of this 7", one of which was available through the KLF fan club and was very limited, the other a repress, which I believe this particular issue is.

"Demon Seed" is easily, hands down, one of the greatest DnB tunes ever. Much in the same way that "Shadow Boxing" uses subtleness to great effect, as does "Demon Seed". But where "Shadow Boxing" just simply rolls out, "Demon Seed" builds up to the greatest of heights only to break down, take you by the hand and lift you back up except this time, it builds even further. Always a dancefloor filler to this day and one all of the trainspotters stop and ask me about. Essential tune and one if you dont hear atleast once in your life, youd might as well consider your life a waste.