Alex Moschopoulos
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Alex Moschopoulos
ParticipantHere’s number 2 for you all:
Title: Just As Long As I Got You
Artist: Frankie Bones & Lenny Dee
Label: XL RecordingsGenre(s): House, Acid House
Year Released: 1989At the time of this release, many knew Frankie Bones for his collaboration with Tommy Musto, which resulted in the club smash Dangerous on the Dance Floor. However, this was also the time when Bones, Musto, and DJ Lenny Dee went over to the UK and experienced the Summer of Love at an event called Energy.
Bones and Lenny Dee collaborated on their own releases, following a more underground style and sound, obviously building the starting soundtrack for their Storm Raves and the eventual evolution of dance music in America.
I personally love this tune for it’s transitioning sound. The beats and pianos normally known to much of the NYC sound of the late 80s, only put into a deeper tone with a sound sample from Love Connection. I’ll eventually play this tune on one of my old school compilations.
ParticipantI so remember Captain Hollywood Project. I mainly remember how it seemed like subdued rave techno, not even realizing the eurodance explosion that was coming.
ParticipantThis one popped up into my earbuds this morning, and it took me back to recent times.
Title: Superstring (Rank 1 Remix)
Artist: Cygnus X
Label: Bonzai ClassicsGenre(s): Trance
Year Released: 2000I first heard Superstring when Pete Tong released a CD compilation entitled Essential Selection Ibiza 2000. The second CD was full of what we now see as classics of epic trance, which included this wonderful soaring number by Cygnus X. I’ll never forget ordering it online from Satellite Records back in the day.
The interesting part of this tune is it was originally released in 1993, only with a more early trance/90s techno sound. The soaring string chorus in the buildup was the key sound carried over to this 2000 release by remixer Rank 1. Most never really heard this tune until Rank 1’s remix was released.
The masterminds behind this great tune were German producers Matthias Hoffmann and Ralf Hildenbeutel. While Ralf left the industry, Matthias still producers under his own name. Maybe they’re not blowing up in the scene anymore, but Superstring is still a memorable anthem I listen to fifteen years later.
ParticipantNo, I’d more see a DJ set as a DJ set…be it pre-planned or on-the-fly, be it played live in one take or created using studio trickery.
A “Live DJ Set” really in my eyes (and the eyes of many) is when you’re playing and recording it to a crowd, even more you bring in the crowd to the final recording. The cheers and screams. At the very least it’s when you’re really recording a live performance in front of a crowd.
A “Live DJ Set” is still a “DJ Set”, but like a subset definition of the greater term.
ParticipantThere’s not a whole lot…since in making a DJ set you could play as “live” as you would in a club.
For the most part, a “Live DJ Set” is more or less when the set was recorded as said DJ played it live in a club or festival, when all it was is a recorder hooked up to the mixer playing to the audience. Some will be clever to record the crowd as well, intertwining it into the final release. Moonshine’s “Mixed Live” series started that.
Granted a DJ set could be crafted in a studio, thus it wouldn’t be seen as a “Live DJ set” in the common sense nomenclature, despite if the DJ played it there as live as he would in an event.
Here’s a few of those sets:
ParticipantGreat stuff guys. I’m having a crazy week at work, so I’ll try to get something if I can.
ParticipantI’m going to toss in my second on that “before they were famous” logic with this one:
Title: No Good (Start the Dance)
Artist: The Prodigy
Label: XL RecordingsGenre(s): Oldskool jungle, breakbeat hardcore, breakbeat, rave
Year Released: 1994DJs and Ravers knew of The Prodigy by the three hit singles from their first album, Experience. Most of the rest of the world encountered The Prodigy by their famous release The Fat of the Land.
No Good (Start the Dance) was from their third album Music for the Jilted Generation. It was the time between the rave explosion of the early 90s and the mainstream popularity of big beat in the late 90s. The sound in it self you can hear a mixture of the past and things to come. It mostly reminds me of the time when the raves were pushed far out of the cities, and thus the new sounds of jungle and D&B were crafted.
The video in itself shows a Prodigy in transition. The black and white, run down, dirty vibe carries itself into the videos from The Fat of the Land, and yet all the members are still quite “clean cut”, versus the tattoos and piercings they take on.
ParticipantI’m blown away by that Culture Beat tune. It’s always cool to hear the “before they were famous” tunes any artist did.
ParticipantI’m opening it up with a classic from the 90s, when Strictly Rhythm records ruled much of the house music scene:
Title: Congo
Artist: The Boss
Label: Strictly RhythmGenre(s): House, Tribal
Year Released: 1994I’ll never forget 1994 and 1995, when NYC flooded the market with their own clubby brand of house music, pulling the scene out of the rave techno much of the scene embraced from 1992-1993. I’ll also remember how Goodmen’s Give It Up started a short trend in producers sampling the batucada sound of Brazilian samba. Most of them just sampled the Goodmen.
Out of all those tunes, Congo has to be my favorite, even more than Give It Up. I think the added use of samples from George Kranz as well as the pianos and organs so noted to NYC style house just gave a greater depth to this track. The piano (5:42) always sends chills up and down my spine.
ParticipantHere’s mine for this week:
Title: The Reason We Took It Underground (Gary Caos Remix)
Artist: Studio Nova
Label: InStereo RecordingsChicago’s very own Studio Nova delivers a funky one for all those seeking to move. Gary Caos’ remix stood out the most for its energy.
ParticipantGerdB that tune just takes me back to when producers thought beyond the electronic in making house. Love it. I can so see it surprising and then moving a crowd. I’ll have to pick that one up.
Bob…I wish more funky hip-hop/R&B like that got more radio play. Very sweet tune.
ParticipantPretty interesting stuff Psychofrakulator. Thanks for posting.
I’ve always been curious about what sounds like “Mexican radio” on the beginning of that version of Los Ninos Del Parque.
ParticipantGood picks Gerd.
Body Mechanic has such a Kraftwerk vibe to it. Way more than many other electro-funk tunes I’ve encountered.
Los Ninos Del Parque is a personal anthem of my youth. I just wish they had more “DJ friendly” versions with a good intro and break.
ParticipantIt’s 90° (32° C) here in Chicago. The sun is shining, humidity is there (but wonderful to me), all I can think of is this song:
Title: It’s Gonna Be A Lovely Day
Artist: The S.O.U.L. S.Y.S.T.E.M.
Label: Arista RecordsGenre(s): UK R&B, Pop
Year released: 1992Oh the early 90s, when producers both in the US and UK embraced that European sound in rap, R&B, and pop. Many seemed to love sampling that rhythm from Erik B & Rakim’s anthem Paid In Full and paint beautiful optimistic philosophical symphonies masked by a pop overcoat.
The S.O.U.L. S.Y.S.T.E.M. was a project created by Robert Clivillés and David Cole of C&C Music Factory, obviously to have more out there than the high-energy dance music they blew up with. Michelle Visage, formerly of the Freestyle group Seduction, was enlisted as the face and voice of group, with C&C backing her up in the studio.
It’s Gonna Be A Lovely Day was a cover of an old 70s tune by Bill Withers, which thus saw new life in the S.O.U.L. S.Y.S.T.E.M. version. MTV played the hell out of this tune back in the 90s, while DJs took to love the Palladium House Anthem version of this release.
Participant“Too late” is when you arrive on this topic and find it locked.
Thanks for tossing a tune in for everyone to check out. 🙂
Great pick btw…added it to my shopping cart/wish list. We will get along just fine.
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