Clearance Rack Classics Retro 80s and 90s Dance Mix by DJ Tintin
80s and 90s retro dance adventures of a boy and a cheap mixer
CRC Retro Mix #44
January 14, 2017 12:39 AM PST
1. TV - Elektric Music
Notes and other random things:
Some band notes on the way soon ...CRC Retro Mix #43
December 17, 2016 10:39 PM PST
1. I Want You - Utah Saints
Notes and other random things:
Well, here it is. My first brand new podcast in nearly seven months. Where does the time go? They say patience is a virtue and good things come to those who wait and I think this one was worth waiting for. A good blend of the familiar and the not-so-familiar; some things you may remember and some you've long since forgotten or maybe never heard in your entire life.
Before I get to a few band notes, I want to mention that I have now upgraded my account back to a Pro account. I just couldn't bear the thought that people were actually making a point of coming to this site to listen to the music only to be told by a pre-recorded message that they could not because of bandwidth limitations. What does that mean for you all? It means no more running out of bandwidth two days after I post a new episode. With apologies to the Pet Shop Boys it means more "opportunities" to listen and to download when you have time. It means more storage, so I don't have to delete the audio from an older podcast just to post a new one. (You may have already noticed I've re-posted some of the more recent back-catalog episodes). Over time, I will add more of them. For long-time listeners, it's a chance to re-visit some of the older stuff from "back in the day". For newer listeners, it will be like a glut of new podcasts to check out.
I also want to note that I've removed the audio for my previous episode (CRC #42) as the recording levels were all over the map and I didn't think the quality was up to snuff. Perhaps 5 or 6 years ago, it would have been okay, I suppose, but even in light of the cheap mixer and free recording software I use to assemble these 'casts, I think this podcast has come too far now and demands a higher level of quality. So, I may re-record that one at a future date. At that point, I'll re-post. Same for back-catalog items. The really good ones, I'll re-post. The ones that could use a little work will most likely be re-recorded and re-posted as a "reboot" episode. All in all, thank you all again for tuning in. Have a Merry Christmas and a prosperous 2017!
Now on to the bands ...
If you've been a follower of this podcast since the beginning and you've clung to the belief that, against all probability, the thrash metal band, Slayer, would somehow make its presence felt at some point then your patience has finally been rewarded. And you should book your ticket to Vegas immediately. Taking a riff from the group's tune, "War Ensemble", "I Want You" was one of four Top-25 hits for Jez Willis and Tim Garbutt on Utah Saints' self-titled debut. The duo were at the pioneering edge of sampling, also grabbing a snippet of Kate Bush from her track Cloudbusting for the song "Something Good" and a soundbite from the inimitable Annie Lennox from her song "There Must Be an Angel (Playing with My Heart)" for the track "What Can You Do For Me". Called "the first true Stadium House band" by Bill Drummond of The KLF, Utah Saints were one of the first rave acts to play live and one I had the good fortune to see on the same bill with The Shamen in the early 90s during the rave culture explosion. And let me tell you: it was quite a show ... probably.
I first heard "Salvation" by The Hood sometime in 1989 while in college. A guy who lived down the hall from me had a version of it on an old mix tape. I really liked the track and was pleased as punch when the first of many Razormaid! discs from my nascent subscription showed up in the mail containing a mix of that song. It is a portion of that 10+ minute version that appears here. I would soon come across a movie soundtrack of the same name while sifting through record bins at a local indie shop. New Order, Cabaret Voltaire, The Hood, hip-hop producer extraordinaire Arthur Baker and others appeared on the album, so I purchased it. While I've listened to the song "Salvation" umpteen times over the years, I did not know much about the band or its members. To this day, I still don't. I spent the better part of an hour trying to find information on the group, but mostly found song credits and track listings. Eventually, I did find a tiny bit of info on a website called The Lost Turntable. The info was posted by an Arthur Baker and a John Hood respectively, both of whom I can only assume to be the real article.
"the hood- is john hood, a legendary nyc party promoter-doorman,who is also quite a good writer. he was signed for a short time on the sire label and is active on the club scene in south beach, miami, florida"
"Wow! Yeah, that The Hood track is indeed me: John Hood. (Thanks AB!) And I'm delighted to find it posted. In fact, till right now I never even had an MP3 of the song! So if no one minds, I'll post this, save this, and send this around. Nice to find Salvation!"
