The production on this LP is stellar. Doug Wimbish on the bass and bass-synthesizers; Keith LeBlank on the drums; synth & drum machine programming by Jack Waldman, Clifton Chase and Craig Peyton; background vocals by Divine; there’s even a five-member horn section; and the list goes on. One of the tracks is even produced by Malcolm McLaren (“Hey DJ“).
I decided to post Misery because of how it sounds. Nice keyboard layers. It’s an emotional track produced by Bradshaw Leigh. Even though the title of this track may seem like a downer, but in fact the track is very powerful, uplifting and inspirational in the positive direction.
I used to walk around Toronto and London a lot back in the day while listening to Misery on my walkman. The track’s powerful note and chord progressions served as the driving soundtrack to the vivid visuals which I’ve imagined/created in my head, going through my own kind of transcendental and meditational real-life montage. If I remember correctly, there were few images of beautiful faces from pretty women going through my mind, like a music video in slow motion. Heh, I was only 15 years old!
World’s Famous Supreme Team – “Misery”…
Artist: World’s Famous Supreme Team
Title: Misery
Year: 1986
Label: Charisma Records
Media Source: Recorded straight from 12-inch record to enhanced digital.
World’s Famous Supreme Team – “Misery” (mp3)
Doug Wimbish (featuring Fats Comet)…
Previously blogged about Doug Wimbish on September 18, 2009 (click here to read)
Title: Don’t Forget That Beat
Year: 1985
Genre: Electronic Funk Drumbeat Industrial
Comment: Doug Wimbish is one bad-ass bassist. He collaborated with Fats Comet on this track. Both are from the UK. Their sound is like Art Of Noise meets Africa Bambaattaa meets Ministry (of 1985 sound).
Doug Wimbish [featuring Fats Comet] – Don’t Forget That Beat (mp3)
While the norm for most tracks go anywhere between 3:30 to 6:00 minutes in length, I prefer 15:00 minutes or longer, like the four seasons. Give me 4 long tracks to fill the hour, and I’ll be one very happy Iraqi. I love tracks that take me on long journeys through various movements. One of my all-time favorite synth-pop groups is PROPAGANDA from germany … who sound like twisted ABBA + Industrial + TechnoPop + Darkness. My favorite Proganda track is P:Machinery. I’ve taken two 12-inch vinyl versions of that track and conjoined them together as one … the way I want to listen to P:Machinery by:
Propaganda
Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day.
Man Parrish
What made Trevor Horn’s productions stand out was his unique and genius production techniques and the heavy use of state-of-the-art pro-audio gear, which made him become the torch-bearer for the kind of technology-led pop music which was hip and incredibly disciplined. Trevor Horn’s 12-inch remixes were uniquely long (anywhere from 8 to 13 minutes in duration) and told stories which took the listeners through long instrumental journeys at the begenning of tracks until the climax is reached (around the 5/6 or 7 minute mark). After the climax, the original or alternate full vocal version of the track takes over from that point on to the end, lasting additional 3.5 to 5 minutes in length.
Frankie Goes To Hollywood
Trevor Horn is the guy who produced and performed “
The Buggles
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