Thursday, 31 October 2013

Bay B Kane - Jungle Warriors ('95 Remix)

Bay B Kane - Jungle Warriors ('95 Remix) (White House Records, 1995)

Mel Jalal Tanur AKA Bay B Kane produced some of the finest darkside hardcore and jungle from '92-'95 and was responsible for classics such as 'Hello Darkness' and 'Rhythm'. The forward thinking original version of 'Jungle Warriors' came out on his The Next Step: Forward In Reverse EP in 1993 and was then updated for '95 on The Rise Of The Phoenix EP.

The track was inspired by Rob Elliot of acid housers The Window Smashers who passed away in 1992 and is the voice behind its "Jungle warriors are coming" hook. The remix doesn't stray too far from the original and opens with the same sample from Eric B & Rakim's 'In The Ghetto', looping the beat and Rakim's "Under the dark skies, on a dark side" vocal before bringing in that wicked reverse bassline and a cut-up of the Soul Pride break. The most notable differences are the removal of the buzzing synth riff and the addition of Mac's "Same kinda moon, same kinda jungle" line from Predator along with some horns. Incendiary stuff from a legendary producer.

The original appeared on Bay B Kane's excellent The Guardian Of Ruff album, while the remix is included on Calling All The People: The Best Of White House Records which is available digitally from Juno Download. Bay B Kane is back producing and you can grab a free download of the 2012 VIP of 'Jungle Warriors' from his Soundcloud page:

Discogs link

Wednesday, 30 October 2013

Shimon - The Predator

Shimon - The Predator (RAM Records, 1994)

Shimon Alcoby taught himself how to produce on an Atari ST computer and Akai 950 sampler back in the early nineties. His efforts reached the ears of good friend Andy C and a long term creative partnership was born with the pair responsible for classics such as 'Quest', 'Recharge' and 'Body Rock'. He was also part of the Ram Trilogy super group and worked as a solo artist including under aliases such as Magnetic Media before leaving to start his own AudioPorn label in 2007. His first 12" for RAM though was 'The Predator' in 1994 which was co-produced by Ant Miles and Andy C.

It is one of several drum and bass tracks to sample the Predator movies, with the line "She says the jungle... it just came alive and took him" from the first film appearing throughout. Around the vocal they craft a dark edged, paranoid track featuring bleeps and creeping synths along with skittish drums that use the Plastic Jam break and a sinister reversed bassline, leading Peter Shapiro in The Rough Guide to Drum'n'bass to refer to it as "an awesome slice of dystopian urban dread".

The digital is available to purchase directly from the RAM Records Shop while the track also appears on Breakdown's Drum & Bass Selection 2 compilation. You can hear the track in Kenny Ken's set at Quest: The Wild Frontier from the 30th April 1994:

Discogs link

Tuesday, 29 October 2013

Asend & Ultravibe - Real Love

Asend & Ultravibe - Real Love (Back 2 Basics, 1995)

Here's another jungle tune that samples Mary J. Blige, although like MA2's 'Rollers Music' the vocal doesn't appear until midway through. What is interesting about this tune is the released mix differed to the dubplate version. The earlier dubplate mix which is the one in the video above features a sample from Predator just before the drop: "There's something out there waiting for us, and it ain't no man" (as spoken by Billy in this scene). However the released mix switched it for a ragga vocal with gunshots (a la 'Dred Bass') that was timestretched to the point of incomprehensibility.

The track starts with melancholy keys and swirling synths accompanied by the Hot Pants break before the Predator/ragga vocal brings in a huge reversed bassline with a crashing Amen break. Although pretty similar, the bassline on the dubplate mix is treated slightly differently and sounds much better than the one that was released, which combined with the preferable Predator sample makes it the far superior version of the track. The Blige sample comes in at the breakdown: "I got'ta have a real love" and funnily enough is from her 'Real Love' single. Another tune that features that killer combination of ambient intro and ferocious breaks and bass.

The 'Predator mix' is actually included on Breakdown's Drum & Bass Selection 4 which I bought on vinyl in part to get hold of this tune, although with 5 tunes per side the quality ain't great. The released version is also available on Breakdown's DJ Box Vol. 1 compilation. Check out the 'Predator mix' in Mickey Finn's set at One Nation: The Birthday Ball on the 3rd December 1994:

Discogs link

Monday, 28 October 2013

MA2 - Rollers Music

MA2 - Rollers Music (Formation Records, 1994)

This tune from DJ SS features the same part of the vocal from Mary J. Blige's 'My Love' that was added to the remix of New Blood's 'Worries In The Dance'. The vocal doesn't come in until midway through and goes:

"I was a fool to let you in
Knowing you would play with my heart
But that was so long ago that I thought
We could make a new start"

The track starts with soothing synths along with piano, slightly out of key sounding female vocals and drums that alternate between the Cold Sweat break and the Amen. This distinctive take on the Amen break is borrowed from Ray Keith's remix of 'Sweet Sensation' by Shades of Rhythm and was probably created by Nookie. The drop brings in a heavy bassline for a track that mixes the rough with the smooth although I've always preferred 'Hearing Is Believing' on the flip.

The remix of 'Rollers Music' is a better tune with a catchier bassline, sirens, Ray Keith 'Terrorist' bleeps and a "Let off selecta" vocal sampled from 'Grand Finale' by the Demon Boyz, Asher D and Daddy Freddy off Music Of Life's Hustlers Convention LP. You can hear the remix in Randall's set at Desire on the 29th April 1995:

Randall - Desire 29th April 1995 by Djmpd 1992 on Mixcloud

Discogs link

Sunday, 27 October 2013

New Blood - Worries In The Dance

New Blood - Worries In The Dance (London Some'ting Records, 1994)

This is my 300th post so to mark the occasion I thought I'd take a look at this sample packed jungle classic. New Blood were a trio consisting of David Quamina, A. Carrington and Nathan Pike. Quamina is better known as DJ Stretch, who also worked with the Reinforced camp and collaborated with Tee Bone on tracks such as 'Shaolin Style' and 'The Natural' (as New Skool Society). Alongside a number of other samples it makes use of the vocals of Mary J. Blige who has to be the most sampled r'n'b singer in jungle with tunes such as 'P-Funk Era', 'Being With You' and 'Wheel 'N' Deal' all featuring her voice.

