A Million Different People In Here

Side 1 of an cassette compilation, recorded 27th December 1997.

An end of year 'best of' with an opening song from Björk that had charted less than a fortnight previously. 

Bachelorette is an astounding song in it's original form, and the list of artists brought in to remix the single included RZA from Wu-Tang Clan. He doesn't mess with it too much, mainly a switch of beats, but it makes a big difference.

I've included the UK chart peaks for each of the singles here, which in turn highlights how many of them actually failed to crack the Top 100! 

Smoking Pot by Wubble-U is no surprise as the BBC no doubt slapped a discreet airplay on it due to it's title and sampled refrain of "Why are you children smoking pot?" Lionrock and The Aloof were robbed, though.

This was the era of multi-format CD singles and offers to buy all two (or three, in some cases) for a bargain price in order to secure that all-important chart placing. Therefore, quite a few here found that the single crashed in on the first week, and disappeared without trace by the second.

Only two Top 10s, the first from James with a more commercial punt at pop, produced by Stephen Hague, following a couple of more experimental albums with Brian Eno. 

The second was far more radical: Tori Amos' song Professional Widow was put through the garage grinder by Armand Van Helden, released as a single, and gave Tori her first #1 in the UK. The remix is of it's time admittedly, but it's still a thrilling listen.

Also thrilling, though for different reasons, were Gold Blade, fronted by John Robb (belated happy 65th birthday for 4th May!). I saw Gold Blade play a gig in the super cosy upstairs room at The Louisiana in Bristol in November 1996 and they were just brilliant, full oif energy and Robb resplendent in lamé and quiff.

As a nod to the excellent series at The Vinyl Villain, Edwyn Collins released The Magic Piper (Of Love), a one-off single that incredibly - and delightfully - found itself playing over the closing credits of smash hit movie Austin Powers: International Man Of Mystery. You can read JC's thoughts on the single here.

It may be a little while before I get around to Side 2, though the mixtape's title gives a clue to one of the songs. Can you guess any of the other eleven?

1) Bachelorette (RZA Remix): Björk (Bachelorette EP) (#21, 14 December 1997)

2) She's A Star (Album Version): James (Whiplash) (#9, 27 April 1997)

3) Professional Widow (Armand's Star Trunk Funkin' Mix - Radio Edit): Tori Amos (Professional Widow EP) (#1, 12 January 1997)

4) Pussycat (Rosetta Stone Mix By Porl King & Karl North): Mulu (Pussycat EP) (#50, 27 July 1997)

5) Sinking (Radio Edit): The Aloof (Sinking EP) (#n/a, 01 June 1997)

6) Sand (Album Version) (Cover of Lee Hazlewood): OP8 ft. the ilk of Lisa Germano (Slush) (#n/a, 12 January 1997)

7) The Magic Piper (Of Love) (Edit): Edwyn Collins (The Magic Piper (Of Love) EP) (#32, 27 July 1997)

8) Not Even Jesus (Album Version): Gold Blade (Hometurf) (#86, 22 June 1997)

9) Angels Go Bald :Too (Original Mix (Edit)): Howie B. (Angels Go Bald :Too EP) (#36, 13 July 1997)

10) Smoking Pot (Original Mix): Wubble-U (Smoking Pot EP) (#n/a, 27 July 1997)

11) Wet Roads Glisten (Radio Edit): Lionrock (Wet Roads Glisten EP) (#80, 18 May 1997)

Side One (46:00) (GD) (M)

Culture Clash

Listening again to Monkey Mafia's dub-infused cover of Creedence Clearwater Revival at the weekend, go me thinking about another of Jon Carter's excursions into Jamaican culture.

This in turn prompted a delve into the archives of my old blog, and an album review from 11th February 2007, namely Two Culture Clash, an intriguing compilation first issued 23rd August 2004. 

What did my younger self think of it? Over to, er, me.

This Wall Of Sound release purports to be an innovative creative pairing of electronic music producers with (predominantly Jamaican) reggae/dancehall greats. The sleeve notes even go so far as to sniffily dismiss other efforts as a “half-baked, ham-fisted assemblage of dancehall vocals grafted onto electronic beats in a studio on the other side of the Atlantic”. 

