Who Can Calculate The Orbit Of His Own Soul?

Celebrating William Orbit aka William Mark Wainwright, 15th December 1956 to 23rd July 2026.

The news of William's passing broke on Friday, unexpected and deeply, deeply sad.

I first encountered William Orbit's work in the late 1980s when he remixed Dreaming by O.M.D., Camouflage by Stan Ridgway and More by Doctor & The Medics. 

The latter two were on the I.R.S. Records label, where William had not only found work as an in-house producer, but a home for his band Torch Song, with Laurie Mayer and Grant Gilbert and his first Strange Cargo album. There was a previous solo album - Orbit - in 1987 but, to be honest, it's not that good.

The 1990s not only saw an exponential growth in his work as an in-demand producer and remixer, but the launch of Guerilla Records, who were a go-to for quality electronic and dance music, including William's own Water From A Vine Leaf, featuring Beth Orton and era-defining remixes from Underworld and Spooky. 

The decade drew to an end with one of his greatest collaborations, Madonna's incredible Ray Of Light album. William's CV expanded to such an extent that I think it might be a greater challenge for anyone to find that they don't have music in their collection that has William Orbit's involvement in some shape or form.

In recent years, I greatly enjoyed William's musings and memories on social media, sometimes completely leftfield or stream of consciousness, but always entertaining. The insight into such an incredibly questing and creative mind, responsible for so much music that I've listened to , bought and treasured through my life.

I've created a 46 minute selection on the fly, very little deliberation over the song choices, other than wanting to include some overlooked gems and deeper cuts, and spanning the 1980s through to the start of the 21st century.

The nine songs create some strange bedfellows: Creation hopefuls 18 Wheeler next to Seal and Kate Garner (post-Haysi Fantayzee) followed by Limp Bizkit. All Saints fans may be out for my blood for choosing the instrumental version Pure Shores, but I wanted the music to have space to breathe. 

Likewise, I've skipped the singles from Ray Of Light but which is a perfect example of why the team yp with William was so inspiring.

Bassomatic's finest moment is represented here with an alternative mix from the 12" single, whilst I've closed the selection with William's remix of The Shamen, a memory of happy times in clubland.

Today's post title is lifted from De Profundis, a letter written by Oscar Wilde in 1897 whilst imprisoned in Reading Gaol, to his beloved Lord Alfred "Bosie" Douglas. If you have time to spare, you can find De Profundis in it's entirety here. The quote in question is on page 22 (of 28) and seemed fitting for this tribute.

Rest easy, William.

1) Stay (Strange L’Escargot Mix By William Orbit & Mat Ducasse): 18 Wheeler (1997)

2) Crazy (William Orbit Mix): Seal (1990)

3) Pure Shores (Instrumental) (Remix By William Orbit & Mark 'Spike' Stent): All Saints (2000)

4) Fascinating Rhythm (Soul Odyssey Mix By William Orbit): Bassomatic (1990)

5) Call A Wave (Orbital Mix By Mark Moore & William Orbit): Malcolm McLaren & The Bootzilla Orchestra (1989)

6) Love Me Like A Rocket (Psychomix By Paul Caplin & Torch Song aka William Orbit): Kate Garner (1983)

7) My Way (William Orbit Remix): Limp Bizkit (2001)

8) Shanti / Ashtangi (Album Version By Madonna & William Orbit): Madonna (1998)

9) Hyperreal (Orbit) (Remix By William Orbit): The Shamen ft. Plavka (1990)

1983: Love Me Like A Rocket EP: 6

1989: Call A Wave EP: 5

1990: Crazy EP: 2

1990: Fascinating Rhythm EP: 4

1990: Hyperreal EP: 9

1997: Stay EP: 1

1998: Ray Of Light: 8

2000: Pure Shores EP: 3

2001: My Way EP: 7

Who Can Calculate The Orbit Of His Own Soul (46:45) (GD) (M)

It was only in May this year that I wrote about William and Guerilla Records. I've reactivated the link the to the bespoke Dubhed selection that accompanied the post.

Re:Make Re:Model Re:Markable

Re:Make Re:Model is the latest collection of remixes by Richard Norris, a person that I've pretty much run out of superlatives for when it comes to describing the quality and impact of his music.

I've been a subscriber since 2023, receiving new digital releases at least every month, sometimes several in one go. I also buy other new or old music outside of this, remixed by or crediting Richard.  All this and still at best, I would describe myself as an 'enthusiast'; given Richard's prodigious work rate, 'completist' remains an aspiration.

Re:Make Re:Model is a classic example. Available as a 12-track double vinyl or 19-track deluxe double CD or digital compilation, spanning 2010 to 2026, 11 of the 19 selections were completely new to me.

