I am so happy for having bought this rare 12-inch (45 rpm) single in London back in 1988. When the original (album) version of Talkin All That Jazz was released internationally, it was an instant hit worldwide. There was an extended version released on 12-inch, but having lived in UK half my life and knowing how that country is big on several kinds of remixes/versions of the same single, this particular remix of Talkin All That Jazz (Dominoes Mix) was the best one. I remember hearing Dominoes Mix for the first time at Hippodrome nightclub (Picadilly Circus, London) in Fall-1988 …. oh man its bassline shook the roof, especially on that last note sustaining in the hook completing the measure (before the bassline lick repeats again on the one). Dominoes Mix is just steadier with a driving groove that is not as busy as the drums/bass in the original version, making it flow and kick more intensely.
Since Talkin All That Jazz is about sampling, it is worth noting that its bassline sample is taken a 1975 track “Dominoes (Falling Like)” by Donald Byrd which is a nice jazzy, funky fusion. This original track was provided by BeatElectric.Blogspot.com (thank you guys!).
Stetsasonic – “Talkin All That Jazz” (Dominoes Mix)…
Artist: Stetsasonic
Title: Talkin All That Jazz (Dominoes Mix)
Year: 1988
Media Source: Recorded straight from 12-inch record to digital.
Stetsasonic – “Talkin All That Jazz” (Dominoes 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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