No Smoke / Watt NoizeKoro-Koro / It's My Life

No Smoke - Koro-Koro / It's My Life album cover
Label:Warriors Dance – WD2018001RMX
Vinyl, 12", 45 RPM
Style:House, Deep House, Tribal House, Breakbeat


ANo SmokeKoro-Koro (Ian Tregoning Rewire)
ProducerThe Addis Posse*, No Smoke
RemixIan Tregoning
Written-ByNo Smoke, Tony Addis
BWatt NoizeIt's My Life (Max D Edit)
Edited ByMax D*
Engineer, Mixed ByIan Lodge
FeaturingDolly James
ProducerIan Lodge
Written-By [Uncredited]Ian Lodge

Companies, etc.



Manufactured in the EU.

Dolly James incorrectly credited as the writer for It's My Life.


  • JVXP's avatar
    In 1991 there were a lot of tunes with a simple forumla: big breakbeats, dubby bassline, a MC rapping and a girl singing over this.
    Results varied. You had cheesy ones (Nomand - "(I Wanna Give You) Devotion", anthematic/euphoric one's (Bug Kann & The Platic Jam - "Made in 2 Minutes"), political ones (a lot of SUAD stuff) and even extremely grim and dark ones (Genaside II - "Narra Mine". Ever tried to decipher Killerman Archer's lyrics? I don't want to meet that guy in an unlit street at night! ;))

    The original Watt Noize tune from 1991 had the same exact formula and while not as prolific as the others, it is still one of the most uplifting tunes from that era. The Korg M1 "Universe" pad, stuttering break with vocal ticks and deep sub bass kicks, a relaxed, conscious rap followed by one of the most recognizable, heart melting choruses, made this one a very special track.

    The Max D edit is basically a rearranged version of the original which strips away the rap (bar a few adlibs ("It's my life" / "From a boy to a man") and simply loops the chorus, pads and breakbeat to great effect.
    I can see that why it was done this way, as the intended 2018 audience is probably more housey, than people raving in 1990/1991. MC's were the norm back then and apart from the UK, the house crew today is not really used to that kind of stuff. (At least not from where i am).
    While not really sophisticated, this is one of those releases of 2018 i don't regret buying after a first listen. It fits so great into any kind of set, be it breakbeat hardcore or house.

    Unfortunately I can't say anything good about the Ian Tregoning Remix. I actually like the original, which is one of those early tribal house tracks. It has that warm fuzzy felling, which gets totally lost in this remix. It's drowned in reverb and slaps those risers and additional percussion on top, that i find a lot more clinical than on the original.

    Still a great release for the Watt Noize Edit alone!


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