Mory Kante – Yeke Yeke (Hardfloor Remix) [1994]

From late ’93 to about ’97 you likely wouldnt have heard a house set anywhere that didnt feature this classic remix from Hardfloor. It was literally everywhere, you’d be in an underground place listening to it, down your local Ritzy nightclub listening to it, in some Glam’d Up Superclub and hear it. Why? Cause its a banger of the highest order. The composition is simple as they come but crafted perfectly, with that cheeky acid line weaving in and out of the vocals while that throaty synth bubbles away in the background. It features one of the best breakdowns in dance music history, although I always felt that the drop failed to deliver on the buildups promise. That said, your arms will still be waving in the air, eyes clenched shut with a massive great grin on your face when the track comes back in. A progressive house masterpiece.

Mory Kante’s Bio
Mory Kanté (born February 24, 1950 in Kissidougou, Guinea) is an acclaimed vocalist and player of the kora harp. He was born into one of Guinea’s best known families of griot (hereditary) musicians. After being brought in the Mandinka griot tradition in Guinea, he was sent to Mali at the age of seven years – where he learned to play the kora, as well as important voice traditions, some of which are necessary to become a griot.

In 1971 Kanté became a member of the Rail Band, in which Salif Keïta was a singer. Keïta left the band in 1973, leaving Kanté as the singer.

Mory Kanté is best known internationally for his 1987 hit song “Yéké Yéké”, which was also one of Africa’s best-ever selling hits.

From Discogs
File this under “guilty listening pleasure.” OK, no serious (cough) electronic music type would be caught dead listening to a record that now seems to have all of the elements that are generally despised: the “ethnic” vocal sample (OK, at least Hardfloor were actually remixing the vocal here, instead of it being another example of Johnny Laptop going down to the World Music section of his local Best Buy and picking up “African Tribal Noises Vol. 13” and looping it in his sampler) – the acid line – and, since it’s 1995 – the obligatory big, big, oh-so-big rolling-snare-drum build up right in the center of it.

Yes, this record has 1995 written all over it – but there’s just something about it that just kicks ass. If I could only have one record in my collection that exemplified this 1995 sound, it’d be this one. One night I listened to it about ten times in a row. You get the idea!


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