'Worries In The Dance' opens with the "Soundboy, turn off dem lickle drum pan ting pon de sound we ah play ah to you" line from Cocoa Tea's 'Turn Off Dem Sound Deh', a track that appeared on Saxon Studio Presents Dancehall Specials Vol. 1. This compilation is the source of a number of the vocals on the track which was among the first jungle tunes to feature samples from the Saxon Sound dubplates that would become de rigueur on the scene. The track then immediately drops into Capleton's "Oh dem a gwarn like dem good so, but dem nah respec' the yout dem from the ghetto, unnu ask dem" vocal from 'Good So' before bringing in a tough bassline with sirens, the Think break and Blige's "Oooh, baby... Whatcha gonna do" vocals from 'My Love' that were also used on Da Intalex's 'What Ya Gonna Do'. The track takes its title from the introductory vocals to another track from Dancehall Specials, the Saxon Dubplate of Frankie Paul's 'Worries In The Dance', cutting between this and the "Stalk of sensimilla, burning down the dance" line from 'Stalk Of Sensimilla' by Michael Rose which also appeared on the album. Finally the "This is sunrise and we outta bright light, mama dead, pupa dead, without a fight..." vocal comes from Beenie Man's 'Mobster'. A massive tune played by all the top DJs, this was the sound of London in 1994.

The track also had an excellent remix which switched Capleton's 'Good So' for 'Bad So' and featured additional vocals from Blige's 'My Love'. You can hear an unreleased VIP mix of the track towards the end of Kenny Ken's set at Quest - The Untouchables on 11th June 1994 below:

Discogs link

Saturday, 26 October 2013

Jay Z - Can't Knock The Hustle (Desired State Remix)

Jay Z - Can't Knock The Hustle (Desired State Remix) (Northwestside Records, 1996)

I couldn't write about the Ganja Kru Mix of 'Ain't No Playa' without covering the equally good Desired State Remix of 'Can't Knock The Hustle' on the other side. Desired State were of course Andy C and Ant Miles AKA Origin Unknown and this was one of the last times they used the alias. The original mix was the lead off track and second single from Reasonable Doubt and features Mary J. Blige on the chorus.

While the Ganja Kru made quite a few changes, Desired State stick pretty close to the original version although the intro has that sci-fi feel typical of their sound. The remix uses the 'It's A New Day' break and features several elements from Marcus Miller's smooth 'Much Too Much', with the deep bassline also interpolated from this eighties cut. Like the Ganja Kru mix of 'Ain't No Playa' the remix uses the track's full vocals and Mary J. Blige's hook is a resung version of 'Fool's Paradise' by Meli'sa Morgan. Judiciously deployed Amen appears later along with some techier bass for a remix that keeps the spirit of the original while bringing the characteristic RAM Records sound to the track.

Discogs link

Friday, 25 October 2013

Jay Z - Ain't No Playa (Ganja Kru Mix)

Jay Z - Ain't No Playa (Ganja Kru Mix) (Northwestside Records, 1996)

Tha Alkaholiks were a west coast trio who based their hip-hop personas around sipping 40ozs and partying. One of my favourite cuts on their debut album 21 & Over is 'Only When I'm Drunk', a track featuring the bassline from The Whole Darn Family's 'Seven Minutes Of Funk' in which they incorporate supposedly alcohol-induced hiccups and burbs into their flows. 'Seven Minutes Of Funk' has been used by dozens of other hip-hop artists, whether replayed as on 1979's 'Superappin' from Grandmaster Flash and the Furious Five, or directly sampled on tracks such as 'It's My Thing' by EPMD and 'Ain't No Nigga' by Jay Z feat. Foxy Brown.

As a single from Jay Z's debut album Reasonable Doubt it was cleaned up and retitled 'Ain't No Playa' and received a remix from the Ganja Kru for a UK 12" which also featured the Desired State Mix of 'Can't Knock The Hustle' on the flip. It was the first remix commission for the collective following the success of the Super Sharp Shooter EP and appropriate considering the name of their label. Although the remix opens with a filtered 'Seven Minutes Of Funk' sample it isn't used again until the end, Hype & co. instead favouring chilled keys, flutes and some lively double bass along with full vocals for a fresh sounding remix that was to be first of many for the crew.

Discogs link

Thursday, 24 October 2013

Rollers Instinct - Mid Town Method (First Level)

Rollers Instinct - Mid Town Method (First Level) (Emotif Recordings, 1995)

SOUR formed the more experimental, techy Emotif label in 1995 following the success of DJ Trace's 'Mutant Remix' and released the essential Techsteppin compilation the following year. 'Mutant Remix' was subtitled "Rollers Instinct" and Trace & Nico (who had engineered it) then used this as their alias for the third release on the new label. The B Side, 'Mid Town Method', shares the same base components as DJ Zinc's 'So Damn Fresh' - Life Could drums, a reese bassline and vocal samples from 'The Next Level' by Tha Alkaholiks - but takes things in a completely different direction, leaving you drained rather than energised.

