Artist: C. T. Satin [Tommy Musto]
Title: I Found A Friend
Year: 1987
Label: Underworld
Media Source: Recorded straight from 12-inch record to enhanced digital.
C. T. Satin [Tommy Musto] – “I Found A Friend” (mp3)
I remember this track being different from all the rest. Tommy Musto raised the bar when it came to hard, punchy, rolling melodic bassline in this track which blends 4/4 House-beat and Freestyle elements. Although the date printed on the 12-inch says 1987, this track was originally released in 1986. The record you see in the picture above is a 1987 re-issue.
Artist: Wired [Tommy Musto]
Title: To The Beat Of The Drum
Year: 1987 (really 1986)
Label: Underworld; Creole
Media Source: Recorded straight from 12-inch record to enhanced digital.
Wired [Tommy Musto] – “To The Beat Of The Drum” (Crash Version) (mp3)
In 1986, this track by Tommy Musto set the standards high in electronic dance music. It stands on its own plateau. Hard, punchy and melodic synth bassline grooves the track raw and core. Electric, chorused piano chops add serious emotional value. Blend of 4/4 house beat and freestyle.
Artist: Movement [Tommy Musto]
Title: The Movement (Original Version)
Year: 1986
Label: Underworld
Media Source: Recorded straight from 12-inch record to enhanced digital.
Movement [Tommy Musto] – “The Movement” (Original Version) (mp3)
Artist: Movement [Tommy Musto]
Title: The Movement (House Version)
Year: 1986
Label: Underworld
Media Source: Recorded straight from 12-inch record to enhanced digital.
Movement [Tommy Musto] – “The Movement” (House Version) (mp3)
This is a very very RARE 12-inch gem indeed ….. New York Street Mix of “Say La La” by Pieces Of A Dream (1986). Good luck in finding this track anywhere on the net! Not even on YouTube. You may find the original-extended version of Say La La, but not this New York Street Mix, especially a good quality recording (high-resolution 320/kbs MP3). I just love the minimal approach to this remix which has a bassline to die for. Each bassline note sounds like staccato one-shot bass-stab thats deep. The drums are factory sounds that of an E-Mu SP12 drum-machine/sampler (picture & info further down below). Nice breakdown and build-up towards the middle and end with nice gradual fade-out. I’m gonna let the music do the talking. Have a listen. I hope you’ve got beefy speakers!
Artist: Pieces Of A Dream
Title: Say La La (New York Street Mix)
Year: 1986
Label: Manhattan Records (via EM)
Media Source: Recorded straight from 12-inch record to enhanced digital.
Pieces Of A Dream – “Say La La” (New York Street Mix) (mp3)
Artist: Pieces Of A Dream
Title: Say La La (Extended Album Version)
Year: 1986
Label: Manhattan Records (via EM)
Media Source: Recorded straight from 12-inch record to enhanced digital.
Pieces Of A Dream – “Say La La” (Extended Album Version) (mp3)
Source of information (click here)
- Formed 1975, Philadelphia, Pennsylvania, U.S.A.
- Pieces Of A Dream are:
- Cedric Napoleon (bassist)
- Curtis Harmon (drummer)
- and James Lloyd (keyboardist)
- Pieces of a Dream were founded in 1975 in Philadelphia when the principal members were all teenagers.
- Originally somewhat jazz-oriented, Pieces of a Dream has mostly emphasized R & B although they usually include a few jazz numbers in their performances.
- Grover Washington, Jr., produced their first three albums (all for Elektra during 1981-83), they have since recorded for Manhattan.
- The group has also included Lance Webb (lead vocals), Randall Bowland (guitar), Vincent Davis (synths) and Norwood (vocals).
- Saxophonist Ron Kerber became a member in the 1990’s.
- Their albums included ‘Pieces Of A Dream’ (1981), including ‘Warm Weather’ featuring the vocals of Barbara Walker, ‘We Are One’ (1982) and ‘Imagine This’ (1983), including ‘Fo-Fi-Fo’, all were a fusion of R & B, jazz and soul.
- They continued this formula following their switch to Manhattan (via EM]) with ‘Joyride’ (1986), ‘Makes You Wanna’ (1988), including ‘We Belong To Each Other’, and the Gene Griffin, co-produced ‘Bout Dat Time’ (1989).
- Later releases concentrated more along the smooth jazz vein.
The E-mu SP-12 is the classic drum machine & sampler combo that paved the way for such greats as the E-mu SP-1200 and AKAI MPC series of sampling drum machines. Redesigned from E-mu’s original Drumulator drum machine, the SP-12 is a classic drum machine with built in sampling capability. There is a set of preset drum sounds including kick, snare, hihats, toms, cymbals, handclap and rimshot. These sounds can be mixed and edited using the sliders. Then you can add your own beats and drum sounds using the built-in 12-bit sampler. Sampling time is limited to only a few seconds and the quality is very lo-fi (a sound loved by lo-fi and trip hop). Store your patterns and link them into songs, there’s room for 100 of each! There are mono and individual outputs (no stereo). It’s been used by Madlib, Large Professor, Chicago, and DJ Premiere.
The SP-12 was quickly superceded by the SP-1200 in 1987 which was continuously reissued through 1997. The SP-1200 is undoubtedly the more popular of the two since it has added features and emphasized sampling by eliminating the preset drum sounds.
Source of information (click here)
DOWNLOAD DJ Veronica's latest mix here.
It's been five long years since DJ Veronica's last mix-set, and finally here it is with the title It's About Time.
DOWNLOAD Deejay Rhiannon's mixes here.
All of Rhiannon's mix-sets were mastered by Hashmoder (Omar Hash) at his studio
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.
Propaganda
P:Machinery (Hashmoderized)
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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)
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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)
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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)
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Beat Electric 
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