Not all messages are displayed:
show all messages (18 of them)
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.
― Marcello Carlin, Monday, 27 August 2001 00:00 (twenty-two years ago) link
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...
― jk, Wednesday, 29 August 2001 00:00 (twenty-two years ago) link
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.
― K-reg, Wednesday, 29 August 2001 00:00 (twenty-two years ago) link
sorry, that was a flip reply. but i love thinking of Louie Louie as
dancefloor functionalism.
― Tracer Hand, Friday, 31 August 2001 00:00 (twenty-two years ago) link
eighteen years pass...
basically yes. the main version on the single (the 'holographic goatee mix') is essentially the same as the album version, but about 30 seconds longer
― dyl, Sunday, 24 November 2019 16:54 (four years ago) link
such a great song.
i love it, so those extra 30 secs sound very appealing.
― mark e, Sunday, 24 November 2019 17:20 (four years ago) link
Nice idea, although I find that very often the best tracks are 'B1' or B2'!
― mmmm, Wednesday, 27 November 2019 10:25 (four years ago) link