If anyone knows anything more about The Hood, I would LOVE to get a one-sheet or press kit or bio on them.
Speaking of bands I don't know much about, Gruesome Twosome would qualify as well. Sort of a one-off project for founders Samy Birnbach from Minimal Compact (aka Lord Solomon Pearbrook) and Norwegian producer Per Martinsen, who had been recording under the name Syamese, "Hallucination Generation" is the only official single from the group and was released in 1989. A cult classic in its own right, the song sort of bridges the gap between traditional industrial dance music and the bourgeoning New Beat music scene that was starting to take hold at the time. Birnbach and Martinsen would later collaborate with the likes of Bertrand Burgalat, Thrash from The Orb, Paul Kendall and Fortran 5 to eventually release a full-length album called Candy From Strangers, which was released in 1993. Birnbach currently releases material under the DJ Morpheus moniker, having once worked with Colin Newman from Wire for a project called Oracle, while Martinsen performs as Mental Overdrive.
While it's probably not the best analogy as they employed very different musical styles, Ultravox is much like the band Genesis in the sense that they have two distinct timelines, led by two distinctly different front men. And much like one could argue Peter Gabriel represented the true vision for Genesis, there is no denying that Phil Collins took the band to massive commercial heights and is probably remembered more readily as the face of the group. Similarly, one could argue that while John Foxx may have been the driving force behind Ultravox during their formative years, it was Midge Ure, who took over after Foxx left for a solo career, that kept the band from imploding and pushed them further into the mainstream and to massive success in the UK. With 7 Top-10 albums and 17 Top-10 singles, U-Vox, like many other bands of the day, took their cue from the glam rock outfits that came before such as Neu! In fact, early on Ultravox was known as Ultravox! (with an exclamation point) in deference to Neu! The first album with the classic line-up of Ure, Billy Currie, Warren Cann and Chris Cross would be the amazing Vienna, which marked a very different direction for the group. Produced by long-time Kraftwerk producer Conny Plank, the album included the title track, which would reach #2 in the UK and would be the highest charted song for the band. (John Lennon's "Woman" and "Shaddap You Face" by Joe Dolce would both keep the song from reaching #1). And while the 1982 album Quartet, produced by George Martin, would be the best-selling US album for U-Vox, the band would not again reach the level of critical success they found with Vienna. The song in this podcast is the 12" version of "We Came to Dance", the final single from Ultravox's sixth studio album, Quartet, released on April 18, 1983. The single reached #18 on the UK charts and was the last of seven consecutive top-20 singles for the band. This being the Christmas season, I would be derelict not to mention that Midge Ure also co-wrote (with Bob Geldof of Boomtown Rats fame) and produced the song "Do They Know It's Christmas?" by Band Aid.
Last but not least, I want to mention "State Of The Nation" by New Order. Though it reached #1 on the UK Indie Singles Chart and #30 on the UK Singles chart in 1986, the song is probably not a favorite of the majority of New Order fans. I would wager if every NO devotee were to compile a list of his or her Top 10 songs, it would probably appear in less than 5% of those lists. Still, the track is a great one even if only for the fact that it's one of the few NO songs whose title actually appears within the lyrics and/or chorus of the song. As most die-hard fans know, the titles of most NO tunes have little or no relevance to the subject matter being discussed. "Shellshock", "Regret", "Touched By The Hand Of God" and "Confusion" are a few songs I can think of off the top of my head that go against that grain. While the song did not appear on the album, Brotherhood, which was released around this time, both the remix version appearing here and the B-side called "Shame Of The Nation", which was produced by John Robie, appear on the Substance compilation, released in 1987.
That will do it for this epidsode. I've got my next podcast ready to record. As soon as I find some time, I'll do just that.
May 30, 2016 09:09 PM PDT
1. Ever So Lonely (Razormaid! Mix) - Monsoon
Notes and other random things:
I re-recorded and re-posted this episode on 1/22/17 due to the poor recording levels on the original post. If you downloaded the previous version, you may want to delete that and download this one. It will be much more consistent from start to finish. More to come ...CRC Retro Mix #41
March 06, 2016 12:00 PM PST
1. Strangelove (Bomb The Bass) - Depeche Mode
Notes and other random things:
I hope this time around I will get to do some notes on some of the tracks in this episode. I'm guessing most would rather hear the music than read a bunch of ramblings from a guy stuck in the 80s, but I'll do my best to keep the total package intact. I do want to quickly point out to readers/listeners that this episode did manage to earn an "Explicit" tag due to some thematic issues in a couple of the songs. While the language is generally fine, there is one "slut" outburst in the Berlin tune and some sketchy noises in a couple of the songs typically associated with carnal activities. Just wanted any parents out there to be aware should you feel like playing this mix in the car or somewhere where inquisitve and/or impressionable kids might be within earshot. Berlin and Beloved are the problematic songs, so just fast-forward through those if you're concerned. On to the songs ...
