Thursday, 22 June 2017
'...but then again who does?'
Sean Young's Polaroids she took during the filming of Bladerunner are really something else.
And here's even more Bladerunner. You may have heard there's a new film imminent, Bladerunner 2049. Spain's disco/house producer Vicmoren has a free download of his theme to the new film on Soundcloud. Vangelis evidently referred to, this is ten minutes of minimal soundtrack electronica well spent.
Wednesday, 21 June 2017
Tuesday, 20 June 2017
Back in 1989 808 State released Ninety, one of the first UK house albums. Ninety is chock full of summer of '89 acid house filtered through a group of four men all trying to get all their ideas onto every song- crashing drums, vocal samples, mad and delirious synth lines, songs with mulitple melody parts playing at the same time, sirens, everything. I had it on cassette and remember well driving to Glastonbury in June 1990 , arriving at the site with Ninety on the car stereo. We pulled up, opened the car doors to get out, Cobra Bora thumping away. A hippy crawled out of the hedge right in front us, said hello, asked us if we wanted to buy 'anything' and then shambled off.
Monday, 19 June 2017
Inside this giant mobile mirror ball is Graham Massey, once/currently of 808 State. In front of the mirror ball are a New Orleans style marching band called Mr Wilson's Secondliners accompanying him on brass and percussion as he spins house classics through the streets of Manchester, as part of yesterday's Manchester Day parade. Now in its eighth year the parade was played out this year in standard Mancunian weather- blazing sunshine, thirty-odd degrees heat. Even just standing still was a sweaty business. As the parade finished in Exchange Square, Massey and his band kept the party going a little longer with a wonderfully ramshackle version of Planet Rock.
Sunday, 18 June 2017
Sometimes things just come together nicely, one thing from over there and another from over here. On Friday the Pulp Librarian posted this Polish promo poster for Bladerunner on Twitter. On Saturday while watching something completely unrelated on Youtube this long trancey remix of Vangelis' Bladerunner soundtrack turned up on the right hand side. A rather good expansive, trippy re-working of the film's soundtrack by Tranonica.
Saturday, 17 June 2017
I was having a conversation online recently about the wonders of the Various Artists compilation album, which at certain times has been a real work of art. There are others I could go on about at some length but these are the three that immediately come to mind, all released within a few years of each other (and all tied together as well).
I've written before about Creation Records 1991 dance/house compilation Keeping The Faith but it is a perfect example, a well put together round up of similar minded artists and tracks defining a moment in time. From the opening minutes where Fluke take off on a Pan Am to Philly through to Hypnotone, a pair of Primal Scream remixes, Weatherall's definitive remix of My Bloody Valentine, Love Corporation, J.B.C., Sheer Taft, Danny Rampling's The Sound Of Shoom and World Unite here isn't a duff track and it is full of great moments. The Tears For Fears sample in J.B.C.'s cover of We Love You sums up how far Creation Records have shifted in 1991- 'dj's the man you love the most'. World Unite by World Unite is a majestic ambient house dub excursion- bubbling synths, up vocals with an eye on the dancefloor. The only thing I know about World Unite is that it was written by Potter and Stacey. And I love it still.
In the mid-to-late 80s Creation excelled at budget compilations, often a way to keep the wolf from the door and keep the cash coming in. At a knock down price of £1.99 1988's Doing It For The Kids was an essential purchase- The Jasmine Minks, Felt, Primal Scream (early indie version), The Weather Prophets (their song Well Done Sonny is below), The House Of Love, The Jazz Butcher, Biff Bang Pow!, My Bloody Valentine, Momus, The Times, Nikki Sudden, Pacific, Heidi Berry, Emily, Razorcuts. It is almost the complete picture of post-Smiths indie. And completely untouched by what was already brewing that would lead to Keeping The Faith. A snapshot of a time.
Well Done Sonny
The last one is this one, Retro Techno/Detroit Definitive Emotions Electric, a 1991 double album of the futuristic sounds of Detroit, a pulling together of the work of Juan Atkins, Kevin Saunderson and Derrick May, wall to wall techno classics that still sounds like its ahead of everyone else. From Model 500 at the start of Disc 1 Side 1 through to the massive drums, rhythms and bleeps of The Groove That Won't Stop, this is better than most 'proper' albums. The closing track is a sublime version one of dance music's set texts, the unreleased mix of Strings Of Life by Rhythim Is Rhythim.
Strings Of Life (Unreleased Mix)
This could become a series I fear. Feel free to chip in with your own suggestions.
Friday, 16 June 2017
A flat in this house on Palatine Road was once the home of one Alan Erasmus. In 1978 he co-founded Factory records along with Tony Wilson and Rob Gretton. Martin Hannett and Peter Saville soon joined. The label operated out of this flat throughout the 1980s, a short distance from where I grew up. The tales of Factory Records and its bands are the stuff of legend- no contracts, fifty-fifty split between label and bands, the artists own the music, the Hacienda must be built, Ian Curtis, So It Goes, Granada TV, Joy Division, New Order, the numbering system, A Certain Ratio, Durutti Column, Section 25, Stockholm Monsters, The Distractions, Crispy Ambulance, 52nd Street, Quando Quango, The Wake, James, The Railway Children, The Royal Family And The Poor, Miaow, Happy Mondays, the Factory egg timer, die-cut sleeves, tracing paper sleeves, no band photos on the sleeves,... In 1990 Factory moved out of 86 Palatine Road and into Factory 251 in town.
Yesterday a blue plaque was awarded to 86 Palatine Road in recognition of Factory's cultural, civic and artistic importance. Shaun Ryder unveiled the plaque. Of course given that he demanded the destruction of the Hacienda to prevent it becoming a museum piece Tony Wilson may not have approved of this recognition of a piece of Manchester's musical history. But if buildings are going to be awarded blue plaques for the part they played, then this is as deserving as any.
There are so many songs that illustrate Factory's brilliance in the 80s. On this song Otis, from Durutti Column's 1989 album (named after its creator Vini Reilly), Otis Redding's voice is sampled along with vocals credited to Vini's friend Pol. Reilly's guitar playing is fluid and lighter than air, echo on the arpeggios underpinning and enveloping the spectral Otis vocal- 'another sleepless night for me'. And then 'come back, come back'.