A great torchy song about solitude and lonliness transformed into a thumping dancy powerhouse! Chris Rea was so right in getting Ms. Shirley Bassey to record the vocals on this song and Oliver Adams and Johan Gielen remixed the rather bland original into an amazing fast-paced house anthem!

The Kings of Convenience have often been described as Norway's answer to Nick Drake. They blend lyrics of nature and love with sensational flowing acoustic guitars. Erlend Oye and Erik Glambek Boe have the most hauntingly beautiful voices you may ever hear, and expertly incorporate harmonies that drift perfectly through the notes of their guitars. This is my absolute number one favorite song of all times. Listen closely on the bridge for this incredible arpeggio that just catapults the song into ethereal territory.

condensed, funked up version of the song with a shitload of guest appearences. It all flows together pretty nicely, with fantastic beats and great, ridiculous larger-than-life aggressive tough guy/girl lyrics. Perfect tunage for sweaty parties with a few good friends and foes.

Try to find this 1971 electro-gem and let your feet do the rest...A German group called Senor Coconut released a couple of albums on 2000 and 2001 remixing Kraftwerk tunes over a latin flavoured electro setting--pretty far-fetching stuff according to critics. Just listen to this one and you'll find out that Perrey have already done this all this time ago! Party synthesizer music!

The very mysterious DJ Black Lodge, from Manchester. This is a person who played his cards so close to his chest that his first couple of singles didn't even name the tracks.

Blood / Brass combines the music from Dumbo (that 'Pink Elephants' tune) and some heavy dub. And, if that doesn't sound genius to you, well, I do despair.

A pendant's note: this track actually apears on two singles, his first on Acupuncture (where it appeared untitled and without so much dub content), and the remixed version that I am recommending here, a limited-edition release on an unknown label through the Rough Trade shop.

Hyper-lounge remix of definitive Puffy Ami Yumi song. While the original track put forth more of a Sunday soapbox derby theme, this remix is Formula 1 all the way.


http://puffyamiyumi.com,
http://www.sonymusic.co.jp/Music/Arch/ES/Puffy,
http://www.sonymusic.com.hk/puffy,
www.furinkan.com/tomobiki/wagaku/artists/puffy.htm .

bfore the busta rhymes song and the recent av8 indian break, top producer timbaland already used the nightrider theme bassline in this one.
tr�s fonkee, indeed.
it's a prototype timbaland late 90's production, and one of his best works, if u ask me.
eclectic, and complex in its beats, but yet plain simple and very dancable.

Although this track is not my favorite from Berlin's Jazzanova, I think it best represents the best bits of of their own work and their remixes for others. This track is a few years old but has been newly remixed by Japan's Fukutomi. Jazzanova are at the forefront of the nu jazz scene in the dance world. Beginning with a soulful piano introduction, the tune breaks into a heavy bass driven uptempo beat, sprinkled with a bit of a jazz scat, and a sample of a very haunting and seductive flute solo that sounds as if it has been lifted from an old soundtrack. The song however is not as simple as this review and must be listened to carefully to appreciate all that it offers.

Its a delightful track, modern big beat sensibility with a great tune, a groover of the highest quality, sounds great in a car, in a club or at home. Full of hooks, vocal, guitar and rhythmic. One of the things I love about the band as well are the crappy pictures of themselves they use on their covers. Theres a promo 12 with a remix on it that is all Bongo's and Organ that didn't make it to release thats pretty good too.

Its 4 tracks into the CD, and after one of the fluffy pop numbers, so it quite takes you by surprise when a guitar kicks in of such rawness that it feels like small blisters are erupting over your eardrums.
In come the bass and drums, and the girly vocals (Janet presumably) with a nice sarcastic tone. The sarcasm seems to be a feature of the band.
Threres also a triffic 1980 style disco remix on the extra CD, for extra amusement. To be honest I love the whole LP, it has nice fat drums, lovely rolling bass, and they aren't afraid to use the technology, it was hard to pick one song out, but this one had the edge for Janets voice and that ruff guitar. God I love Fuzz.