Leading off things is a Bomb The Bass remix of the DM classic, "Strangelove". It's an appropriate first track, I suppose, as the song was the first single off the Music for the Masses album, which was released in 1987. While eminently successful at that point in their career, it's probably the album that nudged DM toward super-stardom, an interesting turn of events considering the band chose the album name as a lark, a snide dismissal of the suggestion that they create more commercially successful music. While the compositions on the album were more sparsely arranged than previous albums and darker in tonality, the album was a critical and commercial success, effectively making DM a musical fixture among the masses, something they jokingly embraced in selecting the title. As for the song itself, it was originally a high-energy pop song, but Mute founder and producer Daniel Miller thought the overall feel of the track wasn't a good fit for the album. Miller's remixed version is the one that shows up on Music for the Masses. Bomb The Bass, by the way, is the one-man audio production team, Tim Simenon. Simenon found early success in the mid-80s as a musician creating drum tracks and basslines, then "bombing" them with a variety of samples and noises. His first single, "Beat Dis", which contained 72 samples including bits and pieces from Public Enemy to Ennio Morricone to anything in between, was one of the first tracks to introduce sampling into the musical vernacular.
"World in Motion" was a song written by New Order in support of England's 1990 FIFA World Cup campaign. Believe it or not, the tune still stands as New Order's only #1 hit on the UK singles charts, holding the top spot for 2 consecutive weeks. The song is credited to ENGLAND New Order, most likely because members of that era's football (soccer) team, including left-winger and future hall-of-famer, John Barnes, contributed vocals and rapping to the song. Last year, a blog entry in NME magazine celebrated the 25th anniversary of perhaps the greatest sports-themed anthem of all time with a look at ten "geeky" facts about the song. I've reposted them below.
2. In fact, he and instrumentalist Gillian Gilbert initially thought the offer of making the song was a joke. They had another offer of work on the table – with director Michael Powell – but eventually chose to delay that until the following year. Later, on the day they started recording 'World in Motion', they received a phone call saying Powell had died. "We made the right decision," they said. "We'd have looked like proper charlies working with a dead director."
3. Gilbert and Morris were actually pretty crucial to the song – the track was adapted from one of their compositions as The Other Two, which was originally written for BBC's 'Reportage'.
4. At the time, when NME asked footballer John Barnes how excited he was to be collaborating on a football song, he responded: "If I thought it was going to be the same as the usual crap, why bother? But this is alright." Barnes' rap was written by the man himself and performed - legend has it - in one take.
5. When the FA heard "love's got the world in motion", they asked the band to replace "love's" with "we've". The band refused. "It's an anti-hooligan song", they said. Too right.
6. Morris, in a crisis of ambiguity, called coming up with the lyrics a "nightmare", because he wanted to avoid any association with football violence while being cheeky enough that "if it all went pear-shaped, at least we could say it was a joke." He later said, "I couldn't imagine it being anything other than 'World Cup Willy', but Keith Allen got involved and made it funny."
7. Keith Allen, who co-wrote 'World In Motion', wanted it to be called 'E for England', with lyrics that ran: "E is for England, England starts with E / We'll all be smiling when we're in Italy." The FA vetoed the decision. Looking back at it in 1993, he was diplomatic: "I think at the time there were certain drug-related overtones that didn't appeal to either Top of the Pops or the record company." Allen was later involved in 1998 unofficial England song 'Vindaloo'.
8. At the time the song was released, lead singer Bernard Sumner told NME, "This should be the last straw for
9. Reflecting on the song years later, Morris said that it may have changed football. "It did come at a bit of a turning point for football. Until that point it was all very laddish. After 'World in Motion' everybody got a bit loved-up with it."
10. Barnes recently revealed that he had to do a rap-off with Paul Gascoigne, Steve McMahon, Peter Beardsley and Des Walker before he was picked to perform the rap. The question is - did Gazza cry when he lost out that time too?
