We Fear Silence with Phaeleh, Ikonika & Deadboy
Saturday 15th September at Cable, London
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Three for the floor:
1. M&M - I Feel This Way
This is one of those super hype 90s rave things. When the piano drops and the vocal comes in it is powerful and then the break and the bass come in and its just a total hype time jam. I remember playing this the first time i did Numbers in glasgow and it going off.
2. Dexplicit - Lifey
I used to play a lot more bassline in my sets than I do now but I still get some in when I feel like it. This one is great still its got such a good interplay between the vocal and the bassline. Dexplicit is very good at structuring an essentially simple tune to make it really dynamically effective. Still one of my favourites from then.
3. Prince Jammy & Wayne Smith - E20
I love digital riddims from this era, this is off the Sleng Teng album and every track on it is amazing. Of course Sleng Teng is probably going to go down better in a dance but this
one sounds so urgent and the synths and drum machines recorded on to tape and then vinyl in hot jamaican recording studios and pressing plants 30 years ago have a sound you cannot replicate. This is probably Wayne Smiths best vocal on the album as well. It is also about the nightclub off Eastenders.
Three for the Sofa:
4. Fabio Frizzi - Zombi
This is the title theme off the soundtrack to zombie flesh eaters aka zombi 2, a lot of the music from these kinds of budget 70s films is so good, these guys were great musicians with great synthesizers and recording technology, and this is in the wake of Italo disco so it has this muffled disco beat and all these chords off a mellotron and it kind of lumbers along and builds and builds. Fabio Frizzi has done a lot of other great soundtracks but this is kind of the most well known and one of the best. It just got reissued on vinyl as well.
5. The Shangri-Las - Remember (Walking in the sand)
This is still one of my favourite songs I heard someone play it in a bar once years ago and had to ask what it was it sounded so big and tragic and heavy compared to all the other kind of northern soul and motown stuff they were playing. Mary Weiss was like 15 or something when she sang this and I think it was the first tune the producer (shadow morton) had ever written and recorded. It's one of those things where it just fell into place into an amazing recording.
6. The Beach Boys - Anything off Pet Sounds but probably You Still Believe In Me
I know everyone loves pet sounds and I probably haven't listened to it for a while but its one of those records that nobody will better. Its a masterpiece at a time when multi-track recording was in its infancy, Brian Wilson saw the limitless possibility of it
Wished you had produced:
7. More Fire Crew - Oi
When I first heard this tune I was immediately totally hooked on grime, it was so minimal and atonal and had that kind of bashment bump and garage skip and was kind of nihilistic and
bassy which is cool when your a kid isnt it. Its one of the tunes that made me get some cracked software and make some beats. For me you still can't beat this wave of grime, stuff like agent x, eastwood, musical mobb. It's heavy but not in a dumb OTT way or a harsh ear bleeding way, the tunes had a lot of space and flex and were pretty restrained and minimal but with this barely reined in energy. It was like a wake up call when all I knew of 'rap' culture from the UK was dreadful guys imitating US hip hop in the most embarrassing way possible, this was something that could only have come from britain and was steeped in soundsystem and rave culture but sounded so futuristic.