Kevin Saunderson ‎– Powerbass

Sonic Groove ‎– SG0019
Vinyl, 12", 45 RPM


A Powerbass Mix 1
B Powerbass Mix 2

Companies, etc.



Reissue of E-Dancer - Power Bass
A Side 'Powerbass Mix 1' = Power Bass (Marty Hardy Mix)
B Side 'Powerbass Mix 2' = Power Bass (Power Mix)

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April 13, 2008
First off Sonic Groove is not a re-release label. Their are almost 40 releases on the label. Only 5 releases on the label are
of re-releases of old school classics. The rest are of original unreleasesd recordings. I re-released this record because it was extremely difficult to obtain when it was released in 1991 and only existed on white label. Being a diehard Saunderson fan it was a honor for me to have a record of his on my label. This was the record I chose. It was not about money but hommage to someone who had a profound impact on me musically.


April 22, 2002
Sonig Groove is one of these "re-release labels" (like S12 etc.)which purpose is to publish old skool classics again and again. Sure, mostly the reason for an artist to publish here is to earn more money for their older works. But there is nothing bad in it because every artist has the RIGHT to commercialize his OWN works as far as he/she would like it. The really important question is: HOW does commercialize someone his/her tracks? A lot of musicians give their excellent works free for mading mainstream-coverversions of it for the masses. Mutilated and not to recognize from the original any more and presented by an artist which is casted by an major! Or you go the way of Kevin Saunderson. He already had great success in 1988 with Paris Grey as "Inner City": "Big Fun" and "Good Life" were sellers with millions of copies. On the other side he has never forgotten his roots and makes great productions as "E-Dancer" ("Banjo!") and "Kreem" for the underground music culture. For me that is a compromise between the "overground" and the "underground" whatever that two terms may significance...


April 22, 2002

I don't understand the purpose of this mix. Kevin Saunderson wrote this circa 1992 or 1993, and it sounds just like alot of Detroit releases of that time with the stringed synths, but it has a huge bassline that isn't all that great. I can't recommend this record at all. It looks to me like Kevin Saunderson was trying to make a little cash off of his name with this release. If you want something good from Kevin, I would suggest going somewhere else.