By the way, the song that would knock "World in Motion" from it's lofty perch at #1? "Sacrifice" by Elton John. For shame!
Produced by the great Trevor Horn and appearing on the album Introspective, as well as being one of the longest tracks in their musical repertoire, "Left to My Own Devices" by the Pet Shop Boys was intended to be an "experiment in seeing how mundane a pop song could be, before setting it against extravagant music," according to lead singer Neil Tennant. No doubt, the song adds touches of classical music, specifically orchestral phrases culled from Claude Debussy's "Prélude à l'après-midi d'un faune" ("Prelude to the Afternoon of a Faun"), to the proceedings. However, this mundane song is rife with supposedly biographical or semi-biographical information from Tennant's youth that he ambiguously puts on display topped off with an idiomatic title. Whether lyrics about "roundheads" (a reference to Pro-Parliamentary forces in the English civil war) the sun and brochures and Che Guevara are self-referential terms about the Boys' "alternative" lifestyles is a matter of conjecture and I'll leave it to smarter people than myself to pour over the details. Frankly, I don't care what the meaning. I prefer just to listen and enjoy.
In a previous episode, I mentioned the numerous contributions of Nick Rhodes to the success of Duran Duran. Perhaps his biggest was that of a visionary as he quickly seized on the potential of the music video. He was the one who pushed the band toward more elaborate productions, a somewhat questionable decision at the dawn of the 80s as the phenomenon that would come to be known as MTV was still months away from its eventual August 1, 1981 launch date. Not to mention, at that time, nobody could have actually predicted the overwhelming success of the network and the lasting impact it would have on the music industry. Released in July of 1981, "Girls On Film" was the third single from Double D's self-titled album. Interestingly, it was the band that chose the song to be their third single after a dismal showing by the second single, "Careless Memories", a song that had been selected by their label, EMI. Though "Careless Memories" reached #37 in the UK, it was perceived as a failure because the first single, "Planet Earth", had been a Top 20 hit. "Careless Memories" was also the song chosen to herald the soon-to-be released full-length album. That the band chose "Girls On Film", a staple at live performances, as the group's third single was fortuitous. It helped album sales overseas, though it did not initially chart in the US. After the follow-up success of the Rio album in 1982, their first album was re-issued in the states in 1983 and became certified platinum in 1985. While the song is no doubt a great one, it was the video, which was originally filmed in 1981 a few weeks prior to the launch of MTV, that made serious waves and caused serious consternation among parents and network censors. The uncut version circulated regularly on the Playboy Channel as it was deemed too pornographic for MTV. It was also banned on the BBC. A heavily-edited "day" version was created for regular airplay and is the one with which most of us are familiar. And though the song had already achieved chart success, it was that video, directed by Godley & Creme, that kept people talking and kept the band firmly in the public eye. Simon Le Bon would later lament that the scandalous nature of the video obscured the message of the song, which was about the exploitation of models in the fashion industry.
To end this episode, I figured I'd include the most reviled song in the Depeche Mode catalog. Okay, that's a bit of an exaggeration, but both Martin Gore and Alan Wilder have, on numerous occasions, described "It's Called A Heart" as their least favorite single ever recorded by DM. Wilder admitted he was "anti even recording, let alone releasing it". So, why the high level of disdain for the song? Seems the band, especially Wilder, thought that the b-side, "Fly On The Windscreen" was a stronger song and should have been released as the band's next single at the time. Apparently, the record label didn't like the fact the first word of the song was "death". Yet Wilder argues:
"I fought tooth-and-nail on behalf of the B-side Fly on the Windscreen which was far superior. To me, the whole thing was a serious backward step. I felt we'd worked diligently to build up recognition for a harder sound, with more depth and maturity, and here was this ultra poppy number that did nothing for our reputation."
When asked in an interview if he could turn back time and do something over again, Wilder responded:
"I don't think I'd change much, apart from some of the hair styles and those daft boots I wore in 101. Oh, and I'd also make sure that I missed my wake-up call on the day we made the video for It's Called a Heart." Wilder says of the video concept, "Quite how [Peter Care, the director] equated 'calling something a heart' with twirling cameras around on the end of a string in a field of corn in Reading dressed in a skirt, I'll never be able to tell you."
Wilder hated the song so much that he answered the question "In your opinion, what makes up a true DM fan?" with "Anyone who still gives us the time of day after having heard It's Called a Heart".