The track opens with the Life Could break along with the shouts of "I feel" from 'The Next Level' that Tha Alkaholiks had themselves sampled from Fantastic Five's intro during a legendary MC Battle with the Cold Crush Brothers at Harlem World in 1981. However 'The Next Level' is definitely the source as the track later samples its "Welcome to the next level" vocal. Following the introduction of a funky guitar lick and plodding bassline Trace & Nico then deploy a nasty reese bassline along with Method Man's "Anger, comin' from tha 36 chamber, bang!, Tical, hittin' with da buddha fist style" line from 'PLO Style'. There's also a "Get wild when I rip the freestyle" vocal which was later used by Rascal & Klone on 'Get Wild' while the Life Could drums are complemented by some Apache and later the Amen break. Trace & Nico truly taking things to the "next level" with some punishing techstep.

Trace later remixed the track as 'Mid Town Method (Level II)' on SOUR's Nu Skool Flava LP. Check the original out in wozowski's Step Tech mix of '96 Techstep below:

Step Tech - 1996 Tech Step Set by Wozowski on Mixcloud

Discogs link

Wednesday, 23 October 2013

DJ Zinc - So Damn Fresh

DJ Zinc - So Damn Fresh (Ganja Records, 1995)

Okay, I lied a couple of days ago when I said I wasn't going to look at a Mobb Deep sampling DJ Zinc track, but today I wanted to feature something that uses vocals from Havoc rather than Prodigy. While Havoc was overshadowed as a rapper by his Mobb Deep partner he was no slouch on the mic and also provided the majority of the productions for their albums. 'So Damn Fresh' appeared on Zinc's debut 12" for Ganja Records although the A Side gained most of the attention.

It opens with the Plastic Jam break and a simple but ominous xylophone melody alongside Havoc's "As long as I'm alive I'm gonna live illegal" line from 'Shook Ones Part II'. The track takes its title though from E-Swift's "What makes them muthafuckers so damn fresh" vocal from Tha Alkaholiks' 'The Next Level' which is treated to a bit of scratching. The drops brings in a reese bassline that zips all over the place alongside drums that use the Life Could break. Zinc also adds r'n'b style "I said hey" vocals and another sample from 'The Next Level', this time Tash's "Cause ain't nothin too but to do that shit and print it / But it's all about the loot so every move is documented" line. While the track isn't a match for its better known flipside it's a decent tune from the ever reliable Zinc.

The digital is available from Beatport. DJ Zinc remixed the track for Ganja Remixes Volume 4 the same year and you can hear that version in Haste's Jump Up Mix Part 4 below:

Haste - Jump Up Mix Part 4 by Mrhaste on Mixcloud

Discogs link

Tuesday, 22 October 2013

Glamour Gold - You Can Run

Glamour Gold - You Can Run (Philly Blunt Records, 1996)

DJ Krust was always one for hip-hop samples on his more jump-up minded material and on this tune under his Glamour Gold alias for Philly Blunt he combines a Mobb Deep sample with some classic Wu-Tang.

It opens with a suspense building loop of some strings and percussion before the beat comes in along with the crazy moog synth from GZA's RZA produced '4th Chamber' off the Liquid Swords album. A sample of Prodigy from Mobb Deep's 'Survival Of The Fittest' ("You can run run run, but you can't hide hide hide hide") then brings in a bouncy bassline. The shuffling drums combine the Sandy and Action breaks while bleeps, a radio tuning effect and a second vocal sample ("Everybody got a breaking point kid") are also dropped into the track. It was a favourite of Mickey Finn and you can hear him play it at One Nation: The Back 2 Back Payback 1996 with Skibadee & Hyper D on top form:

Discogs link

Monday, 21 October 2013

Barcode - New Dance

Barcode - New Dance (Formation Records, 1996)

Mobb Deep, the Queensbridge duo of Prodigy and Havoc, are two endlessly quotable MCs and consequently have been extensively sampled in drum and bass, particularly tracks from the albums The Infamous (1995) and Hell On Earth (1996). DJ Zinc and DJ Hype have sampled Mobb Deep a number of times but I've written about them far too much so I'm going to take a look at this track from Barcode AKA Patrick James of Mental Power. The Barcode name was only used for a couple of 12"s, the original and remix of 'New Dance', plus a few remixes such as 'Those DJ's' and 'Purple'.

The intro features the strings of 'Spring' from Vivaldi's Four Seasons but I'm not a big fan of obvious classical music samples in drum and bass (with the exception being Gang Related & Mask's 'Dictation'). It also uses Morris Day's introductory vocal from The Time's 'The Bird', a Prince-related song that featured in his Purple Rain film and has its own dance: "Do y'all wanna learn a new dance? Who can dance out there? OK, we're gonna try a new dance, and if I don't see everybody doin' it, I don't wanna see you no more". The drop brings in a hardstepping bassline over stomping drums that incorporate the Sesame Street break as well as Prodigy's "Survival of the fit, only the strong survive" line from Mobb Deep's 'Survival Of The Fittest'. The 97 Remix drops the Vivaldi sample but doesn't have such a good bassline so although I prefer its intro I generally still go for the original.

You can hear the track in Eazyflow's 1996 Jump Up Mix below - head over to DnB Blog to grab the download.

Eazyflow - 1996 Jump Up Mix by Dnb Blog on Mixcloud

Discogs link

Sunday, 20 October 2013

Elementz Of Noize - Other Side Of Town

Elementz Of Noize - Other Side Of Town (SOUR, 1996)

Elementz Of Noize were Alan Clark and Justin Maughan and they had previously been in the hardcore techno group The P.S.I. Division together and worked at Newcastle's Bass Generator record shop. After leaving the group they started recording as a duo and met SOUR co-owner Dave Stone when they were DJing at a jungle night in Newcastle called Telegraph (which also had Hidden Agenda on the bill), leading to a series of releases on the imprint and its Emotif sub-label. They had enormous range, making everything from jump-up to atmospheric drum and bass, but are best known as techstep producers. 'Other Side Of Town' was the b side of their second 12" for SOUR and displays their harder sound.

