Since the Egyptian protests are all over the news lately, I’ve figured why not post some of Egytpian Lover’s oldschool electro hip-hop tracks.  The very first time I’ve heard an Egyptian Lover’s track was back in 1984.  A track titled Egypt Egypt on a DJ-mixed electro/hip-hop compilation record, released by StreetSounds, called Electro-5 on side-A — which is also available on this site. The second track I’ve heard by Egyptian Lover was My House On The Nile on StreetSounds Electro-6, side-B, which is also available on this site. And the third track I’ve heard by Egyptian Lover was Girls on StreetSounds Electro-7, side-A — again, also available on this site. After being exposed to those three tracks between 1984 and 1985, that was when I’ve decided to hunt and collect  as many Egyptian Lover 12″ singles as I could find on the market.  I’ve bought several of his 12″ singles on vinyl back then from Toronto, London and New York.

The Egyptian Lover is Greg Broussard — born on August 31, 1963.  He’s an American musician, rapper, vocalist, producer and DJ from Los Angeles.  Greg Broussard was one of the first men to pioneer the hip-hop/electro sound from LA.  One of his main influences was Man Parrish’s track track Hip-Hop Be Bop (Don’t Stop) — whom I’ve also blogged about on this site — so click here to read that article.

With just a Roland TR-808 drum machine among other flagship analog synthesizers and digital samplers, Greg Broussard rocked (and still can rock) the house.

Egyptian Lover – “Egypt, Egypt” (12″ Vinyl)..

Artist: The Egyptian Lover
Title: Egypt, Egypt (12″ Vinyl)
Year: 1984
Label: Egyptian Empire Records

Egyptian Lover – “Egypt, Egypt” (12″ Vinyl) (mp3)

 

Hashmoder's "STABBING BASSLINE" Stamp Of AprovalHappy New Year!
I bless 2011 to be a great year for music and music-bloggers everywhere.

I bought this CDi single from Chicago back in 1989, when I was a freshman in college. The disc itself had a gold surface. The tracks on this CDi were exactly the same as the standard release but with the video of Headhunter included in it.

I still love all three tracks on this Front 242 CDi-single release because of their industrial-sounding stabbing basslines. All the basslines are programmed tightly with a midi sequencer. The sounds of the rolling bassline in Headhunter (at least to my ears) are processed heavily through a reverb effect. Headhunter became the band’s first club hit.  Welcome To Paradise also has industrial rolling/stabbing basslines but without vocals. Instead, the band uses make heavy-use of many voice clips and sound-bytes sampled from various American evangelists (possibly sampled from television and/or video recordings).

According to Wikipedia…
Front 242 was created in 1981 in Aarschot, near Brussels, Belgium, by Daniel Bressanutti and Dirk Bergen, who wanted to create music and graphic design using emerging electronic tools.  [Perhaps Daft Punk were influenced by such approach of Front 242's.]

Front 242 – “Headhunter” (V2.0)…

Artist: Front 242
Title: Headhunter (V2.0)
Year: 1988
Label: Wax Trax! Records

Front 242 – “Headhunter” (V2.0) (mp3)

 

Front 242 – “Welcome To Paradise” (V1.0)…

Artist: Front 242
Title: Welcome To Paradise (V1.0)
Year: 1988
Label: Wax Trax! Records

Front 242 – “Welcome To Paradise” (V1.0) (mp3)

 

Front 242 – “Headhunter” (V1.0)…

Artist: Front 242
Title: Headhunter (V1.0)
Year: 1988
Label: Wax Trax! Records

Front 242 – “Headhunter” (V1.0) (mp3)

 

Eurythmics are known mainly for a lot of their mainstream releases but not so much for what was supposed to be their first motion-picture soundtrack release –titled 1984– for a movie also with the same title.  Ok, that was a long sentence.  I’ll simplify my point: Eurythmic’s 1984 was the soundtrack for the 1984 movie which was based on George Orwell’s novel:  1984/Nineteen Eight Four. Phew!