So, has bringing the producers to Jamaica and locking them in a studio with the island’s “lyrical wordsmiths” produced the “unprecedented” success that writer David Katz clearly believes it is? Well, of course not. 

There are some undeniably great moments on this album, but be under no illusion that Two Culture Clash has resulted in something completely new. Instead, the producers seem to have moulded their sound to complement the performers, most of whom dish out the lyrical clichés that both characterise and damn the musical genre. 

If you can accept that this won’t be the earth-shattering, life-changing album that the hype suggests, then you can settle back and enjoy nearly an hour’s worth of good music. 

How Do You Love? is a deliberate shot at the charts, with Jon Carter bringing out the best in vocalists Patra (who guested on his Monkey Mafia single Work Mi Body) and Danny English*.

The two Jacques Lu Cont tracks - …And Dance and Na Na Na Na – are perhaps the album’s dancefloor highlights, with a minimal, pulsing beats that prove impossible to resist. General Degree provides vocals on both, but the addition of Ce’Cile on the latter is like a pumped up version of Cookies by Ciara. 

It should be no suprise that Roni Size doesn’t disappoint on Knock Knock, a muscular rhythm suiting Spragga Benz’s rough monotone delivery, whilst West London Deep’s Rudie No! featuring Big Youth comes on like The Specials in space. 

There are inevitably a couple of disappointments. Kid606 seems uncharacteristically restrained on This Anuh Rampin’ and it’s left to Switch on the subsequent Love Guide (featuring Ms. Thing) to take the sound in an abstract direction that the Kid is usually more than capable of. 

Phillipe Zdar (Cassius/Motorbass) injects Get Crazy with an infectious, pulsating rhythm, let down only by Innocent Kru’s tired (and tiresome) lyrics. But these are small gripes. 

Elsewhere, Howie B. and Horace Andy team up for Fly High, a dub extravaganza that is arguably the best song that Massive Attack never recorded, whilst Justin Robertson’s retro dancehall ballad Save Me closes the album. 

Showcasing a vocal from Nadine Sutherland and Ernie Ranglin, Save Me is guaranteed to send a shiver down your spine… and get you skanking uncontrollably. 

As long as you skip the sleeve notes' hyperbole , then Two Culture Clash is a great album. It's not as ground breaking as it's instigators think it is, but it is worth more than a casual listen.

As a 2025 footnote, I recall buying this CD via eBay for a few quid, as part of my quest to plug gaps in my collection of Justin Robertson's music (which I'm still trying - and failing - to do today). A look on Discogs reveals that you can still easily pick up a copy for less than a fiver, postage included.

* I was sad to discover when creating the artist links that Danny English aka Donald Cox died on 23rd January this year, aged just 54. 

All That's Written Is Not So

Sixty-two minutes of Horace Andy for your listening pleasure, proof if needed that I don't need a birth, marriage or untimely passing to celebrate a great artist.

Horace Keith Hinds turned 74 in February and is as vital as ever, not least a stunning live performance with Massive Attack at last year's ACT 1.5 event in Bristol and a brace of Adrian Sherwood-produced albums, Midnight Rockets and Midnight Scorchers.

It was Massive Attack's Blue Lines album that was my proper introduction to Horace Andy's music, and I've been trying to keep pace since, with his extensive back catalogue and prolific contemporary recordings.

This 14-song can't hope to be comprehensive, and leans heavily on collaborations from this century, though it easily demonstrates how consistently brilliant Horace has been throughout his career and why he's considered a giant in the genre.

1) Control Yourself (Single Version By Horace Hinds): Horace Andy (1978)

2) Careful (Album Version By Adrian Sherwood): Horace Andy (2022)

3) Money Money (Remix By Tad A. Dawkins & Sylvan Morris): Horace Andy (1980)

4) (Exchange) (Version): Massive Attack ft. Horace Andy (1998)

5) Just Say Who (Gaudi Rootikal Remix By Daniele Gaudi): Almamegretta ft. Horace Andy (2008)

6) Babylon You Lose: Horace Andy & Ashley Beedle (2008)

7) Airbag (Cover of Radiohead): Easy Star All-Stars ft. Horace Andy (2006)

8) If I (Album Version By Horace Hinds & Everton Da Silva): Horace Andy (1977)

