It still boggles my mind how anyone could dislike this track even considering how overplayed its been over the years. Its got a killer bassline, drenched in Reggae tuned riffs and Layton’s vocals over the top just destroy any opposition anyone could have to this track. If your head isnt nodding from the get go, there has to be something wrong with your soul man.
Its one of those tracks that has really never fallen out of favour with me. From the second I hear Johnny Dynells “Tank Fly, Boss Walk” sample at the beginning, I have a massive grin on my face. Stick with the 12″ mix, the radio edit just isnt long enough. Hard to believe this track came out 24 years ago last week…
Written by Norman Cook aka. Fatboy Slim, Jimmy Jam and Terry Lewis, “Dub Be Good to Me” was the sole number one single for Cook’s genre-hopping outfit Beats International.
The track started out as an instrumental with the title “The Invasion of the Estate Agents”. While also included as the B-side to this single, it originally appeared as the B-side to Norman Cook’s 1989 single “For Spacious Lies”. This instrumental track is heavily based on the bassline from The Clash’s “Guns of Brixton” with a sample of the distinctive “harmonica” theme from the epic western film Once Upon a Time in the West, written by Ennio Morricone. This instrumental, in slightly remixed form, had vocals added from The SOS Band’s “Just Be Good to Me” (as re-recorded by Lindy Layton) to form “Dub Be Good To Me”. The track also features the distinctive vocals of David John-Baptiste, more commonly known as DJ Deejay or just DJ. The opening and closing line “tank fly boss walk jam nitty gritty you’re listening to the boy from the big bad city, this is jam hot, this is jam hot” was from Johnny Dynell’s 1983 hit “Jam Hot” and became an instant classic and was repeated often, being used as the most common reference to the song. The song was a massive hit, spending four weeks at number one on the UK Singles Chart in February 1990. It was the seventh best-selling single of 1990 in the UK. In the U.S., the song reached #1 on the Billboard Hot Dance Club Play chart and #76 on the Billboard Hot 100.
Keeping on the Nas flavour but mashing it together with one of the seminal James Brown cuts was a masterstroke of genius. The Boss from James Brown being not just one of the best from the Godfather but also one of the best Funk Soul tracks of all time. Nas’ lyrics fit into this badboy like butter, completely flawless. Full respect to the YouTube guy, ESyms, this is amazing.
Now this is what im talking about. A remix with big chunks of soul and funk and a healthy slab of reggae styled percussion. Not much not to love about this one, Nas laying down the exceptional lyrics from one of my favourite tracks of his and layered on top of some slickly produced post-modern soul. Beats for your feet never had a truer meaning wouldnt you say!
Only available as far as I know on various Hospital Records compilation which is a shame because a crackin’ little rolling tune. Definately harking back to early Hospital Records vibes with a nice slab of sweeping basslines and twinkly synths. It’ll not win any awards for innovation but give it a listen, I guarantee you’ll be rocking by the end of it.
Differing significantly from what would become Ramos, Supreme & The Sunset Regime’s seminal “You Gotta Believe”, this version by onle one of that triplet I believe actually predated its better known brother by a number of months. It was featured on the excellent Twice as Nice compilation from Fantazia and is far more a snapshot of what was happening late 1992 than what came about in the early months of 1993. Its a balls to the wall hardcore monster with huge pianos and phasered to fuck ravey synth sections all mashed together with that superb female vocal guaranteed to have you swinging from the rafters.
You can now buy this on Vinyl for the first time since release as Fantazia records have started to release their Album only classics as standalone vinyl EP’s.
Fantazia Sampler EP 3;
Following on from Fantazia’s Sampler EP #1 (1992) and Sampler EP #2 (2005) which feature tracks from the album ‘The First Taste’, this EP features 4 tracks from all three of Fantazia’s hardcore albums released between 1992 and 1994 – ‘The First Taste’, ‘Twice As Nice’, and ‘Made in Heaven’. Tracks A2, B1 and B2 have never been released unmixed or on vinyl before. Track A1 was originally released on the Chromatic II EP which is hard to find and sells for a decent amount.
A truly superb reworking of the main theme from Clint Mansells Requiem for a Dream soundtrack. It evokes a pretty good chunk of Hybrid’s Theme from Wide Angle but with the strings from the soundtrack. Nothing at all wrong with that statement, this is a perfect snapshot of the turn of the millenium in dance music. The surge in breakbeat lead dance music tracks, huge sweeping synth arangements and soaring strings. Whats not to love!