The track extensively features a couple of hip-hop samples, opening with some lines from Prodigy of Mobb Deep on the Sewa/41st. Side Remix of Das EFX's 'Microphone Master': "On the ground with the big four pound / He hear the sound on the other side of town". The drop brings in a wobble bassline with Life Could drums but the influence of No U-Turn is clear when some nasty reese is added. Some rumbling bass precedes the introduction of the Hot Pants break and the second vocal sample, this time from El Da Sensai on The Artifacts' 'C'mon Wit' Da Git Down': "Cause nowadays it's da ways of the underground" and later: "Where kids get wreck and the beat's bound to pound". Somewhere between hardstep and techstep, it's a little known gem of a tune that was an early indicator of the direction the duo would take.

You can hear the track during this One In The Jungle show from June 1996:

Discogs link

Saturday, 19 October 2013

T.Power - The Elemental

T.Power - The Elemental (Sociospective Mix) (SOUR, 1994)

Ram Trilogy weren't the first to sample the "beast man" speech from Planet Of The Apes with this track from T.Power beating them by eight years. It appeared on the same 12" as the Stars Wars sampling 'Chasin' A Dream' and starts with the whole speech including a line omitted from the Ram Trilogy tune:

"Shun him; drive him back into his jungle lair"

Although the two tracks use the same sample they are very different, with 'The Elemental' being an ambient jungle style tune which uses the Sesame Street break alongside reverbed piano, spacey synths and a deep bassline. The track later uses another line from the film: "Is there another jungle beyond the forbidden zone?". The name of the mix refers to the social commentary present in the film and the sampled dialogue, a recurring theme in T.Power's work - for instance 'Police State' which came out on SOUR the following year. Literally "intelligent" jungle.

You can hear the track in this selection of T.Power's 1994 to 1996 material put together by TheDarkStranger:

T-Power Overload by Thadarkstranger on Mixcloud

Discogs link

Friday, 18 October 2013

Ram Trilogy - Beastman


Ram Trilogy - Beastman (RAM Records, 2002)

In 2002 Andy C, Ant Miles and Shimon launched a second series of Ram Trilogy releases with Chapter 4. While the new trilogy was never going to live up to the first it got off to a great start with 'Beastman' which uses dialogue and music samples from the original Planet Of The Apes movie, opening with a speech by Roddy McDowall's character Cornelius:

"Beware the beast Man, for he is the devil's pawn. Alone among God's primates, he kills for sport or lust or greed. Yea, he will murder his brother to possess his brother's land. Let him not breed in great numbers, for he will make a desert of his home and yours."

Along with this the intro features the haunting piano, strings and sound effects from Jerry Goldsmith's score along with electric guitars
before thumping drums that use the 'Sing A Simple Song' break come in. The bassline that arrives is sick but with some real funk to it, making for a track that is the highlight of the second trilogy.

You can check out the track in this quick fire mix of RAM Records material from DJ Hannibal, an entry into the RAM100 mix competition in 2011:

RAM100 Mix Competition @RAMrecordsltd by Dj Hannibal on Mixcloud

Discogs link

Thursday, 17 October 2013

Source Direct - Stonekiller

Source Direct - Stonekiller (Metalheadz, 1996)

Selected Ambient Works Volume II is a rather unique entry in Aphex Twin's discography, consisting of mostly beatless soundscapes that veer from soothing to disturbing. All of the tracks except one are untitled but correspond to a picture in the album's booklet which is how they normally referred to. Source Direct's 'Stonekiller' samples a big chunk of SAW2 CD1 TRK4 AKA 'Hankie', a track that was omitted from the US edition of the album. It appeared on the St Albans boys' second and last 12" for Metalheadz, although they had a release on Razors Edge the following year which included their remix of 'Stonekiller'.

Whereas PFM crafted a blissful tune around a SAW2 sample on 'Danny's Song', here Source Direct take you on a dark journey, opening with the eerie sounds from 'Hankie' alongside other unsettling atmospherics. A menacing bassline is then introduced before stunning cut-up drums that use the 'Tighten Up' break crash in. There is also a sample from Quincy Jones' 'Money Runner' off the Dollar$ OST just past the four minute mark as well as sounds apparently taken from Jerry Goldsmith's Planet Of The Apes score (according to this, haven't checked it out myself yet). Brutal and dark as fuck, but with dollops of funk - this is the sort of material that gets better with age.

'Stonekiller' was included on Platinum Breakz Volume II. You can hear it leading off Nolige's Another Bluenote Mix below:

Nolige - Another Bluenote Mix [2003] by Noligeuk on Mixcloud

Discogs link

Wednesday, 16 October 2013

PFM - Danny's Song

PFM - Danny's Song (Good Looking Records, 1996)

Dred Bass weren't the only drum and bass act to sample a recently released Aphex Twin track. This tune from PFM uses the synth from the officially untitled track generally known as 'Z Twig' which appeared on Richard D. James' Selected Ambient Works Volume II LP from 1994. Although 'Danny's Song' wasn't released until 1996 on the Logical Progression album it had featured in LTJ Bukem's sets since '94.

PFM (Progressive Future Music) were the duo of Mike Bolton and Jamie Saker although it is now Bolton's solo project. They had met Bukem in 1990 around the time they first got into the rave scene and in 1994 the Good Looking boss encouraged them to start producing. The result was classic tracks such as 'One & Only', 'The Western' and 'Danny's Song', a tribute to Bukem (real name Danny Williamson).

