Reese ‎– Rock To The Beat

Género:
Estilo:
Año:

Lista de Títulos

Rock To The Beat (Mayday Mix) 6:44
Rock To The Beat (Original Mix) 2:55
You're Mine 7:17
Rock To The Beat (Hitman Mix) 5:18
Grab The Beat 5:49

Versiones (8)

Cat. nº Artista Título (Formato) Sello Cat. nº País Año
KMS-022 Reese Rock To The Beat(12") KMS KMS-022 US 1989 Vender esta versión
KMS 022 Reese Rock To The Beat(12") KMS KMS 022 US 1989 Vender esta versión
KMS-022 Reese Rock To The Beat(12") KMS KMS-022 US 1989 Vender esta versión
KMS 022 Reese Rock To The Beat(12") KMS KMS 022 US 1989 Vender esta versión
KMS 022 Reese Rock To The Beat(12", W/Lbl) KMS KMS 022 US 1989 Vender esta versión
KMS 022 Reese Rock To The Beat(12", RE) KMS KMS 022 US 2004 Vender esta versión
KMSHISTORYD02 Reese Rock To The Beat(File, MP3, 320) KMS KMSHISTORYD02 US 2008
KMS-022 Reese Rock To The Beat(12", RE, RM) KMS KMS-022 UK 2014 Vender esta versión

Recomendaciones

Críticas Mostrar las 9 críticas

Añadir reseña

8892sales

8892sales

30 de mayo de 2019
comentando Rock To The Beat, 12", KMS-022
As the commenter below has already expressed 'why cut the original to only 2:51 secs'. I concur. Just under three minutes doesn't seem worth it. One has to opt, in my opinion for the inferior FFRR press if they want the full mix. Or the pressing on the The House Sound Of London - Vol. IV - "The Jackin' Zone" compilation. It was reissued on other compilations and one off split releases aswell since then. But it would've been more fitting to have the original in its entirety on here with the other versions of Rock To The Beat. Instead it's presented more like a bonus track.

I do like the other tracks on here though. You're Mine was always an expansive floorfiller with a blend of techno and house, closer to the Inner City style. The TR-909 beat programming really shines through with this one. Even though it's comparitively more accessible in its make up, it was actually quite underground and not played as much as the others.

Grab The Beat is an unsung hero, both on this release and in a wider Detroit sense. Underrated and actually quite ahead of the times. Saunderson was never afraid to venture into other realms. House, deep house, hardcore a few years later, breakbeats, in the case of 'Grab the Beat' a touch of acid in with the techno. Albeit minimal, trippy with a very distinct hook. Need to check out the Joey Beltram Mix available on R & S Records (Belgium) from 1991 aswell. As if you don't know of it already.
Beautiful1

Beautiful1

1 de marzo de 2019
comentando Rock To The Beat, 12", RE, KMS 022
I wonder why they cut the original to only 2:51 secs, as it is by far the best tune.
AcidMouse

AcidMouse

15 de enero de 2018
editado over 2 years ago
comentando Rock To The Beat, 12", KMS-022
Mayday mix is superb but for me the winner always was/is the 'Hitman Mix'' Another great track on this 12" is 'Grab The Beat' an awesome acid tune. another top tune is 'You're mine' samples The Clash "Magnificient Seven' This is a great 12" and a worthy purchase for your collection :)
Johnmarcus

Johnmarcus

5 de marzo de 2017
comentando Rock To The Beat, 12", RE, KMS 022

Great re-issue of this all time classic.
The deepest darkest rolling bassline with the sparse vocal layered over the top, topped off with acid rift.
Mayday mix is my preferred choice, with the original being a close second.
One of the all time seminal dance tracks.
Johnmarcus

Johnmarcus

16 de diciembre de 2016
comentando Rock To The Beat, 12", KMS-022

Forget any mix other than the Mayday Mix - absolutely awesome, a true masterpiece.
Deep deep driving bass, fantastic percussive loops, simplistic vocal and that almost haunting synth rift, topped off with a cheeky acid loop half way through. All of this put together perfectly tp great an absolute classic slice of early house / techno.
No other choice than to play this loud !
If you likr this try Paris Grey "Don'T lead Me" 2001 version.
Mr.Fonk

Mr.Fonk

24 de agosto de 2002
comentando Rock To The Beat, 12", KMS 022
Kevin Saunderson about "Rock To The Beat":

"I was thinking how I could combine a dance sound with a soundtrack element. It sounds eerie and it was meant to be."