Quartz (2) ‎– Meltdown

Label:
ITM Music ‎– ITMR 101, Mercury ‎– 876 399-1
Format:
Vinyl, 12", 45 RPM
Country:
Released:
Genre:
Style:

Tracklist

A Meltdown (Hardcore Club Mix)
B1 Meltdown (Original Mix)
B2 R - U - Ready

Companies, etc.

Credits

Notes

℗ 1989 Phonogram Ltd. (London)
© 1989 Phonogram Ltd. (London)

Barcode and Other Identifiers

  • Barcode (Sleeve): 42287 63991
  • Matrix / Runout (Runout Side A, machine stamped / "JA" hand-etched): ITMR 101 A-2U-1-1 JA
  • Matrix / Runout (Runout Side B, machine stamped): ITMR 101 B-2U-1-1

Other Versions (5 of 7) View All

Cat# Artist Title (Format) Label Cat# Country Year
ITM 101 Qaurtz* Meltdown(12", Red) ITM Music ITM 101 UK 1989 Sell This Version
ITMR 1 Quartz (2) Meltdown(7") Phonogram, Mercury ITMR 1 UK 1989 Sell This Version
7ITM101 Qaurtz* Meltdown(7") ITM Music 7ITM101 UK 1989 Sell This Version
MEL 001 Quartz (2) Meltdown (El-B Remixes)(12", W/Lbl) Not On Label MEL 001 UK 2001 Sell This Version
ITM 1 / ITM 2 Qaurtz* Meltdown(12", Bla) ITM Music ITM 1 / ITM 2 UK 1989 Sell This Version

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RussellSprout

RussellSprout

April 30, 2009
ITM is an acronym of "In The Mix", a record store in East London that Rawlings and Herel (Quartz) were working at in 1989. DJ Mark Summers was there every week buying vinyl of the latest House and Garage tracks. Rawlings/Herel discussed making a new track with Summers, and he offered to produce/engineer the track at his home studio. Both "Meltdown" and "R U Ready (For This)" were recorded during one long Sunday at Mark Summers' studio in Chelmsford, Essex, April 1989. After handing over the 8 track tape reel, Summers was neither credited or paid for his efforts, which included the now famous "bell chime" riff sound that Summers had created using a sampler. Summers famously went on to release "Melt Your Body" in retaliation against Rawlings/Herel, and outsold "Meltdown" by 3:1. The rest of the Mark Summers story is firmly cast in Dance Music history....
BomberOne

BomberOne

January 16, 2005
edited over 13 years ago

One of the tracks that changed the face of music. I recall how everybody in London was getting mad about this incredible hypnotic house track with a monster bass. It truly was a key in showing that Acid House wasn't just 303+808. And it showed how low basses can be either groovy and hard, a formula that WARP would soon exploits.
This one is still unconventional and... weird.
The Hardcore mix here is not that different, more a re-building with more effects and few samples now and there.
The additional track (R U Ready) is even more strange : weird echoed laughters layered on a heavy bass and an obsessive breakbeat.