Richard himself modestly describes Re:Make Re:Model as "a variety of Balearic and dancefloor workouts", whilst I'd go a tad further by saying that it's a breathtaking study of the art of the remix, and a stunning snapshot of a master craftsperson. 

Where else might you find such an enriching collection of music, encompassing dub, folk, acid, ambient, vocals, instrumentals, genre-splicing dancefloor workouts and polished radio friendly hits?

It's Bandcamp Friday today. If you only buy one record, make it this one. Better still, buy the album and then subscribe. It'll be the two best decisions you'll have made this week, if not this year.

Here's a sample track from each of the four vinyl sides, plus one of the CD/digital 'bonus' tracks.

1) Alphaville (The Time And Space Machine Remix): Bryan Ferry (2011)

2) Before Tomorrow (Richard Norris' Avalon Remix): Hollow Hand ft. Tim Smith (2023)

3) Mesmerize (The Time & Space Machine Remix): Temples (2013)

4) Children (Richard Norris Remix): Joe Goddard (2017)

5) Find Yourself (Richard Norris Remix): Jacco Gardner (2015)

 

 

 

 

Well, Get Up And Get With It!

Don't Get Mad ... Get Even! by Age Of Chance got to the dizzy heights of #90 in the UK Top 100 in October 1987, having debuted at #99 the week before.

Described as "a sonic collision of punk, hip hop, industrial rock and Northern soul', they were/are perhaps best known for their cover of Kiss by Prince, which peaked at #50 in January 1987, a mere ten months after the original (doing considerably better at #6).

Age Of Chance were also notable for their wardrobe, rocking the cyclist look decades before the proliferation of MAMILs (Middle Aged Men In Lycra) on our roads today.

In it's single form, Don't Get Mad ... Get Even! is a bit of a mess, the "sonic collision" perhaps being less favourably described as an aural car crash.

Yet, I had a bit of a soft spot for them and thought that they were fun and offering something different from some of the pop pap on Top Of The Pops. So, when a family holiday in Florida in February 1988 afforded an opportunity to spend a couple of hours browsing in a nearby record shop, one of the records I came away with was the 12" single of Don't Get Mad ... Get Even!

What particularly appealed was that this was the USA version, with six remixes by Bruce Forest and Frank Heller. Only three of these made it across the Atlantic the limited UK 12" featuring "The New York Remixes", including this one.

All six versions pare back the cacophony and present a more stripped back, club-friendly track, some dropping the vocals altogether. It's still in my collection, having survived numerous cash-strapped vinyl culls over the years.

There's an itch that you can't scratch

Like a monkey on your back

There's a world on your shoulder

And the world just keeps getting older

Well, you have got big plans

But no one understands

And you got a lot to say

But no one even looks your way

Now rise up and don't fight it

Well, get up and get excited

Now rise up and just live this

Well, get up and get with it

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

And you're longing to be free

But it just isn't helping

Well, you're wanting to die young

You end up like a Frankie Lymon

Rise up and don't fight it

Well, get up and get excited

Now rise up and just live this

Well, get up and get with it

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

Don't get mad ... get even!

What Does It Mean If I Don't Change?

Although it's an Arlo Parks single, it was John Glacier's name that caught my attention and got me to click to view the video for Floette.

I'm glad I did: this is a subtle remix of the closing song of Arlo's third album, Ambiguous Desire, the key difference being the addition of Glacier with a mid-song rap. 

Floette is a decent song with beautiful lead vocals and a pleasingly skittery jazz breakbeat denouement, but John Glacier's short but sweet guest spot elevates it significantly.

I've been aware of Arlo Parks for a while, they get a good run of TV appearances when on the promo trail, but even so it was bit of a surprise to find that Ambiguous Desire is album #4.

Watching Floette took me back to the album on Bandcamp (other retailers are available, including Arlo's official website) and I was immediately drawn to sample another song from the album.

My mild disappointment that Nightswimming is not a cover of the R.E.M. was offset by the fact that this is also a decent song. Enough to persuade me to buy the album? 

Possibly not, but I will pick up the Floette remix (annoyingly, given that Bandcamp Friday is looming, not available on this platform as I post this).

Happily, you can buy the new single by John Glacier there. Bond Girl was released on 20th July and is far too cool for this ageing music lover, but what the hell, I'm in.

I've Got Some Plans For You

You're In A Bad Way by Saint Etienne, a #12 smash in the UK singles chart in February 1993.

King Ernie of 27 Leggies Land's comment on yesterday's post raised the question of whether the Dubhed blog has in fact been one long cry for help since December 2020, post titles as coded messages from a fractured psyche.