It opens with cosmic synths and echoed percussion before introducing the Aphex Twin sample and a take on the Hot Pants break that sounds like it comes from Psychotropic's 'Hypnosis' which is based on the breakbeat from Paris's 'Break The Grip Of Shame'. It's a typically beautiful Good Looking style tune with sensual female vocals and later a sample from 'Heliopolis' by Banco de Gaia which itself was sampling Dead Can Dance's 'Dawn Of The Iconoclast', the same source as the vocal on Future Sound of London's 'Papa New Guinea' (unfortunately the video clip above is cut before this point). Music for your mind, body and soul.

'Danny's Song' appears in truncated form on PFM's Producer 02 compilation and is available digitally from the Good Looking store and Beatport. You can hear the track in Bukem's set at Dreamscape 11 from the 1st July 1994:

Discogs link

Tuesday, 15 October 2013

Dred Bass feat. The JB - World Of Music

Dred Bass feat. The JB - World Of Music (Back 2 Basics, 1995)

Dead Dred's 'Dred Bass' was one of the biggest jungle tunes of '94 and was produced by Lee "Asend" Smith and Warren "Ultravibe" Smith. While many people assume they are brothers they aren't in fact even related and just share a very common surname. Confusingly Lee Smith then used the title of Dead Dred's most well known track as an alias, initially as a solo artist and then as duo with Back 2 Basics boss Jason Ball. 'World Of Music' was their first 12" together under the name although they'd already teamed up as The JB & Asend the previous year.

Over stuttered drums it opens with a rather blatant sample of the twisted synth from Aphex Twin's 'Come On You Slags!' off his ...I Care Because You Do album which had only just been released. The "World of music" vocal sample is a pitched down Liberace introducing a performance of 'Chopsticks' although they probably took it from De La Soul's 'Plug Tunin'. The vocal brings in an energetic Reese bassline along with drums that use a few different breaks, starting with the 'Do The Do' and then adding some Apache and later the Think break. A classic piece of jump-up from the ever reliable Back 2 Basics crew.

'World Of Music' has been remixed several times with a Northern Connexion / Apollo 13 Remixes 12", a VIP on the Explicit Bass compilation, a Mampi Swift remix on the Dred Bass LP that the track lent its title to and finally a Twisted Individual remix in 2004. You can hear the original in Haste's Jump Up Mix Part 1:

Haste - Jump Up Mix Part 1 by Mrhaste on Mixcloud

Discogs link

Monday, 14 October 2013

Omni Trio - Thru The Vibe (94)

Omni Trio - Thru The Vibe (94) (Moving Shadow, 1994)

'Thru The Vibe' was first released by Rob Haigh on his own Candidate Records in 1993 under the name London Steppers in a limited edition run of just 500 copies. It was then remixed twice in 1994 with the '94 version appearing on Moving Shadow's Two On One Series Issue 2 (along with DJ Crystl's 'King Of The Beats') and the Bongo Mix on Omni Trio Vol. 4: Rollin Heights. There aren't huge differences between the three mixes but the 2 On 1 mix as it became known on later reissues is the best known.

It's a simply stunning tune that combines the euphoric vocals and piano of hardcore with the grit of jungle. Rob Haigh's background in ambient music really comes through with gorgeous synths leading up to the introduction of a twinkling piano melody. The track features chipmunked vocals from C+C Music Factory's 'Keep It Comin' (Dance Till You Can't Dance No More!)': "Music is my life and it helps me through the vibe". The difference between the '94 mix and the original becomes apparent when machine gun snares arrive at the drop adding an edge to the previously more ambient tune. The Bongo Mix also uses the snares but as the name suggests features bongos during the extended intro and breakdown and is essentially a more chilled version of the '94 mix. An achingly beautiful tune from one of the masters of ambient jungle.

The 2 On 1 Mix is included on the Omni Trio compilation Volume 1993-2003. Both Moving Shadow versions are also available digitally from Beatport and DrumandBassArena. Check out the Bongo Mix in Law's Deep Jungle Mix Vol. 2:

Deep Jungle Mix Vol 2 - Mayday 2008 by The Law on Mixcloud

Discogs link

Sunday, 13 October 2013

High Contrast - Music Is Everything

High Contrast - Music Is Everything (Hospital Records, 2002)

This track from Lincoln Barrett appeared on his debut album True Colours in 2002 and also opens the Kosheen mix that I featured yesterday. Barrett initially wanted to work in the film industry and studied at Newport Film School, graduating with a 2:1. But when he discovered drum and bass he fell in love with the music and knew that's what he wanted to do. He got a job at Cardiff's Catapult Records, started producing and gained a residency at the Silent Running night and it wasn't long before he was signed by Hospital Records. The vocals of 'Music Is Everything' sum up his passion for drum & bass:

"So I let the music just take control
Cause it rocks my body and it moves my soul
I can't stop dancing to the beat
And I just can't help it
Cause music is my life"

The vocals are borrowed from C+C Music Factory's 'Keep It Comin' (Dance Till You Can't Dance No More!)' and resung by Dionne Morgan. The track features a naggingly familiar Mike Oldfield-esque piano line throughout and gradually builds up over it, adding drums, horns, bongos and eventually a flowing bassline and strings. Barrett's background in film shines through in the soundtrack feel of the track and it's an impeccably produced piece of soulful, life affirming drum and bass with a positive message about the power of music.

Discogs link

Saturday, 12 October 2013

Influx Datum - M.U.S.I.C.

Influx Datum - M.U.S.I.C. (Formation Records, 2002)

D-Train, whose 'Keep On' was sampled in yesterday's selection, were the duo of singer and songwriter James Williams and keyboardist and producer Hubert Eaves III. Eaves had previously done session work for Mtume in the late seventies and the pair made disco and boogie style r'n'b with their best known song being 'You're The One For Me'. Their music has been frequently sampled by hip-hop and electronic artists, with 'Keep On' for instance being interpolated by Notorious BIG on 'Sky's The Limit' and sampled on rave tracks such as 'Extacy' by Shades Of Rhythm.

