- England
- Joined on February 21, 2001
Releases
- Pending 65
- Releases Rated 226
- Rating Average 3.97
Marketplace
Contributor Stats
- Rank Points 4,747
- Average Vote 3.84
- Votes Received 32
- Last 10 Day Average N/A
- Last 10 Day Votes Received 0
Groups
Profile
Hello there and a warm welcome to lovers of all things electronic and discographical!<br> <!--
<hr><big><b>It's in!</b></big> My attempts to get the balearic remix of Chris Rea's "Josephine" into the database have finally borne fruit! Thanks to Jooles, and of course to those mods who voted (I could have, but I didn't). See...
<a href="http://www.discogs.com/info/queue/details.php?tag=a7e15da05925a58172f5817abc69a34f">The submission.</a><br><a href="http://www.discogs.com/release/224421">The Discogs entry.</a><hr><br>
<b>What I've been up to lately on Discogs:</b>
Submitting cassettes, mainly. Lots of gaps to be filled.
<hr> -->
<b>Some milestones</b>:
I think my first accepted release was this. Though it might not have been. I should have been paying more attention, really.
I reached...
1000 Points with this release.
2000 points with an update, moving a "The" from the beginning to the end of this artist name.
3000 Points with another update, renaming the redundant J & D (2) to this.
400 releases with this.
<!--
My fastest accepted release was <a href="http://www.discogs.com/release/162821">this Canadian single by New Order</a> which took less than two hours from submission to its appearance in the database. Though <a href="http://www.discogs.com/release/174624">this Yazoo promo</a> is not far behind. I hadn't even heard of this CD until I found it in a charity shop. I purchased it immediately, submitted it to Discogs within an hour, and it appeared in the database within another three hours. From being completely unaware of a record's existence to having it accepted into Discogs in under four hours is pretty good going, I reckon.
My slowest accepted releases were <a href="http://www.discogs.com/release/214329">two</a> <a href="http://www.discogs.com/release/214328">12"s</a> by moderately obscure 80s synthpop duo Care (2), which sat in the queue for 50 days from October 27 to December 16 2003. At the time, the queue stats were showing a "longest time" of 51 days so I was a bit miffed that they didn't hang on until the 17th.
<br>
And I became a moderator on January 9, 2004.
<hr>
-->
As for who I am and why... I always have a problem thinking of anything interesting to say about myself. However, I suppose the important thing as far as Discogs is concerned is that I do love music but hate musical snobbery. If I had a radio show, I'd bung on some classic electro, old crooners, trance, avant-garde stuff and punk, all sitting next to each other, and nobody would listen. Which is one of the many reasons why I don't have a radio show, I guess.
<!-- Here on discogs, I find that the more obscure a record in my collection is, the more likely it is to be in the database already, so I like to hang around on the edges instead, submitting oddities, items of historical interest, high energy stuff and "one-off" electronic dabblings by principally non-electronic artists. As a fan of lots of different sorts of music and a long-standing collector (or maybe I should say accumulator) of records, I'm aware of instances where principally non-electronic artists have dabbled in the field before going back to their usual style, records that the more "underground" members of this site might not be aware of. This confuses (and no doubt annoys) the mods no end, but I think it's interesting to know that, for example,
<a href="http://www.discogs.com/artist/Elvis_Costello">Elvis Costello</a> or <a href="http://www.discogs.com/artist/Paul_McCartney">Paul McCartney</a> experimented with electronics. And anyway, who wants to submit endless Basement Jaxx records when there's all sorts of weird and (sometimes) wonderful stuff out there? A filler of gaps, that's me. And why not? It's an interesting and not especially dirty job but someone's got to do it. Well, not <u>got</u> to do it, obviously, but I happen to think it's worthwhile. Though quite often frustrating. We'll come to that...
