Cultural Vibe was created by Winston Jones in the mid 80′s. Its track Ma Foom Bey [watch video below] was one of the biggest and most successful dance track back in 1986. To this day, Ma Foom Bey is still getting played and continuing to stand the test of time. And I do love that track. However, I also really do love Cultural Vibe’s other track Mind Games just as much. Mind Games was also released in 1986 but failed to see any success, overshadowed obscurely by Ma Foom Bey‘s ongoing success and popularity. Ma Foom Bey was purely a legit tribal/house track for the dance-floor. But Mind Games was a deep/house, electronic and emotional VOCAL dance track for the music-listener. Fantastic rare gem with overall good & clean production with some raw dirt in there, although not as filthy as Ma Foom Bey. Melodic bassline, synth stabs and echoey/delayed synth marimba-ish chops. Slightly minimal but hardly crowded nor drowned with a lot of layers. Solid beats from a Roland TR-707 drum machine.
On side-B of this 12″ particular single of mine is Mind Games (Zans Games) which was later re-titled to Mind Games (Dub Games), thus both of them being and sounding exactly the same as each other.
Cultural Vibe – “Mind Games” (Club Vocal)…
Artist: Cultural Vibe Title: Mind Games (Club Vocal) Year: 1986 Label: Easy Street Records Media Source: Recorded straight from 12-inch record to enhanced digital.
I have decided to record digitally my entire StreetSoundsElectro compilation series.
I will record every single StreetSounds vinyl of mine into Protools, with as much digital restorations as possible and widened stereo-field. I do believe that I make the best vinyl-rips than most music collectors and bloggers out there. My 30+ years experience in pro-audio says so!
As I’ve stated in my previous StreetSounds article over a year ago, Electro since the early 80′s was electric funk and hip-hop music, mainly for break-dancing, bee-bopping, and body-popping. In my opinion, the word electro today has been hijacked in the form of 4/4 dance music and not anywhere near its true roots.
THEREFORE, STAY TUNED FOR DAILY POSTING OF EACH ELECTRO MIX.
Streetsounds was part of the UK Streetwave stable of labels created by Morgan Khan. A Hong Kong-born Indian who grew up in London, Khan had worked in the UK record industry since the mid 1970′s, working for such names as PRT Distribution (a division of Pye Records) and R&B Records, for whom at the time Imagination were the up and coming stars of the day.
Khan founded the independent Streetwave record label during 1981 to specialise in releasing Electro and Hi-NRG releases. Within a year of creation, Streetwave began the StreetSounds series of albums; compilations created from some of the hottest 12″ imports of the day. These releases made available a selection of the most contemporary dance floor hits within the financial reach of those wanting to hear the freshest sounds. In the early 80′s a 12″ single was priced around £2 and you would pay over £4 for an import 12″. The Streetsounds series offered usually 8 to 12 full-length 12″ mixes for under a fiver. Understandably, the Streetsounds series was met with considerable enthusiasm and, some might say, mighty relief.
This series would run for over 6 years and contain over 50 albums. By far the most coveted of the Streetsounds releases were the Electro series. These albums introduced the UK to the developing hip-hop scene from America – a stroke of genius that brought electro and early hip hop from the underground to the UK high street and, one could argue, helped in the creation of the UK’s hip hop scene.
The Electro series ran for a total of 27 albums (and one box set) from 1982 to 1988. The albums were initially labeled StreetSounds Electro with the title morphing into StreetSounds Hip Hop after release 12 in 1986.
All of the albums were competently mixed by a series of the best remixers of the day – predominately from the UK. A large proportion of the mixes on the early releases were completed by a London-based hip-hop sound system from the early 80s. Headed by “Herbie The Mastermind” (aka Herbie Laidley) the team also featured Kiss FM radio DJ’s Dave VJ and Max LX who were also members of UK electro outfit Hard Rock Soul Movement, responsible for the massive “Double Def Fresh” release.
My digital recording process & audio quality of vinyl records are top-notch …
click each image above to enlarge
Old video: recording session ripping vinyls Electro-6, 7, and 9…
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:
Digitizing them into Protools; Spending two long months cleaning them up; Getting rid of every single scratch/pop/click; Restoring deteriorated sounds through various RE-SYNTHESIS processes and techniques; Splicing the tracks to separate clips; Re-arranging and layering clips to my taste; Throwing in my own synth-stabs, chops and other minor subtleties; Adding & automating series of chained top-notch effects throughout the mix, utilizing parameters some of you could not even pronounce ... thus resulting with more dynamic and reverberated DEPTH to the mix; Fattening the bottom-end; Widening overall stereo perception; and Mixing, engineering and mastering my version of P:Machinery the way I think it's supposed to be heard.
To my taste, P:Machinery sounds better than 'sick' ... more like master piece of shit which blasts sonically across the stereo-field ... not one element standing still but constantly moving all over the place.
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 Boogie Down Bronx (dub version) PLAY TRACK
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 Relax (12 inch Sex Mix) PLAY TRACK
Trevor Horn is the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles. In 1980, the Buggles’ duo Geoffrey Downes (keyboards) and Trevor Horn (vocals) — who were coming off an international success with their new-wave album The Age of Plastic – to help out on a new YES album. Downes suddenly left Buggles when Trevor learned that YES’ keyboardist Rick Wakeman was leaving the band, and therefore snatched him as well as lead-vocalist Jon Anderson to work on the next Buggles album Adventures In Modern Recording. The Buggle’s second album was completed in 1981 but was never released or charted. The album was a gem masterpiece.