Hmmm...possibly. 

But this one is just a darn good tune by a wonderful band with a glorious technicolour video to boot.

Don't Try To Fix Me

Warrior is the new single from Florrie, who hails from my birthplace Bristol and has been responsible for some of the best pop of the 21st century.

If you've heard of Robyn or Raye but not Florrie, there's a parallel in that all have had relationships with major labels that have threatened to stymie their career, but vision, determination, talent and sheer hard work have won through.

Fourteen years after her first single, Florrie's debut album The Lost Ones arrived in 2024. Thankfully, the wait for the follow up has been considerably shorter and Magic For A While will be out in October, available to pre-order now.

Warrior is a burst of joy and affirmation and, in a just world, should be a global hit. Welcome back, Florrie.

I don’t care, ooh I just don’t care

I don’t care, ooh I just don’t care

I am a warrior but I don’t mind

Even I get lost sometimes

When all the colours in my head collide

I’ve gotta find a little place to hide

I am a warrior but I get tired

Of keeping all my fears inside

Too many feelings that I can't unwind

So I gotta find a little space

'Cause I’m a mess

I skipped out the rehearsal

Running round in circles in my head

I say I don't care but I’m just hiding

I'm analysing every word you said

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

I am a warrior but I don't mind

Even I get lost sometimes

When all the colours in my head collide

I’ve gotta find a little place to hide

I am a warrior but I mess up

I don't know why I care so much

Though I’m still trying to understand my mind

So I gotta find a little space

Cause I’m a mess

I skipped out the rehearsal

Running round in circles in my head

I say I don't care but I’m just hiding

I'm analysing every word you said

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

Oh no, don’t don’t don’t don’t try to fix me, oh no

I might be broken I know

But don't try to fix me, try to fix me, try to fix me

I don't care, ooh I just don't care

I don't care, ooh I just don't care

I don't care, ooh I just don't care

I don't care, ooh I just don't care

Oh no, don’t don’t don’t don’t try to fix me

Oh no, don’t don’t don’t don’t try to fix me

Norton At The Controls

A twelve song selection of music produced (or co-produced) by Gil Norton, spanning 1982 to 2007.

The inspiration for the mixtape came via the sad news of Glen Hansard's death, and a fine tribute to Glen posted by Martin over at New Amusements.

In the comments, I recalled something I read circa 1991-92 in the NME or Melody Maker or Sounds, that Glen was a huge fan of Gil's work with Pixies and wanted him to produce Glen's band The Frames' debut album. 

As I recall, Glen put a big Pixies sticker on his motorbike, found out where Gil was working, drove there and left his bike prominently displayed to get Gil's attention. 

I finished with "Apparently it worked!"...except that it didn't, as I've subsequently read that Glen and Gil clashed over the direction and shape of the album. It isn't recalled as a positive experience in the accounts I've found online.

My awkwardness and ignorance notwithstanding, there are some mighty tunes here. The Frames come in a quarter of the way through, following The Blue Aeroplanes, The Fatima Mansions and a hidden gem of a China Crisis B-side.

There's one 21st century entry from Maximo Park. Gil also worked with them in the 1990s, along with Echobelly and Foo Fighters. Other 1980s production credits include The Triffids, The Bodines, Echo & The Bunnymen (with Ian Broudie), Del Amitri (with Julian Mendelsohn) and, closing out this collection, one of my favourite songs by Pixies.

Quite the career. I'm just scanning through the list of artists and records that I've missed this time around and there's plenty more for another selection.

For now, forget it's Sunday and turn the volume up!

1) ...And Stones (Album Version): The Blue Aeroplanes (1990)

2) Brain Blister (Album Version): The Fatima Mansions (1994)

3) No Ordinary Lover (Single Version): China Crisis (1982)

4) Masquerade (Album Version): The Frames (1992)

5) The Seabirds (Album Version): The Triffids (1986)

6) Nosebleed (Album Version): Maximo Park (2007)

7) Here Comes The Big Rush (Album Version): Echobelly (1997)

8) Therese (Single Version): The Bodines (1986)

9) The Killing Moon (Album Version): Echo & The Bunnymen (1984)

10) Move Away Jimmy Blue (Album Version): Del Amitri (1989)

11) Monkey Wrench (Album Version): Foo Fighters (1997)

12) No. 13 Baby (Album Version): Pixies (1989)

1982: No More Blue Horizons (Fool, Fool, Fool) EP: 3

1984: Ocean Rain: 9

1986: Born Sandy Devotional: 5

1986: Therese EP: 8

1989: Doolittle: 12

1989: Waking Hours: 10

1990: Swagger: 1

1992: Another Love Song: 4

1994: Lost In The Former West: 2

1997: Lustra: 7

1997: The Colour And The Shape: 11

2007: Our Earthly Pleasures: 6

Norton At The Controls (47:25) (GD) (M)

Now I'm Singing Quiet, Now I'm Singing Loud

Today's selection featuring Elliott Smith was planned for last week, a victim to a sluggish computer and an equally sluggish operator.