Back in 1984, I bought the LP vinyl & cassette of Eurythmics’ 1984, as well as the 7″ and 12″ singles of Sexcrime.  This entire album is actually my very favorite of any Eurythmics’ release.  It has all the synth-pop, electronic elements with Moroder-esque basslines, drum machine polyrhythms, stuttering vocal samples, layers of synth pads, lush sound engineering & mixing, seas of processed reverb and cutting-edge dark-noir feel to it all (with a touch of pop sparkles on top).  It’s pop and SERIOUS at the same time.  Timeless.  Emotional.  Deep.  All in all, 1984 is different in style & sound from Eurythmics’ previous forte, falling somewhere between Peter Gabriel’s Birdy soundtrack and The Art Of Noise.

Play Eurythmics “1984″ LP/Soundtrack…

Eurythmics 1984 Tracks…

  • Track 01 – I Did It Just The Same  (mp3)
  • Track 02 – Sexcrime (nineteen eighty-four)  (mp3)
  • Track 03 – For The Love Of Big brother  (mp3)
  • Track 04 – Winston’s Diary  (mp3)
  • Track 05 – Greetings From A Dead Man  (mp3)
  • Track 06 – Julia  (mp3)
  • Track 07 – Doubleplusgood  (mp3)
  • Track 08 – Ministry Of Love  (mp3)
  • Track 09 – Room 101  (mp3)
  • Review of ’1984′ by DjProject…

    Review by DjProject…

    When Michael Redford set out to make a film adaptation of George Orwell’s well-known dystopia Nineteen Eighty-Four, Sir Richard Branson (Virgin was producing the film) wanted to have a pop act to contribute to the soundtrack. And so he brought onboard Eurythmics (still signed to RCA at the time). Although only a few of the cues were actually use in the theatrical cut and subsequently for laserdisc and DVD they were all but absent from the film (Eurythmics have become “unpersons” =] ), this is a fine alternative soundtrack to the work, both the novel and the film.

    If Eurythmics were known solely for their pop sensibilities, this album would demonstrate their creative talents. The thing that makes this album stand out is the way it’s able to capture the mood and spirit of the world of Oceania. The sound is very modern and accessible to today but there’s a unsettling trait running through the album that compliments a future run by the principles of Ingsoc. Perhaps the best example in this album is “Greetings from a Dead Man.” The percussion makes it very dance-like yet the organ/synth sounds and Anne Lennox’s vocalizing give it a dark quality. This could very well be the first cyberpunk soundtrack =].

    This is perhaps why Michael Redford disliked it so much. He was much in favor with Dominic Muldowney’s orchestral score. While Muldowney’s score is a good traditional film score and points to Orwell’s inspiration (the music is very “social realist” and would fit well with a socialist/communist band’s repertoire), it does very little to really explore and solidify the dark mood of the film. For an example, “I Did It Just the Same” was used (albeit in a slightly different form on the film) when Winston was recounting his encounter with prole prostitute. The rhythm track, the striptease-like synth bass and the other electronic oddities (Anne’s vocalizations were not on the film cue) help to amplify the sexuality in the scene, a verboten idea in the world of “1984.” Muldowney’s score just doesn’t cut it (pun intended).

    While most Eurythmics fans would consider this a curiosity, I think it helps them to be seen as artists in their own right rather than just a pop group who happened to be at the right place at the right time. As for its failed use in the film, all I can say that I’m sorry that Michael Redford failed to see what this soundtrack could have done for the film.

    Hashmoder's "STABBING BASSLINE" Stamp Of AprovalThis track was released in 1989 — the year when CD singles exploded into the market. Being a fan of Man 2 Man’s 1986 Male Stripper track, Action simply succeeded Male Stripper in some ways. The bassline alone is New York’s best, kicking you hard in the chest with a heavy thud. It pounds you in repeated-steps. Watch out, baby!

