69 ‎– 4 Jazz Funk Classics

Planet E ‎– PE69-1
Vinyl, 12", 33 ⅓ RPM

Companies, etc.


  • Written-By [Conceived By]Six Nine*


approved by 66 for interplanetary disco dancing & accenting passionate quadraphonic sex sounds. techno for masses. tested at selected space labs.

c&p planet e 1991…all rights reserved…planet e communications p.o. box 27218 detroit, 48227…ph.(313)567-0916•conceived by six nine…
Side Notes: track A1 (Ladies And Gentlemen) contains a sample from the intro of "Little Child Runnin Wild" by Curtis Mayfield.

Repressed in 2004, the main difference being that the 2004 repress is a matter, browner print on the centre labels, compared to the more metallic looking bronze print on the original, which compared side to side the difference can be seen. Other than this, all type and art is the same.

Barcode and Other Identifiers

  • Other (A Side dead-wax etchings): "No hype, But Reality! Made in Detroit A SIDE
  • Other: NSC
  • Matrix / Runout: PE69-I

Other Versions (2 of 2) View All

Cat# Artist Title (Format) Label Cat# Country Year
PE69-1 69 4 Jazz Funk Classics(12", W/Lbl) Planet E PE69-1 US 1991 Sell This Version
PE69-1 69 4 Jazz Funk Classics(12", RP) Planet E PE69-1 US 2004 Sell This Version


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October 16, 2017
got the record, got the t-shirt, Carl Craig is GOD!


March 17, 2016
Can you spot the Jimi Hendrix sample on this one ?


November 5, 2013
While we're factivating, Carl Craig commandeered the title of this EP from UK analogue industrial noise-merchants Throbbing Gristle whos 1978 LP was entitled '20 Jazz Funk Greats' which contains, in my opinion the first sequenced 4/4 dancefloor track, namely 'Hot On The Heels Of Love'.


September 5, 2012
edited about 1 month ago
Some facts about this release- The break- beat sample featured in 'my machines (extraterrestrial ragga beats pt1/reprise pt2)' is from the Ragga Twins track 'Wipe The Needle' (from the album 'Reggae Owes Me Money'), produced by London's 'Shut up & Dance' & featuring a sample of 'We Play Reggae' by "In Crowd". Carl was reputedly a big fan of S.U.A.D.
There are indeed some cosmetic differences between the original release and the 2004 re- issue, most notably the weight. Also The 2004 re- issue came sealed in a white sealed sleeve, where as the original 1991 release mainly came in black or white sleeves, but you'd be hard pushed to find many sealed today, in fact in around 2000 this was considered rare & hard to find. The original pressing also feels a little less perfect with the centre labelling, which has a slightly more metallic bronzy/coppery colour, when compared to the slightly browner/flatter colour tone of the re- press.
I hope this is helpful if wanting to seek out an original copy of this seminal release...

I handed Carl my original copy to sign in plastic people, London 2004, and he looked bewildered, almost like it was long forgotten... The re-press then hit the shops within 2 months of the signing...


August 4, 2007
edited over 11 years ago
One of Carl Craig’s seminal projects of the nineties. Sixty Nine's tunes brought an amazingly broad & eclectic perspective to the World of underground electronic music. "4 Jazz Funk Classics", from 1991, Honored the Breakbeats & Jazz-Funk influences, still with great futuristic-electronic perspective. This is his start as 69, acclaimed by the specialists. "Ladies & Gentlemen", the opening tune, had sweet synths and percussion, with a sudden bassline storm and space effects causing a severe impact on the audience, meant to put the intense listeners into total hypnosis; absolutely perfect for a rave climax, the tune also surprises with a mega breakbeat at the drop out (probably sampled by an old school break standard) - followed by the bassline nightmare on the sequence.
"If Mojo was a.m." reminds the legendary Electrifying Mojo, who used to play magnificent sets on a Detroit Radio at nights during the eighties that influenced all the techno pioneers. Carl Craig did this music with very well made percussion, a fine bass and of course a sense for the underground.
"My Machines pt 1 & 2" is a mixture of experimentalism, bleep synths, modulations, and abstrack breaks at the drop out. The "Frequency Finale" is fast, strange, and pure panic, in a pandemonium of 303; it was inspired on Visage's seminal classic "Frequency 7" (that even Mojo would play on his Radio Sessions). A Grand finale!