Oddly the person who played the CD to me first dismissed them as just another Oz-Rock band. Nah, way off the mark.

The bell chimes on the intro both haunt me and pull me into the song. From that point on I'm hooked until the end. Nice guitar hook in the middle. I just find it quite flawless as a song. Everything was layered out rather neatly.

[01] Norty Cotto Radio Edit (3:35)
[02] Norty Cotto Club Remix (7:39)
[03] Norty Cotto A Little Bit O' Dub Remix (6:32)
[04] Nevins 'Rock Da Club' Radio Edit (3:18)
[05] Nevins 'Rock Da Club' Remix (7:29)
[06] Nevins 'Rock Da Club Extended Radio Edit (5:45)

In a stupid pop mood tonight, egged on by seeing the recent McFly recommendation. The sun finally came out over South Yorkshire today too, which is probably what's making me think of this enthusiastic pop-reggae workout. I really click with this, despite the OTT misogynistic lyrics, Beenie Man's homophobia and the general rubbishness of most of his back catalogue (that which I've heard, anyway).

Ms. Thing doesn't really do much to shut Beenie and his sexist mouth up, but at least Shawnna has a but more life to her which is why I'm recommending this remix with her rap on.

The video's cute too, especially where Beenie, Thing, Shawnna and various cronies do a ridiculous trot-dance at the end.

More first rate synthesizer music from the 1980s. The album also features a remixed/re-recorded version "Jewel". Catchy. Unfortunately this line-up only recorded this one "proper" album plus an album of remixes before splitting up. The album is excellent almost throughout, the band's slightly artsy aesthetic conveyed lyrically and through mixing atmospheric chordal writing, inventive instrumentation/production and some almost industrial-sounding beats. Kraftwerk were never remotely this musically interesting. Propaganda were also better looking...

I have this on the original CD (or at least a CD-R of it) and a French remix 12, which has 3 good mixes including a fantastic one by Manta 1000. Both are very good. The song itself is a mix of the traditional and the modern (with Production by aging Gong-ster Steve Hillage), Arabic and Indian. Violins, Bollywood style singing from Amar blending with Khaleds' gruffer style - all with an irrisistable rhythm underpinning it. Another one chock full of great hooks, where I can't understand a word, perhaps I should take up the study of languages.

To me, Depeche Mode was primarily a great singles band, with the exception of "Some great reward" (1984) and "Violator" (1990), which were consistently great albums. "Enjoy The Silence" shows Depeche Mode at the top of their game: Gore's songwriting talent, Gahan's vocal performance and Wilder's impeccable arrangement. The newly remixed "Enjoy The Silence 04" clearly shows why the original just can't be improved in any way.

A nice cover song as Towa Tei (SRATM) will do. I haven't heard the original but would like to. This one is in the two-step style which I am also unfamiliar with except through Towa Tei's interpretations. An excellent song. "Girly" as TT songs with vocals can be. Dancy as TT songs usually are. Commentary from some Jamaican/British type (!) and breaks down into a remix of itself toward the end - but in a very respectable fashion! -- I recently found out that this CD features copy protection, funny enough that kind of changed the way I felt about it. I want to make it clear that for that reason I can't recommend that anyone buy this album. ;)

A beautiful original, mixed with a great hip-hop bassbeat. This was Madonna's first album after her admittedly excellent performance in the film, 'Evita'. In preparing for the film, she had actually taken professional voice instruction where she learned to project her voice and put less strain on her vocal chords. The transformation was amazing and she has sounded so much better since. She was also on a spiritual journey as she began her role as a mother and the lyrics bespeak this journey in her use of very emotional words and the warm sound in her voice. This is not, 'like a virgin', this is a woman reborn!