-->
<hr>
My motto is: "What would Eric_T_H do?". Anyone who submits Chicory Tip and Nena is to be admired and cherished. <!-- It was his example as much as anything which gave me the courage to submit a lot of the leftfield stuff that I do. Oh, and speaking of which... --><!--The reason I'm here is that I think a definitive database of electronic music is a splendid idea. Unfortunately, the practice doesn't always match the theory. Oddly, though, it's never the stuff I think is going to be rejected, that gets thrown back. I was sure I would have to fight for the BBC Radiophonic Workshop stuff, Aneka's "Japanese Boy" and the Field Mice, but they all went through without a murmur of dissent. While things I'm certain are going to pass without comment (see below) get chucked back. True, I've only had a handful of outright rejections, a few of which I even agreed with on reflection. In fact, out of more than 350 contributions, I've only had two really annoying rejections. (Less than 1%, that's not bad even if I say so myself!) But in the interests of completeness, here they are:--> <!--
<font size=+1><b><a href="http://www.discogs.com/artist/Chris_Rea">Chris Rea</a></b> The Road To Hell / Josephine <u>(<a href="http://www.discogs.com/label/EastWest_Records_UK">EastWest Records UK</a>)</u></font>
<b>Format:</b> 12"
<b>Catalog#:</b> YZ 431T
<b>Released:</b> October 02 1989
<b>Country:</b> UK
<b>Style:</b> Downtempo
<b>Notes: </b>Both tracks written and produced by Chris Rea.<br>
<b>Tracklisting:</b>
A1 The Road To Hell (Parts 1 & 2)
<small>co-produced by <a href="http://www.discogs.com/artist/Jon_Kelly">Jon Kelly</a></small>
B1 Josephine (La Version Francaise)
<small>co-produced by Stuart Eales</small>
The B-side is a balearic classic and appears on a couple of compilation albums already in the database. My guess is that if it had been the A-side with the non-classic on the flip, it would probably have gone in, but the record just wasn't released that way. (It says a lot for the eclecticism of Ibiza DJs back then that they would actually play a Chris Rea B-side!)
<hr>
--><!--
<big><b><a href="http://www.discogs.com/artist/Chumbawamba">Chumbawamba</a></b> Amnesia (<a href="http://www.discogs.com/label/Universal">Universal</a>)</big>
<b>Format:</b> CD5"
<b>Catalog#:</b> U5P-1253
<b>Released:</b> 1997
<b>Country:</b> US
<b>Style:</b> Synth-pop
<b>Notes:</b> Promo release.
<b>Tracklisting:</b>
1 Amnesia (Album Version) (3:22)
<small>co-produced by Neil Ferguson</small>
2 Amnesia (Radio Remix) (3:10)
3 Amnesia (Philip's Milk Of Amnesia Mix) (3:44)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>
4 Amnesia (Random Access Memory Loss Mix) (8:50)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>
The odd thing about this being rejected is that very similar records are actually in the database, <a href="http://www.discogs.com/release/128297">this Chumbawamba release</a> for instance, which contains two dance mixes out of five tracks, and <a href="http://www.discogs.com/release/174489">this cassette</a>, which got into the database while the mods were no-voting my submission. It makes no sense whatsoever to me.
<hr>
<big><b><a href="http://www.discogs.com/artist/Who-_The">Who, The</a> - Won't Get Fooled Again (<a href="http://www.discogs.com/label/Track">Track</a>)</b></big>
Format: 7"
Catalog#: 2094 009
Released: 1971
Country: UK
Style: Synth-pop
Notes: The synths used are the Lowrey Berkshire Deluxe TBO-1 and EMS VCS3 Mk1.
Tracklisting:
A Won't Get Fooled Again (3:55)
<small>co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>
B I Don't Even Know Myself (5:03)
<small> co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>
<hr>
The third rejection was Liverpool FC's "Anfield Rap" on Virgin Records. This has little interest now (though it's quite funny, especially the scousers' response to John Barnes' rap) but was certainly electronic, a demonstration of how much synthpop had entered the mainstream by 1988. (Incidentally, has anyone got that Huddersfield Town single that samples the K Foundation? I'd love to get my hands on that.*) I'll add the proper details when I can be bothered to dig the record out again, but from memory the tracks were
A. Anfield Rap (Red Machine In Full Effect) (Full Time Mix)
B1. Anfield Rap (Red Machine In Full Effect)
B2. Anfield Rap (Red Machine Dub)
Produced by Tuff Audio and mixed by Howard Gray, who sure paid his dues in the pre-Apollo 440 days. Assuming it's the same Howard Gray, that is. (Actually, it is. I checked.)
*<small>I'm not joking. Such a record really does exist, and I genuinely would like a copy. Anyone?</small>
<hr><br>
I might get around to doing a load of Enya and Rick Wakeman at some point. I'm baffled by the "prove it's electronic" policy that seems to apply to Enya, an almost 100% electronic artist. And Rick Wakeman? Just a glam version of Mike Oldfield, and nobody objects to <i>his</i> stuff getting in (honestly, have you read the list of instruments on "Tubular Bells"? You'd hardly think there was room for a synth in the mix as well, I mean it's only a 16-track desk, right?). Still, I gather Teo's planning some new spin-off databases, so an uncool.discogs.com site must be a possibility. I'm rather looking forward to that...