YEAH. An absolute banger from UK Hip Hop outfit, Hardnoise. Demonstrating everything that was absolutely magical about early 90′s UK Hip Hop in just one song. Kick your Wednesday in the face with this, it deserves it.
DJ Son, DJ Nyce ‘D’. and T.L.P.1 got together to form Hardnoise. Primarily a sound system, but mainly friends from school/college. At college they teamed up with DJ AJ & Gemini & put together their first track, pure destructive Power, an unreleased gem, their 1st release was ‘Untitled’ a massive underground British rap tune using the famous ‘Apache’ sample from Michael Viner’s Incredible Bongo Band like never before. Produced by DJ Son, T.L.P.1 & Mastermix, with cuts by DJ Son & the newest member to the crew: Adam Pancho AKA DJ Mada (2), this was a self financed venture which Music Of life Signed them for. The crew’s second release was the single ‘Mice In The Presence Of The Lion / Serve Tea Then Murder’. Another firing release, with the M.C’s voicing solo tracks, each track showing their own unique styles. But sadly this was their last. So as elusively as they stepped on the scene, they disappeared from the scene, but not entirely, as they all carried on with their own projects, “AJ” Is currently producing beats & regularly puts out mix tapes (‘A.J’s Planet of the Beats’), Gemini did the Bushkilla tracks & is currently in the studio working on new material. He now goes under the title “BLOODHOUND”. “DJ Son” is DJing at clubs in the London area playing a mixture of soul, funk, breaks & rap. Some of the remains teamed up to form Son Of Noise. Unfortunately no news from T.L.P.1 anymore, but there are rumours he still writes lyrics. Adam Pancho too is still representing, he runs a nice website on British Rap.
There’s a riff, that I often find myself humming. On those rare occasions when I get a quiet moment, its a good chance that this riff will be there, floating around in the background. You might even say, its a riff that haunts me. That riff is the bassline to Kraze’s “The Party”. Its so damn perfect in its execution, its as if the sequence of notes were always meant to be played next to each other in this way. Like there really is no other way for them to be woven together.
Now that might sound a bit off the wall but stick with me. This came out in 1988, I was beginning to listen to House music, moving away from the hip hop and soul I had been listening to. There’s a good chance that I probably heard this, like so many others on a John Peel show on a Sunday night. But, like a handful of other tunes, this has a riff that has just stayed with me since that day. Its so simple, so iconic that its not hard to see why its such a beloved track by so many. Sure, the vocals can grate a little but you know you have a wry smile in the corner of your mouth when you head “Y’all want this party start right? Somebody Scream!”. Its a snapshot of everything that made these dance music releases so damn brilliant. Its got a huge slab of Detroit Techno in its veins with a bucketload of NY House sass thrown in for good measure. Its a song who’s sole purpose is to make you dance. At home, at work, on the bus, in a club, in a field, at your desk. Consider my Party well and truly started.
Happy New Year folks! To celebrate the madness of working the entire holiday period, here’s one of the very best sample based tracks of the past decade. It takes some serious talent to mash this amount of completely disconnected samples together into a track that not only makes sense but is insanely catchy as well. The music video is completely off the wall but the track is a masterstroke in breakbeat lead samplage. Its a track you’ll be humming long after you first heard it.
I recently caught this on the absolutely brainmelting mix from Phloax titled Low Earth Orbit (Link is at the end of this post. But this is one of the standout tracks on there for me and its mostly because im a cheesy bastard at heart.
The track is a slow burner for starters but as the breaks and strings weave around each other you begin to hear the low but pronounced buildup of a piano. Not any piano either – if you are a crusty old raver like me then you’ll notice the pitch and arrangement sounds extremely familiar. You’ll suddenly find yourself whispering “Hugh, Pugh, Barney Magrue…” and not knowing why.
Then it’ll hit you, that piano riff is an almost exact copy of the piano break from Urban Hype’s 1991 cheeseathon, Trip To Trumpton. You’ll feel guilt and a good swathe of nostalgic glee hearing that piano sound-a-like woven into this clean and crisp breakbeat tune. What a tune it is as well!
Here is the full mix from Phloax!