    Man 2 Man were two brothers: Paul Zone and Miki Zone. After Miki’s death, Paul changed the name of Man To Man. The following information is taken from Paul Zone’s MySpace page…

    Brothers Paul Zone, Miki Zone & Armand Zone formed The Fast in the mid 70s somewhere between glam & punk and soon became an integral part of the Max’s/CBGB scene along side Blondie & The Ramones with their blend of power pop & garage punk. As Man 2 Man, Paul & Miki went on to composed, produced & perform songs that would come to define an era in 80s Euro dance/pop and their club sensation “Male Stripper” became a 1 pop hit throughout Europe, Austalia, South America & Mexico.

    In 1983 they recorded a few tracks with the first Fast producer Bobby Orlando (one being an early version of Male Stripper) and got bookings in bigger dance clubs like The Fun House, Limelight & The Saint in New York City and at Heaven in London. At this time they started calling themselves Man 2 Man, recorded self produced 12inch dance singles and would have popular chart topping club hits world wide by 1985. They continued as a live act, touring alongside Sylvester & Divine in clubs and venues holding up to 5000 people in the UK, South America & Mexico. A self produced, re-recording of Male Stripper was released as a b-side in 1986 and DJ’s around the world fliped the record over and it shot to number 1 on the dance charts. In March of 1987 Male Stripper went on to become a break out, cross over number 1 pop hit and landed them on the most important music TV show in Europe, “Top Of The Pops” in England. Man 2 Man singles “Male Stripper”, “I Need A Man”, “Energy Is Eurobeat”, “Who Knows What Evil?” & “These Boots Are Made For Walkin” all hit the pop charts in the UK and “At The Gym” became a hit in France with help from Village People producer Jaques Morali. Man 2 Man toured the World for the remainder of the 80s and retired in 1990 and haven’t released new recordings or performed live since.

    Man 2 Man – “Action” (Dance Floor Action)…

    Artist: Man 2 Man
    Title: Action (Dance Floor Action)
    Year: 1989
    Label: ZYX Records

    Man 2 Man – “Action” (Dance Floor Action) (mp3)

     

    Wuf Ticket – “The Key” (Dub 12-inch)

    Hashmoder's "STABBING BASSLINE" Stamp Of AprovalArtist: Wuf Ticket
    Title: The Key (Dub 12-inch)
    Year: 1983
    Genre: Super Bad-Ass Electric Dance Funk Bassline, Vocoder, Synth & bassline Stabbin’

    Wuf Ticket – “The Key” (Dub 12-inch) (mp3)

     

    Daft Punk and Alan Braxe have sampled this track’s SLAPPING CLAPS, stabbing bassline and overall butt-whomping beats many times in the past. That is all I’m going to say!

    D-Train – “You’re The One For Me” (Vocal 12″)…

    Hashmoder's "STABBING BASSLINE" Stamp Of Aproval
    Artist: D-Train
    Title: You’re The One For Me (Vocal 12-inch)
    Year: 1981
    Genre: Bad-Ass Dance Electric Funk, Bassline Punching, Synth-Stabbing, Slapping Claps

    D-Train – “You’re The One For Me” (Vocal 12-inch) (mp3)

     

    Hashmoder's "STABBING BASSLINE" Stamp Of AprovalOH MY GOD were the first words to come out of my mouth immediately when this track started.  And that was back in 1983.  Combination Mix of Get The Balance Right starts right off the bat with a punchy & crunchy bassline, stabbing your face repeatedly with hot & fat analog synth bassline in 16th-note sequencer-steps.  This track is nice and long with minimal (almost dub-instrusmental) passages, balanced in every way: Bassline intro, music build-up, lyrical verses, vocal choruses, instrumental/dub passages, and a driving energy that grooves all the way to the outro/ending.  After all these years, this track still remains not being stupid but forever  SERIOUS!

    Get The Balance Right is ultimate for listening-purposes and dancing your way back to the early New Wave synth-energized 80′s underground dance scene at some geezer’s bass’ment by time-traveling inside a Ford Cortina Mark 5.

    Depeche Mode – “Get The Balance Right” (Combination Mix)…

    Artist: Depeche Mode
    Title: Get The Balance Right (Combination Mix)
    Year: 1983
    Label: Mute Records

    Depeche Mode – “Get The Balance Right” (Combination Mix) (mp3)

     

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