<hr> -->
"It's BACON!"
<hr>
JJ_Amblin uses Firefox 1.0, downloadable from http://getfirefox.org. It's the browser that works really well, like.
<hr><a href="http://www.discogs.com/mod/releases/view.php?tag=000c3072ed50b2b6c6f6480754c72a1d">Yay!!!</a>
<hr><big><b>It's in!</b></big> My attempts to get the balearic remix of Chris Rea's "Josephine" into the database have finally borne fruit! Thanks to Jooles, and of course to those mods who voted (I could have, but I didn't). See...
<a href="http://www.discogs.com/info/queue/details.php?tag=a7e15da05925a58172f5817abc69a34f">The submission.</a><br><a href="http://www.discogs.com/release/224421">The Discogs entry.</a><hr><br>
<b>What I've been up to lately on Discogs:</b>
Submitting cassettes, mainly. Lots of gaps to be filled.
<hr> -->
<b>Some milestones</b>:
I think my first accepted release was this. Though it might not have been. I should have been paying more attention, really.
I reached...
1000 Points with this release.
2000 points with an update, moving a "The" from the beginning to the end of this artist name.
3000 Points with another update, renaming the redundant J & D (2) to this.
400 releases with this.
<!--
My fastest accepted release was <a href="http://www.discogs.com/release/162821">this Canadian single by New Order</a> which took less than two hours from submission to its appearance in the database. Though <a href="http://www.discogs.com/release/174624">this Yazoo promo</a> is not far behind. I hadn't even heard of this CD until I found it in a charity shop. I purchased it immediately, submitted it to Discogs within an hour, and it appeared in the database within another three hours. From being completely unaware of a record's existence to having it accepted into Discogs in under four hours is pretty good going, I reckon.
My slowest accepted releases were <a href="http://www.discogs.com/release/214329">two</a> <a href="http://www.discogs.com/release/214328">12"s</a> by moderately obscure 80s synthpop duo Care (2), which sat in the queue for 50 days from October 27 to December 16 2003. At the time, the queue stats were showing a "longest time" of 51 days so I was a bit miffed that they didn't hang on until the 17th.
<br>
And I became a moderator on January 9, 2004.
<hr>
-->
As for who I am and why... I always have a problem thinking of anything interesting to say about myself. However, I suppose the important thing as far as Discogs is concerned is that I do love music but hate musical snobbery. If I had a radio show, I'd bung on some classic electro, old crooners, trance, avant-garde stuff and punk, all sitting next to each other, and nobody would listen. Which is one of the many reasons why I don't have a radio show, I guess.
<!-- Here on discogs, I find that the more obscure a record in my collection is, the more likely it is to be in the database already, so I like to hang around on the edges instead, submitting oddities, items of historical interest, high energy stuff and "one-off" electronic dabblings by principally non-electronic artists. As a fan of lots of different sorts of music and a long-standing collector (or maybe I should say accumulator) of records, I'm aware of instances where principally non-electronic artists have dabbled in the field before going back to their usual style, records that the more "underground" members of this site might not be aware of. This confuses (and no doubt annoys) the mods no end, but I think it's interesting to know that, for example,
<a href="http://www.discogs.com/artist/Elvis_Costello">Elvis Costello</a> or <a href="http://www.discogs.com/artist/Paul_McCartney">Paul McCartney</a> experimented with electronics. And anyway, who wants to submit endless Basement Jaxx records when there's all sorts of weird and (sometimes) wonderful stuff out there? A filler of gaps, that's me. And why not? It's an interesting and not especially dirty job but someone's got to do it. Well, not <u>got</u> to do it, obviously, but I happen to think it's worthwhile. Though quite often frustrating. We'll come to that...