Dubstep with pop flair

So I'm watching the finale of Survivor: Marquesas (a year ago, in May '02) and on comes this ad for The Gap with, to my utter astonishment, the guitar intro to this 1967 classic. And better yet, they got the correct version! Meaning, the one with the gritty-sounding guitars (there have been a number of inferior versions released that were re-recorded, or at least remixed badly, or something). "I See The Rain" should be quite familiar to British readers but perhaps not to Americans. Anyway, I've always loved this song, and it's the aforementioned guitar sound that makes it stand out, although those harmonies in the chorus and a just-right unhurried tempo help make it one of my faves ...

I Won't Lie Down isn't just a punk song. It is more of a melodic punk song, then just punk. Face to Face originated in Southern Claifornia but has spread there wonder sound throughout the U.S. I Won't Lie Down isn't jus a song you can rock out to but a song you can groove to. I Won't Lie Down was also remixed (techno version) and put on the Mortal Combat souindtrack. Although the remix is good, it isn't as good as the original, but what is?

This is a gorgeous summer tune in a similar vein to "Heartbeat" by Tahiti 80. This song makes you want to dance, a bit disco, a bit easy listening and a smudge of retro. I can't recommend the entire album - it's all over the place but this single is stunning.

"Sun, the moon, the sky ... and you and I," - I wish I knew where the samples used in this track are from - from the opening piano melody to the refrain (it's possible that the vocals were recorded specifically for this tune). If someone can help out, thank you. I am pleased to hear Jazzanova offer such decent track. After being disappointed by the less than stellar remixes 1997-2000, I was thrilled to hear a very good original creation off of their forthcoming debut full length. Soulful, mellow and ez.

this entire soundtrack to the film la planete sauvage comes highly recommended. never seen the film, but it can�t possibly be as good as the soundtrack suggests.
chilly, funky instrumental orchestral music. there�s a really haunting recurring theme through the album, nice use of choirs and twangy guitar too.

[01] Radio Edit
[02] Original Vocal Edit
[03] Antoine Clamaran Radio Edit
[04] Antoine Clamaran Remix
[05] Olav Basoski Remix
[06] Roman Salzger Remix
[07] Manuel Tur Remix
[08] Sebastien Leger Remix

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

from nirvanas first album this song is diabolically neat.its got a simple sludgey drop d riff and i wanna do a drum n bass remix of it.

eO's through-composed, symphotronic poem incorporates exotic world-fusion compositions with heavy post-dubstep beats, evocative vocals, and elegant instrumentation.

Billie Ray Martin under a briefly fashionable electroclash pseudonym. Our Germanic techno-soul diva sonically revisits and updates her underrated Electribe 101 days for a foray into what almost becomes disco metal. This quirky 12" is on lurid pink vinyl, and features a blistering remix by her old mate Mark Moore (of S-Express fame) on the B-side.

This song is a mellow eletronica piece that blends the jittery feeling of jungle with the melodic nature of more ambient techno.

Macklemore is an underground hip-hop artist out of Seattle. His lyrics are very charged and emotional. The beat remixed featured by fences is a great touch recreated by Ryan Lewis.

I was really into the Polyphonic Spree record about a year ago and read somewhere that frontman Tim Delaughter was the singer in Tripping Daisy. There were some pretty rabid recommendations on Amazon for the third TD album - "Jesus Hits Like the Atom Bomb," so I ordered a used copy. It took a few spins to get into, but damn it's a keeper. Melodic art pop heaven. If ya care: it's produced by Eric Drew Feldman - who was a member of Captain Beefheart and the Magic Band, played keyboards for Pere Ubu for a while, and also produced some of Frank Black's earlier solo stuff.

Anyways, as its title suggests, "Our Drive to the Sun / Can a Man Mark it?" comes in two parts. "Our Drive ..." is sunshiney modern pop in the vein of the Flaming Lips, with hooks galore (there are like four parts that could qualify as killer choruses). At about the four minute mark, the track morphs into "Can a Man ...", which sounds something like a Gary Numan song remixed by Kevin Shields. Great change ups throughout and just a real nice listen.

