Lil' Jazzy Jay & Cool Supreme - B Boy Style

Lil' Jazzy Jay and Cool Supreme, "B Boy Style (club vocal)" (YSI link)

Lil' Jazzy Jay and Cool Supreme, "B Boy Style (dub instrumental)" (YSI link)

Yes, yes, more electro rap from the early days! I can't get enough of this stuff right now, so clean and stripped down, love it. Lil' Jazzy Jay & Cool Supreme are everything I love, those flashes that come into the musical world, make a quick mark and disappear forever, a little moment of divine inspiration that makes a small ripple on the music surface that we pick up years later.

The duo was actually producer Rae Cerrano (Cool Supreme) and John Byas (Jazzy Jay) and they dropped this single on Easy Street Records in 1985. This one's so dope, you will immediately be transported back to the 80s, hanging in a park with a boombox, a group of breakers and a large group of friends all dressed in too-short shorts and Kangols. I mean, there's vocoder vocals and nice freestlye female ones! Two for two! You also get some nice synths, a tinkling piano keys, lots of scratches and a cold, hard beat. Add in Jazzy Jay's raps and you have a personal favorite. For those who want to take out the raps, head to the dub instrumental version, which gives you just the female refrain and lots more scratching. Trust me, you need this one. B boys! B girls! Yeah!

B Beat Girls - Hearts A Hurricane

B Beat Girls, "Hearts A Hurricane (Vocal)" (YSI link)

B Beat Girls, "Hearts A Hurricane (Dub)" (YSI link)

During the break, I've begun to dip my toe back into the hip-hop waters, although I still can't say I'm hearing much new stuff that interests me (get at me and let me know what I'm missing currently). However, my love for the early days has only gotten deeper, as I'm becoming obsessed with those late 70s/early 80s tunes when rap came into being. What's most exciting about is to hear the days when rap was so open to dance and electronic music, where it was trying to find its legs.

This B Beat Girls track, "Hearts A Hurricane," is a great example of this period, with the girls rapping over a classic electro instrumental complete with weirdo synths that give it that necessary futuristic sound. I really like the raps on this one, but it's the sung refrain that I love. Gives it a bit of a freestyle feel and makes things much catchier than you would expect. As always, you get the dub for those who favor less vocals. Yeah!

Jamie Jupitor - Computer Power

Jamie Jupitor, "Computer Power" (YSI link)

Jamie Jupitor, "Computer Power (instrumental)" (YSI link)

No better way to start the week than with a classic slab of West Coast electro, so let's get to work. Jamie Jupitor is one of those aliases that comes out of the ether to drop one track and then returns back to outer space, Jupiter apparently, his job done, minds blown, electro victorious. The story behind Jupitor is a tough one to follow. This is lone 12" was written, produced and arranged by The Egyptian Lover, in the ensuing two decades, he has decided to clean up the spelling of his last name, becoming Jamie Jupiter and touring with EL. This one was released in 1984 on Egyptian Empire Records, and would amazingly be the only release by Jupitor, outside of a few remixes.

We shouldn't complain, as we are lucky to have "Computer Power" as dude probably couldn't top thi. It captures that perfect futuristic sound that bubbled up in the early 80s, where computers and machines took the lead. As Jupitor says here, "Computers are the future world, we program for the boys and girls, there's nothing we don't understand, we're smarter than the normal man...Computer power!" What intrigues me most about this music is how uplifting technology seemed in those early days; despite the coldness of the drums and minimalism of it all, there's an uplifting melody and a real attempt to avoid the feeling that technology would turn us all into automatons and make the world into a scene from Metropolis. The instrumental on the flip side might be even better, letting you hear the music without the vocodered voice or Jupitor.

Kitsune Maison 5

Pin Me Down, "Cryptic" (YSI link)

On Board, "Friendly Fires" (YSI link)

Before you even say it, yes, I know that this has been out for way more than a minute and that this sort of belated posting may get my mp3 blog card revoked. I am defying the system tonight, consequences be damned.

I mentioned that Ed Banger has been at the forefront of the Paris dance music rebirth over the past few years. That shortchanges another pivotal label that has made the rock kids dance and the dance kids rock, Kitsune. The fashion house has been slowly but surely releasing some of the best music of the past few years, introducing us to bands like Digitalism and Simian Mobile Disco. Their Kitsune Maison compilations are essential documents of the dance music scene, bringing together a mix of the best 12" releases and unreleased tracks.

The fifth edition is out, the Golden Edition; sadly this one doesn't reach the levels of the earlier editions, as it lacks the standout, killer tracks, little filler vibe of the first three editions. The album's highlights for me surprisingly come from the indie side of the ledger, which have a lean, dance-y feel that works perfectly. Pin Me Down's "Cryptic" reminds me of a female-fronted Bloc Party, which is a compliment for the record. It's got a great, simple refrain that The highlight for me is Friendly Fires "On Board" which I love love love. It's got the rare quality for this genre of not rushing things, slowing down even for an awesome, handclap breakdown. I had no idea who this band was, which is why compilations like this are so rad and so necessary. Other highlights come from the Fairy Lights mix of Late of the Pier, the Gentlemen Drivers Rave mix for The Teenagers' "Homecoming" and Autokratz's "Pardon Garcon."