-->
<hr>
My motto is: "What would Eric_T_H do?". Anyone who submits Chicory Tip and Nena is to be admired and cherished. <!-- It was his example as much as anything which gave me the courage to submit a lot of the leftfield stuff that I do. Oh, and speaking of which... --><!--The reason I'm here is that I think a definitive database of electronic music is a splendid idea. Unfortunately, the practice doesn't always match the theory. Oddly, though, it's never the stuff I think is going to be rejected, that gets thrown back. I was sure I would have to fight for the BBC Radiophonic Workshop stuff, Aneka's "Japanese Boy" and the Field Mice, but they all went through without a murmur of dissent. While things I'm certain are going to pass without comment (see below) get chucked back. True, I've only had a handful of outright rejections, a few of which I even agreed with on reflection. In fact, out of more than 350 contributions, I've only had two really annoying rejections. (Less than 1%, that's not bad even if I say so myself!) But in the interests of completeness, here they are:--> <!--
<font size=+1><b><a href="http://www.discogs.com/artist/Chris_Rea">Chris Rea</a></b> The Road To Hell / Josephine <u>(<a href="http://www.discogs.com/label/EastWest_Records_UK">EastWest Records UK</a>)</u></font>
<b>Format:</b> 12"
<b>Catalog#:</b> YZ 431T
<b>Released:</b> October 02 1989
<b>Country:</b> UK
<b>Style:</b> Downtempo
<b>Notes: </b>Both tracks written and produced by Chris Rea.<br>
<b>Tracklisting:</b>
A1 The Road To Hell (Parts 1 & 2)
<small>co-produced by <a href="http://www.discogs.com/artist/Jon_Kelly">Jon Kelly</a></small>
B1 Josephine (La Version Francaise)
<small>co-produced by Stuart Eales</small>
The B-side is a balearic classic and appears on a couple of compilation albums already in the database. My guess is that if it had been the A-side with the non-classic on the flip, it would probably have gone in, but the record just wasn't released that way. (It says a lot for the eclecticism of Ibiza DJs back then that they would actually play a Chris Rea B-side!)
<hr>
--><!--
<big><b><a href="http://www.discogs.com/artist/Chumbawamba">Chumbawamba</a></b> Amnesia (<a href="http://www.discogs.com/label/Universal">Universal</a>)</big>
<b>Format:</b> CD5"
<b>Catalog#:</b> U5P-1253
<b>Released:</b> 1997
<b>Country:</b> US
<b>Style:</b> Synth-pop
<b>Notes:</b> Promo release.
<b>Tracklisting:</b>
1 Amnesia (Album Version) (3:22)
<small>co-produced by Neil Ferguson</small>
2 Amnesia (Radio Remix) (3:10)
3 Amnesia (Philip's Milk Of Amnesia Mix) (3:44)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>
4 Amnesia (Random Access Memory Loss Mix) (8:50)
<small>remix by <a href="http://www.discogs.com/artist/Philip_Steir">Philip Steir</a></small>
The odd thing about this being rejected is that very similar records are actually in the database, <a href="http://www.discogs.com/release/128297">this Chumbawamba release</a> for instance, which contains two dance mixes out of five tracks, and <a href="http://www.discogs.com/release/174489">this cassette</a>, which got into the database while the mods were no-voting my submission. It makes no sense whatsoever to me.
<hr>
<big><b><a href="http://www.discogs.com/artist/Who-_The">Who, The</a> - Won't Get Fooled Again (<a href="http://www.discogs.com/label/Track">Track</a>)</b></big>
Format: 7"
Catalog#: 2094 009
Released: 1971
Country: UK
Style: Synth-pop
Notes: The synths used are the Lowrey Berkshire Deluxe TBO-1 and EMS VCS3 Mk1.
Tracklisting:
A Won't Get Fooled Again (3:55)
<small>co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>
B I Don't Even Know Myself (5:03)
<small> co-produced by <a href="http://www.discogs.com/artist/Glyn_Johns">Glyn Johns</a></small>
<hr>
The third rejection was Liverpool FC's "Anfield Rap" on Virgin Records. This has little interest now (though it's quite funny, especially the scousers' response to John Barnes' rap) but was certainly electronic, a demonstration of how much synthpop had entered the mainstream by 1988. (Incidentally, has anyone got that Huddersfield Town single that samples the K Foundation? I'd love to get my hands on that.*) I'll add the proper details when I can be bothered to dig the record out again, but from memory the tracks were
A. Anfield Rap (Red Machine In Full Effect) (Full Time Mix)
B1. Anfield Rap (Red Machine In Full Effect)
B2. Anfield Rap (Red Machine Dub)
Produced by Tuff Audio and mixed by Howard Gray, who sure paid his dues in the pre-Apollo 440 days. Assuming it's the same Howard Gray, that is. (Actually, it is. I checked.)