This is an almost 12 minute remix of tons of different Pizzicato Five songs by the Tokyo DJ duo Pandart Sashoona. It's quite amazing and very danceable. If you're never heard Pizzicato Five, it can be a bit overwhelming, but it's a good start! Give it a listen, you won't be disappointed!

The multi-talented Dutch artists Kraak & Smaak shine in their unprecedented, soul-shaking compilation, �The Remix Sessions� due out May 29th. Named by IDJ as "one of the most incendiary live outfits," Kraak & Smaak take that crackling energy and infuse classic jams with their signature style. Music lovers everywhere will rejoice as hard-to-find tracks, many of which were only released on vinyl, join each other in this boogie-licious showcase.

From banging dance floor "Mimezine � Can't get Enough (Kraak & Smaak Remix)," to funky, midtempo "Jamiroquai � Electric Mistress (Kraak & Smaak Remix)" to eerie, internationally-infused "Skeewiff � Man of Constant Sorrow (Kraak & Smaak Remix)," Kraak & Smaak reveals their astounding vision for the possibilities of electronica. This beat-driven assembly is an invaluable resource for re-tracing the various pathways of this modern musical expression.

lots of bass, kind of dubstep-ish, its just a cool song to listen to

great young girl "lala" vocals, catchy downtempo bassline. some fairly standard sax playing. originally from a series of german "educational" porn films from the sixties, and it�s pretty easy to tell. no moaning though. pretty similar to the more relaxed efforts of peter thomas, this is one good piece of horny sixties kitch.
how come porn music was so much better back then?

Unreal.
First of all, there's Jill Scott. With as much respect I have for her songwriting and singing abilities, I've never thought of her as a musical genius. Her music was, and stays, consistently the best soul music being released. And I'm sure that in twenty years I'll still have great fondness listening to her tunes. Yet, I don't hesitate to state that she is not a genius.

"Slowly Surely" is a great track off Jill Scott's "Who is Jill Scott: Words and Sounds, Vol. 1" album. The track, itself, is a departure from the rest of the album in composition. It is lyrically and melodically experimental, and deosn't perform as a very commercially radio friendly tune. Having said that, this is probably my favorite track on this sublime album.

Theo Parrish is a genius, however. There are no two ways about it. His music is difficult to understand. His path to fame and stardom seems as intentional as Donald Trump's efforts at staying unnoticed. He has a tendency to compose electronic dance music with beats so slow, they'd make Big Daddy Kane half step. This isn't a salmon swimming upstream. This fish is out of the water wondering why he can't fly.

The remix, in the commercial music industry, has been tainted ever since the digital age. Starting off as a tool for DJs in night clubs, a track would have been remixed to have extended beats in the beginning and the end of the track. Thus, early remixes were plainly titled, "Extended Version". However, remixes on commercial radio are merely an effort to milk the popularity of whatever is popular at the moment. These remixes usually include a guest vocalist singing, or rapping, along the original track. Another version of the remix is the time filler. When albums were made with consideration to program times for opposing sides (as well as cassette tapes), remixes were often added when material was scarce. This practice would eventually wipe out the addition of the "Reprise" track. These remix tracks were usually the chosen radio friendly track with extra production on top of the original track.

The remix for "Slowly Surely" is none of the above. It is very unique as it's own being. It pulsates to it's own heartbeat. It moves on it's own, in no predictable direction, as if Theo Parrish had little control over his artistic output. That's his genius. That's his art.

A beautifully desolate version of this track is remixed by gusGus and available on a Innocence Mission promo. The vocals remind me of the more coherent tracks by Elizabeth Fraser. The title is apt, it's quiet and simple, music for reminiscing by a forest stream during a winter walk.