The Buggles I Am A Camera (12 inch version) PLAY TRACK
With more than half of 2015 behind us, it’s time for the latest Ones To Watch. This feature takes a look at the most blogged artists of the year so far and identifies the names newest to the set—the ones who made their biggest splash in recent months…the ones to keep an eye on. We […]
Hype Machine’s been tracking music discussed on blogs since 2005, bubbling up the most popular tracks of the moment in our Popular charts. We monitor what the Hype Machine community is favoriting, which artists are being posted most frequently, and what’s getting tweeted. But there was one part of the music landscape we hadn’t been […]
We’ve been fans of Snapchat forever (I think since early 2013?). We love the room for play that the platform creates, and have been thinking about how to apply the same playful approach to music. It’s a big question, but for now we’ve made an account: ‘hypem‘, and this weekend, Dave will share a few […]
A few years have passed since I’ve written about our approach to Hype Machine’s Popular charts. Since that post, we’ve prevented hundreds of artists and marketing teams from gaining an unfair advantage on our site. It’s disappointing, but it comes with the territory of maintaining a music chart that remains closely watched six years later. […]
That’s right, some of you have been finding new music with Hype Machine for 10 years. Thanks for listening, and for being so curious. I also can’t thank the people who have built Hype Machine with me over the past ten years–their creativity, commitment and patience are outstanding. There is a lot to say about this […]
We’re back with five more days of blogger-curated showcases, celebrating 10 years of Hype Machine! (Though it’s only our seventh SXSW.) Each year, Hype Hotel, presented by Feed The Beat, brings the Hype Machine experience to life with lineups of the best new artists being discussed on music blogs. 2015’s excellent day and night shows […]
2015 opened on a vibrant note at Austin-based creative space, The Museum of Human Achievement. The 3rd installment of Living Spaces, Portals’ traveling showcase series, featured sets from JUBILEE, Ellie Herring, Holly Waxwing, and Wez, with an installation by artist Beth Link. We’re thrilled, as always, to have supported it. Piece together (or relive) the [… […]
Our 7th annual Zeitgeist! In our roundup of the best music of 2014, we have: An Album for Every Moment: We asked musicians, music bloggers, and friends to recommend a perfect album for every moment of the year. Use this guide to find albums you may have missed or make a new connection with something […]
Living Spaces is a traveling showcase series organized by our friends at Portals. Their next destination is Austin, on New Year’s Eve. We’re once again happy to be supporting the event, as the first two, in Brooklyn (pictured above) and Baltimore, were exceptional. In their words, what it’s all about: “Reaching out to old and […]
We’ve restocked our Merch shop with new tees. They feature a soft print of our logo bubble, and feel very nice. Get one! All of our t-shirts are silkscreened by Paul and Mookie at City Dog Screen Printing in NYC. Most of the screens have been reclaimed, but 1 or 2 of the old designs […]
We've covered a lot of post-disco electro funk material here at Beat Electric, here's a little throwback with a more traditional straight ahead disco sound. This beautiful Canadian cut was included in a Trocadero Transfer mix we posted a while back. A friend of mine gave me this 12" around December and its haunting infectious sound has found […]
Happy New Year Beat Electricians! This is one of those highly unknown, un-googleable tracks that blows minds on the dance floor. I really did try locating some info on this boogie beast but it is mysterious! All I can say is that it was made in 1986 somewhere in the U.K. Anyway, I really like the lyrics to this track plus I have listened to the song a millio […]
Nothing to cure the Funkmosphere hangover blues like a new post. Firstly, just want to give one more shout out to Dam Funk and all of the Funkmosphere residents (Billy Goods,Laroj,Matt Respect, Ron aka Randy Watson, and Eddy Funkster) for keeping the funk strong in Los Angeles. I really says something to the quality of the night when they can stay strong for […]
This "torrential" downpour in Southern California has provided a great setting for trying to dig up some deets on Nathan McKinney and Desert Bone Records. Apparently, the info for this artist is pretty scarce, most of my search results are Youtube videos with "hynas" on cars and comments full of homies proclaiming how this is a "fir […]
Just wanted to second a couple of other comments on your site and say that yours is by far one of the best music resources I've found. A similar but now sadly defunct site called Retro Wonderland came a close second! Keep up the good work. All the best."
And all the best to you too, Elliot, for your lovely feedback you've emailed me :)
From: Yaron Sarel
"...just discovered your site, and I wanted to tell you that you make me one happy Israeli guy. I work as a sound engineer, living in Tel Aviv, and I love the 80's. In fact, two good friends of mine and myself formed an oriented-80's synth band. After years of playing rock, for some reason I have never imagined I would be playing this kind of music. I used to listen to as a kid (before I discovered the electric guitar). Your work brings back to life this music i miss and love so much. Thank you sir!"
And thank you, Yaron, for your lovely feedback.
Mp3's on this site are for sampling and promotional purposes only and will only. Most of the mp3 tracks on this blog/site are remixes, extended and limited versions which are deleted, no longer available for purchase and would not be heard otherwise. However, please support these artists. If you are one of these artists and would like your music removed from this site, please notify me, and I will endeavor to remove them as soon as possible.