*<small>I'm not joking. Such a record really does exist, and I genuinely would like a copy. Anyone?</small>
<hr><br>
I might get around to doing a load of Enya and Rick Wakeman at some point. I'm baffled by the "prove it's electronic" policy that seems to apply to Enya, an almost 100% electronic artist. And Rick Wakeman? Just a glam version of Mike Oldfield, and nobody objects to <i>his</i> stuff getting in (honestly, have you read the list of instruments on "Tubular Bells"? You'd hardly think there was room for a synth in the mix as well, I mean it's only a 16-track desk, right?). Still, I gather Teo's planning some new spin-off databases, so an uncool.discogs.com site must be a possibility. I'm rather looking forward to that...
<hr> -->
"It's BACON!"
<hr>
JJ_Amblin uses Firefox 1.0, downloadable from http://getfirefox.org. It's the browser that works really well, like.
<hr><a href="http://www.discogs.com/mod/releases/view.php?tag=000c3072ed50b2b6c6f6480754c72a1d">Yay!!!</a>
Recent Activity
| Action | Description |
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"I Feel Love" is on the album "I Remember Yesterday" from 1977.
https://www.discogs.com/master/26565-Donna-Summer-I-Remember-Yesterday |
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I don't believe this has any actual Fun Boy Three involvement at all. It's just a cover version by some chancers.
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It's from late 1976. It's one of a batch of old singles issued in Australia after the massive success of Dancing Queen.
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I'm not convinced the first two tracks are any different to the album versions.
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Not convinced about Alternative Hounds Of Love. It sounds the same to me, and you know there are plenty of Kate Bush fanatics out there who would be pointing out the difference if there was any.
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Yes. It's a relatively stripped-back version. Relatively. Still a full mix but not as busy and layered as the 7". Feels more like a (still very well-produced) demo.
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It's on "Aluminum Tunes" too: it's not listed there either, but it's on the same track as "Space Moment". It's possible that it wasn't actually meant to be indexed as a separate track in the first place.
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The versions on "Sue" are quite different re-recordings.
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The shortest EP in the series but four interesting variants on familiar tracks. The "3 am Eternal" mix seems to be a rejected commercial single mix, less full-on than the stadium house "Live at the SSL" version. The others all seem to be essentially...
See full review
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Collectors may wish to know that the spoken-word bit tacked onto the end of the track "I Think You'd Better Do What He Says" (which explains how to solve a particular level in the computer game) is different on each format.
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"Finished Symphony" is perhaps best known in the UK as the theme music for BBC TV's boxing coverage.
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WEA and The Beloved ran into a bit of trouble over the vocal sample on this track (the one that appears just after the title in the chorus). It actually came from "A Feather On The Breath Of God", an album of 12th-century plainsong released by the...
See full review
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Bill Drummond talked about recording this single in a BBC documentary about Tammy Wynette broadcast shortly after her death. Bill had always wanted to work with her because "Stand By Your Man" was one of his favourite records of all time. But when The...
See full review
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This was the first commercially-released record to be mixed in "3-D Sound", a technique which it was claimed at the time would be as revolutionary as the introduction of Stereo had been thirty years earlier, with the advantage that unlike the...
See full review
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A really nice original track in 5/4 time but the package as a whole feels like a wasted opportunity as none of the remixers (not even 808 State themselves) rise to the challenge of creating a club mix in 5/4, instead trying to shoehorn elements of the...
See full review
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Stephen Hague is one of the great unsung heroes of synthpop. He knows how to make a record commercial without tearing the soul out of it - his list of remixes and appearances (i.e. productions) on Discogs is astonishing, taking in so much of Pet Shop...
See full review
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Although it claims to be a remix, "Go Go Dancer" on this EP is actually just the standard album version. Not only is it the same version, but it's obviously lifted directly from the album master - the cut-off is slightly too late and after the song...
See full review
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To my mind, Sunscreem are one of the few dance acts to arrived since the mid-80s who can compete with the mighty old-timers like Depeche Mode and New Order in terms of writing Proper Songs that work on the dancefloor but also mix down into perfect...
See full review
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New Musik were one of the first British groups to come out with a sound that successfully combined synths and "real" instruments, and they did so while the likes of The Cure and Joy Division were still looking for somewhere to plug their keyboards in....
See full review
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This was the first place a lot of New Order fans would have heard the Stephen Hague mix of "Bizarre Love Triangle" which would eventually turn up on their Best Of album under the title "Bizarre Love Triangle 94", though in fact it wasn't the track's...
