Sunday morning, November 14, 2010: I was walking on Baker Street in Nelson, British Columbia. All the retail shops were closed except for this particular one which was not supposed’ve been open till 11-am: Urban Legends. I walked in. Ok, so this store supposedly has over 10,000 new-&-used records. As I was going through the bin of limited number of 12″ singles, I just happened to find (to my utter surprise and disbelief) this amazing record — unopened and brand spanking new (still wrapped) 12″ single of Dead Or Alive‘s 1985 worldwide hit track You Spin Me Round (Murder Mix). I have been looking for this record since 1987. I regretted not buying it on 12″ in 1985 when the track was in the charts and stores. And since then, I’ve searched high and low for it in the Americas, Caribbean and Europe …but no avail. However, twenty-three years later –of all the places and time in this world & era– there it was in my hands — from a small record store in a small town: Nelson, British Columbia! It was meant to happen. I was supposed to have left Nelson the previous day (Saturday) and driven back home to Vancouver. I had no reason to stay an extra day in Nelson; I didn’t know why. When I woke up that Sunday morning, I was craving bacon and eggs. So I had a good morning brunch at the Hume Hotel. After brunch and full-stomach, I decided to walk-off the heavy meal by window-shopping on Baker Street. Next thing I know was that I was standing in front of Urban Legends store which was open. I walked in… less than five minutes later this 12″ was in my hand. Talk about good KARMA!
Once I got back home to Vancouver the following Monday, I ran to my studio to play this record. Oh man… THE BASSLINES. This is one of Stock, Aitken & Waterman most successful international hits of all time. There’s a good reason why this track still stands the test of time. Spin Me Round (Like A Record) (Murder Mix) receives my Stabbing Bassline Stamp-Of-Approval.
Dead Or Alive – “You Spin Me Round” (Like A Record) (Murder Mix)…
Artist: Dead Or Alive
Title: You Spin Me Round (Like A Record) (Murder Mix)
Year: 1985
Label: Epic Records
Media Source: Recorded straight from 12-inch record to enhanced digital.
Dead Or Alive – “You Spin Me Round” (Like A Record) (Murder Mix) (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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