Artist: Spandau Ballet
Title: Chant No. 1 (I Don’t Need This Pressure On) (12″ Mix)
Year: 1981
Label: Chrysalis Records
Spandau Ballet – “Chant No. 1″ (I Don’t Need This Pressure On) (12″ Mix) (mp3)
The first time hearing this incredible remix of Billy Idol’s Flesh For Fantasy in 1984, I did not pay much attention to it for no reason at all. I’ve always loved the original LP version, but my brain failed to register Below The Belt Mix. It had all the elements which I craved in any given track in those times: drum machines, samples of stuttering vocals and guitar stabs, synthesizers, etc. Tight programming and blending of electronic synth, pop and rock music, produced by Keith Forsey who had worked extensively with Giorgio Moroder (go figure Below The Belt Mix sounding electronic!) — the godfather of electric disco, also notoriously known for his mind-blasting The Chase theme soundtrack of Midnight Exress motion picture!
The day which Below The Belt Mix floored me and left me breathless was at an all-nude strip bar near LAX airport, early one Summer afternoon in 1993. The place wasn’t packed. I was having a few drinks and watching the dancer peel off all her clothes on stage while listening to the loud music. Below The Belt Mix came on next. And she cirque-du-soleil’ed nude to it deeply into the flesh, heart & spirit of the song, as if it was her last dance in the world.
Artist: Billy Idol
Title: Flesh For Fantasy (Below The Belt Mix)
Year: 1984
Label: Chrysalis Records.
Billy Idol – “Flesh For Fantasy” (Below The Belt Mix) (mp3)
I have nothing to say about this track other than it is great. Oh yeah, I did some little EQ adjustment, added a touch of reverb tweaked with my own custom parameters, and slapping quick final mastering … making both tracks below to sound brighter, beefier and clearer with more ambience & presence.
Artist: Spandau Ballet
Title: Lifeline (Dub Version)
Year: 1983
Label: Chrysalis Records
Media Source: Recorded straight from 12-inch record to enhanced digital.
Spandau Ballet – “Lifeline” (Dub Version) (mp3)
Artist: Spandau Ballet
Title: Lifeline (Acappella)
Year: 1983
Label: Chrysalis Records
Media Source: Recorded straight from 12-inch record to enhanced digital.
Spandau Ballet – “Lifeline” (Acappella) (mp3)
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March 2011: DJ Veronica latest mix "A New Beginning" is now available exclusively on this blog.
Download "A New Beginning" (mp3)...
All of DJ Veronica's mix-sets were mastered by Hashmoder (Omar Hash) at his studio
Playmate DeeJay Rhiannon busts her latest mix "PornStep" with the new underground sounds of dubstep.
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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The Hype Machine Beat Electric Schitz Popinov 
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