Their song 'Music' also supplies the "M-U-S-I-C deep inside of me" vocal on Influx Datum's 'M.U.S.I.C.'. The track was released on the fourth and final part of Formation's A Decade Of Breaks series of 12"s which celebrated the label's ten years in the game (it makes me feel very old to think that it's now been around for over two decades). Influx Datum craft a typically smooth track with bongos, calming synths and a warm bassline topped with a loop of a heavenly female voice. A deep tune from the duo and a nice way to bring the series to a close.

You can hear the track on Kosheen's Drum'n'Bass Reborn mix, given away with the March 2002 issue of Mixmag:

Kosheen - Drum 'n' Bass Reborn by John_Omally on Mixcloud

Discogs link

Friday, 11 October 2013

Hidden Agenda - Pressin' On

Hidden Agenda - Pressin' On (Metalheadz, 1995)

Yesterday I looked at some remixes of Amon Tobin's 'Like Regular Chickens' and Hidden Agenda were another drum and bass act picked out to remix the Ninja Tune artist, tackling 'Creatures' in 1997. It's easy to see why as their productions of the mid-nineties used jazz samples to create an uneasy atmosphere in much the same way as Tobin.

Hidden Agenda were Gateshead based brothers Mark and Jason Gooding. Their father was a former drummer and this seems to have influenced their productions which are full of jagged cut-up beats. After Fabio heard some of the duo's tracks he introduced them to Goldie who promptly signed them to Metalheadz, releasing the Is It Love? EP in early '95.

'Pressin' On' appeared on their second 12" for the label and takes its title from the vocodered vocals lifted from 'Keep On' by D-Train, an early eighties disco duo from New York. It starts off with slap bass-led jazz funk but transforms this rather questionable source material with the addition of some melancholy xylophone, a tough bassline and a splintered take on the Apache break to create a dark and disconcerting track. One of my favourites from not just Hidden Agenda but the entire Metalheadz catalogue.

'Pressin' On' was included on Platinum Breakz II and is available digitally directly from the Metalheadz store.

Discogs link

Thursday, 10 October 2013

Amon Tobin - Like Regular Chickens (Danny Breaks/Dillinja Remixes)

Amon Tobin - Like Regular Chickens (Danny Breaks/Dillinja Remixes) (Ninja Tune, 1998)

The Brazilian born Amon Tobin has always displayed a wide range of influences in his music, from jazz and classical to film scores and drum and bass. For much of his 1998 Permutation LP it sounded like Tobin was imagining what jungle would sound like if the breaks came from Buddy Rich and Gene Krupa rather than G.C. Coleman and Clyde Stubblefield. The work of David Lynch also seems to have been on his mind at the time with samples from Angelo Badalamenti's Blue Velvet score appearing on 'People Like Frank' (also titled after a line from the film) and 'Like Regular Chickens' featuring dialogue from Eraserhead.

The latter track was treated to remixes from two drum and bass legends for a 12" single in the run-up to the album's release and neither disappoint. Amon Tobin personally asked Danny Breaks to remix 'Like Regular Chickens', while Dillinja apparently asked to be involved and you don't say no to Karl Francis. Both producers stamp their own identity on the track while keep the jazzy vibe and the "I just, eh, cut them up like regular chickens?" dialogue from the infamous dinner scene. Danny Breaks' mix has, as Ninja Tune themselves put it, a "seedy, smokey, jazz joint atmosphere" with some funky drumming and musician's chatter ("That's right") while Dillinja's mix stomps along with a dirty guitar lick mutating into a typically distorted bassline for the track's second half.

The two remixes are available digitally directly from the Ninja Shop. You can check out both tracks in mixes from DJextreme: Danny Breaks' appearing on an original mix tape from May 1998 and Dillinja's on The Dillinja Mix Part 3 (1997-1998).

Discogs link

Wednesday, 9 October 2013

Aphrodite - Spice (Of The Gods Remix)

Aphrodite - Spice (Of The Gods Remix) (Aphrodite Recordings, 1997)

The original version of 'Spice' was released in 1996 as the B Side of 'Style From The Dark Side'. In 1997 Aphrodite remixed it for his Moods EP and the Aphrodite Recordings label compilation, adding dialogue samples from Dune to the previously instrumental cut.

The remix sticks pretty close to the original, keeping the saxophone hook while upping the new age synths during the rather un-Aphrodite style intro. To this he adds the Dune samples, starting with the introductory monologue of Princess Irulan: "In this time, the most precious substance in the universe is the spice Melange. The spice extends life. The spice expands consciousness". Just before the drop he adds the second, this time Baron Vladimir Harkonnen from this scene: "He who controls the spice controls the universe". Once you get to the drop though the track is much more of a typical Aphrodite tune with streamlined breakbeats and his usual bassline. While the Dune samples add some interest I prefer the original as it's a bit less cheesy and has better Sandy/Think based drums, although the remix is the more well known version.

The remix is available to purchase digitally via Beatport (it's listed as the original mix, but isn't). Aphrodite has of course remixed the tune a few more times, with the 'Even Spicier' mix appearing on his Aphrodite LP for V2 in 1999 and an unfinished 2010 version available to download for free from his Soundcloud page:

Discogs link

Tuesday, 8 October 2013

Origin Unknown - Sound In Motion

Origin Unknown - Sound In Motion (RAM Records, 1998)

In 1998 RAM Records released the excellent Sound In Motion album, the second label compilation following the similarly titled Speed of Sound LP. One of the biggest cuts on the album alongside Moving Fusion's massive 'Turbulence' was the title cut from Origin Unknown themselves and the two tracks were later released on a 12" together.