See full review
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This is a fine pop-dance record with proper lyrics and a catchy tune, though why it took three years between these remixes being done and their eventual release is anyone's guess. The "original" version included here is actually not the Original mix...
See full review
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Ever wondered about the origins of that absurdly long title? Well, being devotees of the ever-useful BBC Sounds Effects series of LPs, they pinched it from the tracklisting on the album "Science Fiction Sound Effects No.26" (BBC REC 420, as if you're...
See full review
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The sound of the future, as imagined in the late 1960s. This is an album with a lot of retro appeal, but also real musical invention and plenty of humour. Many of the tracks are covers of 60s hits that already had a hint of classical ambition about...
See full review
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The Original Mix is Chicane at his most chilled, and probably my favourite of his tracks overall. It's so beautiful that I even bought a couple of singles by the featured vocalist Luce Drayton, only to find that they were "new folk"-y things and not...
See full review
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"Exodus (Angel Mix)" is actually the "Change Or Die" album track "No Angel", disguised under a remix title so that they could get it onto the record without making it ineligible for the British charts (at the time, singles were allowed to be 25...
See full review
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Arguably the first piece of electronic music to gain mainstream popularity (at least in the UK). It must have sounded pretty amazing back in 1963 when it was first heard heralding the TV show of the same name; its combination of futuristic electronic...
See full review
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An all-time classic, but do you know where the "Voodoo Ray" sample itself comes from? The amazing truth is that it's taken from the "Bo Dudley" sketch on Peter Cook and Dudley Moore's "Derek And Clive Live" album. The original phrase (accidentally...
See full review
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One of the better "toytown techno" efforts, partly because it uses the samples sparingly: briefly at the beginning, briefly in the middle and briefly at the end - but in between, the track takes off in a completely different direction. Really rather good.
See full review
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SubSystem is mistaken - the single went in at number 2 (so near, yet so far!), and, since it was a very limited edition which sold out quickly, was gone from the Top 75 two weeks later. The record at number one that week was - brace yourself, this...
See full review
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Sophie has a distinctive voice, but she wastes it on lame disco re-treads. I just hope that someday she'll take a chance on something more worthy of her talent.
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The A-side here was actually recorded over a year before it was finally released, and in the meantime a remixed version appeared as a very limited pressing 7" under the title "Lipstick, Cigarettes, Packet Of Three".
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For those wanting to know, the first two tracks are on Side A, the third on Side B. This twelve-inch contains one of my favourite New Order remixes ever; not the A-side (though that's good, and all too often underrated), but the awesome "True Dub"....
See full review
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Very much an album of its time, with a heavy sound lacking much subtlety - though it does have its moments, particularly the KLF-like "I Need Something Stronger". The album's lyrics are often hilarious, though it's impossible to tell whether or not...
See full review
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It says "Jazz Mix" and he's not kidding. The A-side is a radical overhaul of the tune, and a pointer to his later work under the Jazzmasters pseudonym. The versions on the flipside are indeed the full-length mixes from the original 12" (which must...
See full review
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Embarrassed by their status as musical gods, New Order attempt to prove themselves fallible by getting Sly & Robbie to remix them in a dub stylee. The mixes are a cacophonous travesty: mission accomplished! Then the listener flips over to Side B,...
See full review
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This is a strange grab-bag of mixes, and the quality is really not up to New Order's usual standards. It starts well enough, with Hardfloor's take on Blue Monday melding the spirit of '83 to the sound of '95 to great effect, and Howie B's trip-hop...
See full review
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This 12" is unusual in that it simply duplicates the tracks from the 7" equivalent. No extended versions, no remixes, no bonus tracks. The music is great though, as once again New Order prove themselves one of the great pop (yes, pop) groups of the...
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One of the records that turned impressionable 80s kids like me onto electronic music in the first place. A drum pattern and a synth riff you never forget, plus lyrics about nuclear weapons (that cold war fear that we could be bombed out of existence...
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I'm not convinced this is an electronic record but it's a great little groove all the same, which wouldn't sound out of place in an Ibiza chill-out set. I have heard that the lyric is about someone dying of AIDS, which makes sense, though of course it...
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Visage have not aged as well as some of their contemporaries in the synth-art-pop genre, but no proper early 80s collection would be complete without "Fade To Grey" and "The Anvil". The version of "Fade To Grey" included here is an extended mix, and...
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