I should probably have held out to Thursday 6th, which would mark Elliott's 57th birthday. Sadly, we're approaching 23 years since Elliott passed. Why wait to celebrate and reflect on a supremely talented songwriter, gone far too soon?

In October 2021, I posted a brief, 10 song, 33 minute selection drawn from the limited number of albums and compilations in my collection, the majority courtesy of my friend John.

In the five years since, I've expanded this considerably, taking in studio albums as well as unreleased outtakes, demos and versions that have subsequently surfaced online. 

There's still more out there, but here's a C90 friendly 12 song, 45 minute selection pulling together a few more of Elliott's songs. 

Sonically, they hold you gently and tenderly; lyrically, they whisper their truths about the fucked up world we live in, or the beauty all around us. Sometimes, it's possible to reconcile the two; sometimes, it can get too much. Hold on.

Side One 

1) True Love (2001)

2) Needle In The Hay (1995)

3) Coast To Coast (Early Version) (1996)

4) Abused (Fritz Michaud Mix) (1997)

5) All Cleaned Out (1997)

6) Angeles (Alternate Version) (1996)

Side Two

1) Condor Ave (Album Version) (1994)

2) Fear City (Larry Crane Mix) (1996)

3) Some Song (Single Version) (1995)

4) Dancing On The Highway (2000)

5) Speed Trials (Single Version) (1996)

6) Punch And Judy (1997)

7) The Last Hour (Fritz Michaud Mix) (1996)

1994: Roman Candle: B1

1995: Elliott Smith: A2

1995: Needle In The Hay EP: B3

1996: Speed Trials EP: B5

1997: Either/Or: B6

2016: Heaven Adores You Soundtrack: A1, A3

2007: New Moon: A5, B2

2012: Alternate Versions From Either/Or EP: A6

2019: Dancing On The Highway (bootleg): B4

2021: Fritz Michaud's New Moon: A4, B7

Side One (22:52) (GD) (M)

Side Two (22:20) (GD) (M)

You might also like to listen to my previous Elliott Smith selection, What I Used To Be Will Pass Away

Okay, Who Forgot The Factor 50?

Friday's fitness workout courtesy of Janet Planet and Reggie Goodchild of Confidence Man.

Sugar Bones remains sat on his arse and Clarence McGuffie is presumably in the driver's seat, keeping the sound system going.

As for the song? Young London is could have been released on Deconstruction in 1993, with an epic remix by Fabio Paras on the flip side. 

In other words, a bangin' tune. Turn it up!

Three At Three For Free

SWC, who produces the essential and inspirational No Badger Required music blog, has just wrapped up the Rocks Greatest Number countdown. I was once again privileged to be a voting member of the Musical Jury.

These events are huge fun to participate in and a compelling read, and it's always a thrill to see where your votes land in the final ranking. This one in particular also provided moments of perfect symmetry. For example, placed at #3 were Fun Boy Three.

Not bad for a band that 'only' released two albums and a clutch of singles between 1981 and 1983. But timing is everything and Fun Boy Three arrived at just the right time for this particular music lover.

Fun Boy Three was my band, inasmuch as the other kids at primary school had turned up in their Harrington jackets and buzz cuts, into all things 2-Tone, not least The Specials. But I don't remember anyone else being the first to talk about Fun Boy Three. 

Terry Hall, Lynval Golding and Neville Staple. One moody as hell, barely moving yet effortlessly cool. The other two looking for the rhythm and the good time in everything around them.

Not easy, when Fun Boy Three lyrics spanned The Troubles and childhood sexual abuse. A lot of that was completely over my head as a 10 going on 11 year old. Yet, their music, their friendship, their appearance all affected me deeply. 

Waiting was their second and final album, but the first FB3 album that I owned (on cassette) and it's hard to know how they could have followed (or bettered) it, to be honest. 

Fun Boy Three were a brief but perfectly formed moment in music.

I've picked three videos for today's post: their astonishing debut from 1981 (and worryingly relevant today), followed by the first 12" single of theirs that I bought, and finally a seasonal cover of a George Gershwin, Ira Gershwin and DuBose Heyward classic, originally recorded in 1935 which Fun Boy Three absolutely made their own in 1982.