Like I said, this one isn't on par with the best of the series. I love the mix of indie and dance music and their hybrids, this one just didn't have the same quality of songs. However, your mileage could easily vary, so grab a copy and support one of the best labels extant. If you don't already own the first four volumes, I'd recommend putting those on the top of the list.

So Young But So Cold: French Underground Music 1979-1982

J.J. Burnel, "Euroman" (YSI link)

Kas Product, "So Young But So Cold" (YSI link)

I believe that Volga Select and Tigersushi presented this CD, So Young But So Cold: French Underground Music 1979-1982, solely for me. First, the title is B-A-N-A-N-A-S. It's not just that the title, minus the French underground part, is going to be the name of Chapter 7 of my autobiography, chronicling my 20-28 years. [Incidentally, Chapter 8 is called The Best of Times and chronicles my marriage to Christy Marks, ascension to the role of today's Jane Jacobs and jut general radness of my thirties.] It's also that it's about being cold and detached and distant, which is so me. It's also the fact that it's about the French, my national obsession (shout outs to Eric Cantona, Emanuel Levinas and of course, my father). Plus it focuses on that Pound for Pound golden period, the late 70s, early 80s, when new wave, no wave, disco, electro and hip-hop all came together and melded and reformed and melted faces.

Seriously though, this is one of the best compilations I've heard in a long time. It's everything a compilation should be, a chronicle of an forgotten period of music that deserves to be remembered. It's not surprising that Volga Select was behind this, as it features the amazing death disco man, Ivan Smagghe, as one-half of the duo; the dude has an ear for the dark side of the underground (cf. Death Disco). He was joined by Volga Select partner, a.k.a. Mark Collin, in compiling the music on the disc, This one takes a look at the underground of French music for a three-year stretch that isn't associated as much of a golden period in that country's musical history. The music here covers varied ground, from more new-wave-y stuff to disco-not-disco tracks to experimental stuff; the common theme is the coldness of the music, dominated by machines like the synth and drum machines; one wonders if the government gave out drum machines and synthesizers to every child in the country. Better health care and free Rolands, people! Vive la France! Anyway, the title of the album fits perfectly, as these young groups all seem to have sucked the joy out of the disco that came before (and I mean that as the highest compliment). They've turned in machine music and complimented with detached vocals sung with no divaness at all.

I've chosen a couple of my favorites that should give you a sense of the music on So Young But So Cold. "Euroman" by JJ Bernel is probably my favorite, a minimal, slow-building track that would have fit well with the whole NYC scene of this same period. There's static-y drums, strummed guitar chords, a deep, dubby bass and the whisper-y French vocals of Bernel (I assume). It sounds like the thing could explode at any moment, but it never does. It stays nice and calm, never getting carried away. Awesome. I also went with the title song by Kas Product, "So Young But So Cold." This one's got a electro punk vibe, with some wicked synths, drum machine devastation and intensity. Mona and Spatz Soyoc ironically may have the least cold song on here, as the vocals get belted out with punk abandon. I really could have chosen any of the 16 tracks, as they all work for me, not a letdown on the whole disc. My only disappointment with the CD is the lack of quality liner notes; it would have been nice to have a little more historical information about this period in France, the story on these bands, whether there was a scene or if these bands worked in isolation, what happened to them, etc.

As you can tell, I recommend this as highly as possible, an essential purchase for anyone who likes the music and attitude that lies behind this blog. Grab your copy at Forced Exposure of the repressed version before it goes out of print again and you have to scour ebay or beg your friend for a copy. So Young! So Cold! Yeah!

Whodini - Whodini

Whodini, "The Haunted House of Rock" (YSI link)

Whodini, "Underground" (YSI link)

Whodini, "Magic's Wand" (YSI link)

Whodini, "Rap Machine" (YSI link)

Oh my G-d, I think I'm having a rap attack! It's been too long since I did any hip-hop here. I could give a whole spiel about why this is and masculinity and women and my own disgust with what I was hearing, but that would be boring. I'll just say that I hope to return more to my roots with an emphasis on the early days of the genre, when it was still trying to find its voice amidst electro, disco and house. I'm not gonna lie, it feels so good to be back home.

I'm also not gonna lie at how rad I think the self-titled debut LP from Whodini is. Released in 1984 on Jive Records, it's classic electro-rap, all synths and drum machines and wordy raps, Whodini is everything I could ask for. The group consisted of vocalists Jalil Hutchins and Ecstasy (John Fletcher) plus DJ Drew Carter; they were one of the first rap groups to enjoy a good deal of popularity, breaking out of the one-hit wonder ghetto. Their sound, at least on this one, sounds like it's at the crossroads between rap and electro, brittle beats and synths, other times it has an r&b/rap mix, out in front of the new jack swing sound of the late 80s.