The "Sound in motion" vocal on this tune has been identified as coming from David Lynch's Dune, in fact from the same scene Paradox sampled on 'A Certain Sound', but it's rather difficult to know for sure due to the "computer voice" effect Origin Unknown put it through. It would make sense though as RAM are known for the sci-fi vibe of their records and they regularly sampled sci-fi films, with Andy C telling Massive Magazine around the time of the album's release:

"I personally grew up with the sci-fi films, there seemed to be an untold amount of films coming out in the mid-eighties and I think they influenced a lot of people"

Shimon & Andy C also later sampled Dune on 'Mind Killer' in 2002, using the line "I must not fear. Fear is the mind killer" from the Bene Gesserit Litany Against Fear as recited by the character Paul Atreides in this scene. 'Sound In Motion' begins with a suspense filled intro before introducing drums that resemble the sound of a train speeding along the tracks, nicely representing the "Sound in motion" concept and giving the tune plenty of forward momentum. The drums are complemented by a menacing drone of a bassline which makes for a formidable tune from the Hornchurch boys which can do some serious damage on the 'floor.

'Sound In Motion' is available to purchase digitally directly from RAM Records. You can hear Andy C finishing his set at One Nation's New Years Eve 1997 event with Stevie Hyper D on the mic:

Discogs link

Monday, 7 October 2013

Paradox - A Certain Sound

Paradox - A Certain Sound (Renegade Hardware, 1996)

Dev Pandya AKA Paradox is one of the main proponents of the drumfunk style and a master of chopping breaks. His earliest productions date back to the early nineties as a part of Mixrace with hardcore tunes such as 'The Future Is Before Your Eyes' on Moving Shadow. He made generally more chilled material under the Alaska name (sometimes alongside Nucleus) but it is this early tune under the Paradox name on Renegade Hardware that displays the kind of sound he has become best known for.

Over the last couple of days I've looked at tracks that sample the soundtrack to David Lynch's Twin Peaks TV series. The director's films have also been widely sampled by drum and bass artists with 1984's adaptation of Frank Herbert's science fiction novel Dune being a prime example. 'A Certain Sound' features dialogue from this scene spoken by Kyle MacLachlan's character Paul Atreides/Muad'Dib: "Some thoughts have a certain sound, that being the equivalent to a form". Around the samples Dev creates a paranoid track full of dark atmospherics and featuring some beautifully chopped Amen alongside a low key bassline.

The digital of 'A Certain Sound' can be purchased directly from Renegade Hardware. Paradox remixed the track for the Distorted Reality EP and that version is also available on the Hardware XV - History Of Hardware compilation. You can hear the original in Soundmurderer's Breezeblock Mix below:

Soundmurderer - breezeblock by Jungle Love on Mixcloud

Discogs link

Sunday, 6 October 2013

4 Horsemen Of The Apocalypse - We Are The Future

4 Horsemen Of The Apocalypse - We Are The Future (Tone Def Records, 1993)

This tune from 4 Horsemen Of The Apocalypse AKA Foul Play was released on Yomi Ayeni's Tone Def Records as the B Side to 'Drowning In Her'. It uses an obscured sample of Angelo Badalamenti's 'Theme From Twin Peaks' during the intro and breakdown, processed and reversed so it isn't particularly recognisable. Also during the intro there's another sample of a female voice repeating "We are the future". This originates in Ghosts... Of The Civil Dead, a 1988 Australian film set in a high security prison which was co-written by Nick Cave who also appears in it. The full quote reads:

"Welcome to Central Industrial part of Correctional Services rapidly expanding network of new generation facilities, dedicated to the goal of humane containment - We are the future of containment."

It is likely though that they actually sampled it from Future Sound Of London's 'Central Industrial' on their 1991 Accelerator LP which uses the sections in bold above. Foul Play combine a four to the floor beat with the Soul Pride break and a lively bassline for an energetic track with a dark undercurrent to it thanks to gravelly synth, ominous strings and the Twin Peaks sample. A '93 darkcore classic.

You can hear the track in Simon Bassline Smith's Phoenix Studio Mix from September 1993 which is available to download over at

UPDATE 08/10/13: Big shout out to Raze for passing on some info from Yomi Ayeni about this track. Yomi was in fact the fourth member of 4 Horsemen Of The Apocalypse and the "We are the future" sample was actually lifted from the Jam & Spoon In Dub mix of Moby's 'Go' (although the original source is the same) - a nice coincidence given that I'd just looked at Dylan's remix of that tune the day before.

Discogs link

Saturday, 5 October 2013

Dylan - Go! (The Return)

Dylan - Go! (The Return) (Raid, 2000)

Moby's 'Go' is a rave classic that everyone knows, although it's actually the Woodtick Mix rather than the original which most people will be familiar with. The Woodtick Mix provides the basis for Dylan's unofficial drum and bass update, the second 10" release on the Raid imprint and a follow up to his take on Joey Beltram's 'Energy Flash' which I looked at a while back.

The remix opens with the haunting synthetic strings which Moby interpolated from Angelo Badalamenti's 'Laura Palmer's Theme' on the Twin Peaks soundtrack. Among other elements it also features the two main vocal samples from the Moby track, the "Go!" from Tones On Tail's 'Go!' and the "Yeaheahyeah" from Jocelyn Brown's 'Love's Gonna Get You', the acapella of which was also sampled on such well known tracks as Snap's 'The Power' and Bizarre Inc's 'I'm Gonna Get You'. Dylan turns it into a heavy industrial drum and bass track with a nasty Reese bassline and pounding drums for a remix that was in keeping with both the techstep sound and the hardcore revival of the time.

