Best dance music B-sides ever

Oh and my new apartment's hot. It's got a spiral staircase! My room is big enuf now that I don't have to plan where I'm going to put my FEET when I go to sleep.

And thanXor to old buddy/new housemate, I am now the infrequent walker of a dog named Charlie who is just about the sweetest wittle woogums that you woo woo goood boy woo yes he's a good boy.

"octaedre" by basic channel. and "salsa" on albertracks.

Of all time? Has to be "D'Ya Like Scratchin'" by Malcolm McLaren/World's Famous Supreme Team (B-side of "Soweto" 12" - early '83) which turns into "Red River Valley" halfway through. Guaranteed floorfiller at end of night at Oxford May Balls of old.

The B side to LFO - LFO .. "Track 4" amazing tune, i think theres another mix of it on the album but the single mix is superb...

Good point Tracer, there's a rich heritage of dance singles overshadowed by their B-sides, tracks that otherwise might never have been made available being too extreme: minimal, abstract or derivative. I often feel such tracks are don't recieve a full release because they're the product of fluke combinations or serendipitous studio accidents, and though the end result's perfect, the artist may not value them as A-side material because, no matter how inspired, they're aware of how simple the process was.
The example that readily comes to mind is the B-side of Running (Alan Braxe/Fred Falke - Vulture 00), It's the slightest of tracks, ridiculously basic, but carries the efficacy of prime Mills or Hawtin -a fat DX arpeggio, punishingly looped, that shifts incrementally in tone with every repetition, or perhaps it doesn't even do that, it's simply mesmerising. A raw slice of avant-guard disco, even less accessible than his previous single, Vertigo (I can't even remember if there's a rhythm or a melody, they're so integral, all that comes through is a pattern) just a blunt sample, like John Carpenter's Assualt on Precinct 13, locked in a steadily ascending cycle, imperceptibly modified with each loop, an effect that operates like a drone, ragas, or even op-art - a sonic trompe- l'oeil. That ambiguity, the lack of discernable changes or reference points, just happens to be one of the effects that makes techno so appealing to me, and as I've said many times before, appropriate for motorway driving, where the environment is distilled into subtly shifting patterns of light and vibration. Dancing to it, I'm prone to shutting my eyes and making 90 degree turns, and shugging across the floor. Actually, having said all that, I have an awkward suspicion why this track was relegated to the flip side. Thats where you put the DJ tools.

So Louie Louie = DJ tools. Sounds about right to me.

sorry, that was a flip reply. but i love thinking of Louie Louie as dancefloor functionalism.