9) Papa Was A Rolling Stone (Album Version By Mad Professor) (Cover of The Temptations): Horace Andy (1997)

10) Girl I Love You (Album Version): Massive Attack ft. Horace Andy (2010)

11) Fly High (Album Version By Howie B.): Two Culture Clash ft. Howie B. & Horace Andy (2004)

12) Skylarking (Album Version): Horace Andy + Sly & Robbie (2006)

13) Racing Away (Album Version By Duncan Bridgeman & Jamie Catto): 1 Giant Leap ft. Grant Lee Phillips & Horace Andy (2002)

14) Hymn Of The Big Wheel (Album Version By Massive Attack & Jonny Dollar): Massive Attack ft. Horace Andy, Mikey General & Neneh Cherry (1991)

1977: In The Light: 8

1980: Showcase: 3

1991: Blue Lines: 14

1997: Good Vibes: 1

1997: Roots And Branches: 9

1998: Mezzanine: 4

2001: 1 Giant Leap: 13

2004: Two Culture Clash: 11

2006: Livin' It Up: 12

2006: Radiodread: 7

2008: Inspiration Information: 6

2008: Vulgus: 5

2010: Heligoland: 10

2022: Midnight Rocker: 2

All That's Written Is Not So (1:02:39) (KF) (Mega)

Bass, The Final Frontier

Celebrating Robbie Shakespeare, 27th September 1953 to 8th December 2021.

I read the sad news little more than an hour before posting this, so today's selection is particularly on the fly and, like Lee 'Scratch' Perry and Richard H. Kirk previously, how do you begin to do justice to an artist whose contribution to music has been so vast, so far reaching?

I couldn't avoid including some of the obvious choices that will have been popping up all over the internet in the wake of his passing, but I've tried to include some less well-known pieces, whether as Sly & Robbie, providing essential bass to iconic songs or at the controls, producing and remixing. If Robbie Shakespeare had 'only' been a bass player, he would still be a legend. His impact on my musical education and the sheer joy of hearing him in perfect harmony with Sly Dunbar gets me every time.

 

1) Legalise The Dub: Sly & Robbie Meet Bunny Lee (2002)

2) Fu-Gee-La (Sly & Robbie Mix): Fugees (1996)

3) Dub The Government: Sly & Robbie (1997)

4) Sound Man Style (Prince Jammy Presents Uhuru In Dub With Sly & Robbie): Black Uhuru (1982)

5) Night Nurse (Sly & Robbie Dub Mix): Sly & Robbie ft. Simply Red (1997)

6) Aux Armes Et Cætera: Serge Gainsbourg ft. Sly & Robbie, Ansel Collins & The I Threes (1979)

7) Private Life (Long Version By Chris Blackwell & Alex Sadkin) (Cover of The Pretenders): Grace Jones ft. Sly & Robbie (1980)

8) Superthruster (Album Version): Sly & Robbie & Howie B. (1999)

9) Spasticus Autisticus (12" Version): Ian Dury ft. Sly & Robbie (1981)

10) Ruined In A Day (Rhythm Twins Dub By Sly & Robbie): New Order (1993)

11) Mop Head: Sly & The Revolutionaries (1977)

12) Strange Turn: Adrian Sherwood ft. Sly & Robbie (2003)

13) Getting Hot (Original 12" Version By Steven Stanley): Gwen Guthrie ft. Sly & Robbie (1983)

14) Boops (Here To Go) (Vocal 12" Version By Bill Laswell): Sly & Robbie ft. Shinehead & Bootsy Collins (1987)

 

1977: Go Deh Wid Riddim: 11

1979: Aux Armes Et Cætera: 6 

1980: Warm Leatherette: 7

1981: Spasticus Autisticus EP: 9

1982: Uhuru In Dub: 4 

1983: Padlock EP: 13 

1987: Boops (Here To Go) EP: 14

1993: Ruined In A Day EP: 10

1996: The Score: 2

1997: Dub Rocker's Delight: 3 

1997: Night Nurse EP: 5

1999: Drum & Bass Strip To The Bone By Howie B.: 8

2002: Sly & Robbie Meet Bunny Lee At Dub Station: 1 

2003: Never Trust A Hippy: 12

 

Bass, The Final Frontier (1:00:39) (GD) (M)