The classic Whodini song is "Magic's Wand," which was originally conceived as an advertisement for a popular NYC DJ Mr. Magic. If you're thinking that's the coolest part of the story behind this song, you're wrong. The producer is Mr. "Blinded Me With Science," Thomas Dolby. How cool is that? It's like an 80s dream, Anthony Michael Hall in a John Hughes movie wearing Z Cavaricci pants. Dolby turned out a synth heavy number with a big elastic bassline, some vocodered vocals, people shouting in the background, percussion and keys that sounds miles away from what you'd hear on the radio today. There's a similar template on the other tracks, love how much slower and stretched out these tracks sound, it sounds so much more dancefloor friendly than the bangers today. Check "The Haunted House of Rock" for a Grateful Dead reference! Yeah! Steal your face!

I'd definitely recommend picking up Funky Beat: The Best of Whodini, a good overview of their career which lasted more than a decade. This group helped define the genre before it became the global sound it is today, still sounds great all of these years later.

Laidback Luke - Essential Mix

Laidback Luke, BBC Radio 1 Essential Mix February 23, 2008 (YSI link) (Sendspace link) tracklisting in comments

Let's stay in the present and upload the most recent Essential Mix on Radio 1 featuring Laidback Luke. I've actually been meaning to drop a few tracks from this new wave of big-room house music coming out of Europe that has dominated in Ibiza. Laidback Luke is a Dutch producer, who has been around for while but only has taken off in the last year or two. Some of his biggest successes like "Get Dumb" have come in collaboration with members of The Swedish House Mafia - Steve Prydz, Axwell, Steve Angello and Sebastian Ingrosso. All of these names are essential, producer/DJs bringing that old funky Chicago house sound back with some electro and minimal thrown in.

This 2-hour mix is just awesome, awesome, awesome, like a night at Pacha without the Asian mafia or Jerseyites. It ranges from vocal house to electro to some techno, hell, there's even a trance-y euphoric vibe at moments. Listening to it, it's hard for me to believe that this is the overground in dance music; this set is so dynamic and sounds so great, nothing like the untz-untz stuff you have in your head. What I love most is the tempo changes, how he will drop out to just a vocal playing and slowly let the beat come back in and away we go once more. It's one of the best Essential Mixes I've heard in a while, wonderfully paced, a nice mix of current favorites, some Luke remixes and even some of his edits of classics like Daft Punk's "Teachers." I can't recommend this one more highly, especially for anyone who wants to get a sense of what clubland is like right now in Europe and the States.

Shannon - Let The Music Play

Shannon, "Let The Music Play (original 12" mix)" (YSI Link)

Shannon, "Let The Music Play (instrumental)" (YSI link)

Shannon, "Let The Music Play (1989 European Remixed version)" (YSI link)

Every so often I will realize that I haven't posted a favorite and feel the need to immediately rectify that. Shannon's "Let The Music Play" is a perfect example, a stone-cold classic dance track that everyone has heard and needs in their lives. From that unforgettable synth melody to the great vocals, it's a timeless piece of music. I love the vocals, not sure that they get enough attention, since the music is so great. But, Shannon provides a nice counterpoint to the cold electro, singing about a lover who has found someone else on the dancefloor. Love love love the concept, telling the DJ to let the music play and it will bring this guy or girl back to her.

Originally released in 1983, it's hard to realize how great this single's impact was. It was the first electro track to feature female vocals, hearkening back to the classic disco diva days. I mean, can you think of a more perfect Pound for Pound track than one that sits at the crossroads of disco and electro, while simultaneously paving the way for freestyle? The producers on this one are none other than Chris Barbosa and Mark Liggett; Barbosa is credited with founding the freestyle sound and one can hear that blueprint on this track with the syncopated beats and Latin American rhythm. He is also the man behind the 1989 European Remixed version, which extends the original and makes things a bit busier.

This is an essential piece of dance music history, so let the music play.

More Surkin Remixes

Paul Johnson, "Hot (Surkin remix)" (YSI link)

Justine Electra, "Killalady (Surkin remix)" (YSI link)

I wanted to put up one last post for Surkin as the year comes to an end, as he's had a huge 2007. I had to put up this remix of a Paul Johnson track, as it perfectly encapsulates some of Pound for Pound's main interests: Paris electro remixing a Chicago house legend. Johnson is a stone-cold legend, from his early releases on Dance Mania to his classic albums on Peacefrog to his remixes of people like Green Velvet and Joey Beltram, dude has had a hand in the development of house music for more than a decade. Anyway, really rad to see Surkin given a chance to remix "Hot," since he has always seemed like one of the Paris wave most in tune to the booty past. The remix is good, not his best by any means. This one took a few listens for me to get into, it has sort of a twisted jackin' sound that isn't immediate.

I actually much more prefer his remix of Justine Electra's "Killalady" from her 2006 album, Soft Rock. This may be one of the best I've heard from the boy wonder, a raging-yet melodic electrotech track that works from the first laser synth sounds. Surkin sounds much more forceful on this one, with the sharp drums, claps and bass. Love the breakdown about a minute and 45 seconds in, where the song sounds like it battery quickly dies, then bang! Sonic assault. As I've said, you need to cop the guy's entire catalogue, Turntable Lab seems to be a great source for it. Or check the Arcade Mode store for the non-US people. I really can't wait to see what 2008 holds for the young man.