Discogs link

Friday, 4 October 2013

Carlito & DJ Addiction - Supergrass

Carlito & DJ Addiction - Supergrass (Defunked, 2000)

James Mitton-Wade AKA Carlito is another artist who took inspiration from Carlito's Way for a moniker - his first release under the name for Creative Source in 1995 even included a track entitled 'Carlito's Way'. Around this time he met Jason Foreman AKA DJ Addiction at Speed and the two collaborated on a 12", Future Elements / I Want You, also for Fabio's label. But it wasn't until around 2000 that they became a regular duo with releases on Creative Source, Hospital and Darren Hickey AKA Fellowship's Defunked imprint.

'Supergrass' was their debut for the label and it's a classic piece of liquid funk that's a personal favourite of mine. It features soulful female vocals ("Let's get down... Get down down down") which also appeared on 'Down Down Down' by Gambafreaks, a funky house tune from 1999, but I don't think this is the original source although given the timing it may have inspired Carlito & Addiction. Underneath the vocals they create a sumptuous track with immediately recognisable synth pads, warm rolling bass and snippets of sax alongside several other elements. Vocodered "Together" vocals accompany the main vocals and there is also a sample of the "Go!" from Moby's rave hit of the same name (but originating in Tones On Tail's 'Go!'). Two parts of the tune really do it for me - the gorgeous synth melody that comes in at about 2:10 and the jazzy drumming at the breakdown. A multilayered track that I never get tired of.

The digital is available at Drum&BassArena and Beatport along with the rest of the Defunked catalogue although sadly the label now lives up to its name. You can hear 'Supergrass' on Defunked's Soulful Behaviour album mixed by DJ Addiction as well as DJ Marky's excellent Movement: The Brazilian Job CD. It's also included on the All Defunked Records Tribute Mix below:

All Defunked Records Tribute Mix by Jilted Jane / Doppelganger on Mixcloud

Discogs link

Thursday, 3 October 2013

Benny Blanco - Remember Me? (From The Bronx)

Benny Blanco - Remember Me? (From The Bronx) (Back 2 Basics, 1995)

This track from the Back 2 Basics camp doesn't just sample Carlito's Way but uses a character from the film for the artist name. An alias of label boss Jason Ball, "Benny Blanco" later resurfaced on a few Back 2 Basics releases in the '00s but 'Remember Me?' is the track that he'll be, well, best remembered for.

The track starts in misleading fashion with chilled keys, strings and bongos but the calm is brought to a sudden end as a drum roll arrives, accompanied by the "Remember me? Benny Blanco from the Bronx" line from the end of the film, timestretched and accompanied by gunshots. This brings in an upbeat overmodulated bassline along with drums that use the Hot Pants and Life Could breaks, while the second drop lets rip with some Amen. Nothing too complex, just good old fashioned jump-up.

The track received remixes from The Dream Team and DJ Hype in his Ganja Cru alias in 1996 and you can hear the latter of those in Pearsall's Actual Pirate Material mix below - full tracklist and further info can be found over at his Sonic Rampage site.

Discogs link

Wednesday, 2 October 2013

DJ Krust - Angles / Gang Related - Big Time

DJ Krust - Angles / Gang Related - Big Time (V Recordings/Dope Dragon, 1996)

I'm feeling generous today so here's two DJ Krust tracks for the price of one. Both came out around the same time and both sample dialogue from Carlito's Way, another classic Brian De Palma directed, Al Pacino starring gangster movie, and the similarities don't end there.

'Angles' is the better known and my favourite of the two tracks. The short beatless intro features tension building horns and off key piano hits taken from Geoff Love & His Orchestra's 'The Executioner'. A pitched down sample of the "When you can't see the angles no more, you're in trouble" line from Carlito's Way leads into the drop which brings in a catchy squidgy bassline with drums that use the Think and Worm breaks and it's one of Krust's finest jump-up style tracks.

'Big Time' was his first solo release under the Gang Related alias, which is appropriate considering the sample source. It features Al Pacino's expletive laden shouts of "Are you up against it now motherfucker... I'm reloaded, okay?... You think you big time. You're going to fucking die big time", while the bassline has a similar feel to 'Angles' and the drums also use the Worm break along with some judiciously deployed Amen. It's not quite as refined as 'Angles' which is probably why it came out on Dope Dragon rather than the more prominent V Recordings but it's still a decent tune.

There was also a dubplate mix of 'Angles' that featured an intro with drums and that version was included on V Recording's Retrospect Volume 1 compilation. You can hear the dubplate mix of the tune along with 'Big Time' in Bryan G's set at Pure X 'Back With A Vengeance' from the 23rd September 1995:

Discogs link (Angles)
Discogs link (Big Time)

Tuesday, 1 October 2013

DJ Hype - True Playaz Anthem

DJ Hype - True Playaz Anthem (Parousia, 1996)

Another classic gangster film starring Al Pacino is Brian De Palma's Scarface. The movie would appear to be a favourite of DJ Hype who first sampled it on 'Mash Up Da Place' before he picked a choice quote from the film for 'True Playaz Anthem', a track that didn't actually come out on his True Playaz label but on The Super Sharp Shooter EP which was The Ganja Kru's debut for Parousia:

"Let's get this clear, now. I never fucked anybody over in my life didn't have it coming to 'em. All I have in this world is my balls and my word I don't break 'em for no one, you understand."

The sample leads the track off before a half-speed beat comes in with "True Playaz" vocals from the mysterious Jessica alongside mafioso style keys and guitar during an extended intro, making it a great track to open a set with. Once it gets to the drop Hype delivers a typically energetic Reese bassline with Think/Hot Pants based drums that have a militant stomp to them and a prominent vocal tic. The vocals continue "Life's about being a true playa, keep it real" which appeared on the back of a True Playaz t-shirt from around this time which I still have (and still fits!). Anthem by name, anthem by nature.

Check out the track in this studio mix by Nicky Blackmarket from December 1996:

Nicky Blackmarket - Blackmarket Studio Mix - December 1996 by Drum & Bass Classics on Mixcloud

Discogs link