What happens when a record company dusts off an old obscure folk song from 1970 and hands it over to a British electronica band? Greatness! With an irresistable dancy beat and a great bass line, the Happy Mondays put a great spin on this old "sandals-and-granola meets Billy Jack" relic without insulting or demeaning the original song. The 1991 remix is sure to twist your melon... and the colored girls sing, "he's gonna step on you again!"

Before the Sugababes became just a catalogue of "epic" ballads and stylist errors they were a phenomenally good UK pop band. Not marketing themselves as slappers or party girls, they exhibited an edginess not commonly associated with mainstream chart acts. The whole first album is a miraculous hotbed of beats and songwriting that gels so unbelievably well with the girls' image that you can believe their contribution to the process was more than just the "change a word, take a third" Spice Girls school of songwriting. Overload and Run For Cover are two of my favourite singles of the last ten years.

Equally commendable (and something else, along with member Siobhan and nice clothes, that fell by the wayside come second album time) was their attention to B sides and bonus tracks. Most had a quality that rivalled the album songs and singles - and Sugababes On The Run is even better. I can see why it wouldn't fit on the album - too novelty-ish, few people can pull off a track with their own name in it - but it works perfectly as a flitty ditty about the best teen subject: being pissed off at your parents.

Nevertheless, it does has a depth to it. In its own pop way, it's examining the precipice between youth and cynicism - does getting older always mean losing your ideals?

Probably....

The sweetness of the vocals (particularly Keisha's) and the general kid sister affection of the 'Babes mean that, however much crap they release I'll still be there every new release Monday hoping for another B-side of this quality - and getting a god-awful remix instead.

Acoustic summery song. Very 60's sounding with great harmonys and really odd guitar out of one of the speakers. A must hear for fans of Teenage Fanclub

Nujazz maestro extraordinaire has taken Alemaro Romero's "Tema de la Onda", a Sergio Mendes-style light vocal bossa number, and turned it into a jazzdance smasher.

Conte takes the female lallation-like vocals and a simple two note piano riff, adds his trademark samba/dance-skewed percussion work with a huge shaking piano breakdown, and creates a number that would have been as much a dancefloor filler in the 70s as it is today.

You just need to hear this...if you value Music, of any genre, you need to listen to this as soon as you can.

Hear the sound of music
Drifting in the aisles
Elevator prozac
Stretching on for miles

The music of the future
Will not entertain
It's only meant to repress
And neutralize your brain

Soul gets squeezed out
Edges get blunt
Demographic
Gives what you want

One of the wonders of the world is going down
It\'s going down I know
It\'s one of the blunders of the world that no-one cares
No-one cares enough

Now the sound of music
Comes in silver pills
Engineered to suit you
Building cheaper thrills

The music of rebellion
Makes you wanna rage
But it\'s made by millionaires
Who are nearly twice your age

Soul gets squeezed out
Edges get blunt
Demographic
Gives what you want

One of the wonders of the world is going down
It\'s going down I know
It\'s one of the blunders of the world that no-one cares
No-one cares enough

Trance/space/electropop when its at best. This track really gives you an impression about being in space, seeing colored nebulas, and pulsars.
This is the kraftwerk of the 90ies.
Starts with lots of spacesounds, and choirlike chords. Evolves with a snappy bass, and fast drums. Great chillout music.

Cosmic Baby also worked with Paul Van Dyk, and got Paul interest into music.

Top DJs/Producers unite to remix favourite classics from the Verve vault. It's the 21st Century spin on Jazz classics. Even if you're not a fan of electronic music, jazz enthusiasts will enjoy this fresh take on these classics. The record is simply chilled to perfection.

Disco thumper ala Pet Shop Boys.
This is actually a remix of the song and as far as I know only came out on this CD. Recorded as part of the massive Motorcity project, Mary was unwell at the time of recording and sadly died a few years later. It was the last thing she ever recorded.