Remixes didn't fare much better in Wilder's eyes. He once commented on the "Slow Mix" version of the song, "...you do need to be particularly devout to endure it - slowing it down to half speed made it twice as long - probably not a very good idea - twice the agony."
Okay, so Alan Wilder doesn't particularly care for the song, but I LOVE IT! And since I'm curating this podcast, I included all 7+ minutes of the Extended Mix for your listening enjoyment.
That's it for this episode. I've got another podcast all figured out and I'll post it as soon I can find time to record it.
Thanks for tuning in/listening/reading!
CRC Retro Mix #40
November 01, 2015 07:39 PM PST
1. Secrets - Fiat Lux
Notes and other random things:
Sorry to everyone for the three-month vanishing act. Without boring you all to tears or making excuses, lets just say that raising a family doesn't leave one with much spare time to devote to things like podcasting. Nonetheless, I got another one done. Lots to like in this one, including some stuff I'm hoping even die-hard retro junkies may not be all that familiar with. Some notes will be forthcoming as I find time to clack out deets. In the meantime, enjoy the new tunes!
Update 3-6-16: I didn't find time to write up anything on this episode, though I will say that I included Kraftwerk to coincide with my getting to cross off a bucket list item. On October 9 of last year, I saw Kraftwerk live for the first time ever. Simply put, the show was amazing. Sure, only Ralf Hutter remains as one of the original members, but the visuals, the sound and the experience were as immersive as one could hope for. The videos were all 3-D as well adding to the sensory overload. The 2 1/2-hour extravaganza bridged the early classics with newer material and it was quite extraordinary sitting down the entire time with generally polite applause in between songs, at least until the clamor began, culminating in a triple encore. It was a show I won't soon forget. If the band should make it to your area, it is well worth the price of admission.CRC Retro Mix #39
July 24, 2015 08:00 AM PDT
1. Souvenir (DMC Postcards From The Edge) - Orchestral Manoeuvres In The Dark
***SPECIAL NOTE FROM CRC AND DJ TINTIN***: Apologies to everyone who has attempted to download and/or listen recently, but gets a pre-recorded bandwidth notification. For awhile I had a pro account with much more bandwidth, but I couldn't justify the cost with my time limitations over the past three years. That said, I also don't like fans and followers to be cock-blocked for weeks on end by bandwidth overages. Right now, I have to be satisfied with a free account, but I didn't anticipate using up my bandwidth three days after the reset date each month. It's a good problem to have, but still a problem. Anyway, I'll keep you all in the loop should things change. For now, I guess, circle the 24th of each month on your calendar to remind yourself to grab these episodes when you can before my 15 gigs of bandwidth per month evaporates! Thanks to each and every one of you for tuning in. It really makes a guy feel good.
Notes and other random things:
Alright! It's 3 hours to dawn, I've got a full bowl of cereal, half a glass of water, it's dark and I'm making a podcast. Hit it!
Okay, so like any normal testosterone-fueled male member of the species I'm a competitive guy, my own worst critic and I can't stand giving a less-than-competent effort in whatever it is I choose to undertake. That said, I do read comments and check reviews with regard to my 'casts to make sure I'm living up to some realistic level of excellence. For the most part, I've been thrilled that this insignificant little program I assemble in my basement has brought so much joy to so many of you. I try to be honest and forthright in my write-ups for my sake, for your sake, for band's sake, for God's sake. Most of what I write is knowledge I've gleaned over the years from being a fan, from reading music mags, from collecting umpteen thousands of records and reading umpteen thousands of liner notes on the bands I feature here. Often, however, I look up artists to confirm or deny stuff I thought I'd read, thought I'd heard, figured I'd seen or otherwise dreamed. Most importantly, I try to get it right.
But I don't always.
...Which brings me to the first band I'd like to mention here: Counterfeit. In episode #23, I included Lee McFadden and Co.'s song "The Good Samaritan" At the time, it was a new find for me, one I discovered on a compilation I had just purchased. Until that point I knew nothing of the band and had a difficult time finding much information on them. I jumped to the conclusion that the song I possessed was probably their only release. Thankfully, a kind listener made a comment to the contrary. He wrote:
"In fact there is a three-track EP of "The Good Samaritan" that was released a couple of years ago. Myself and the other two members are still in contact and work together occasionally on music." - Lee McFadden.
Holy S#!+, Lee McFadden just wrote to tell me I'm full of crap. That's so COOL! Anyway, thanks to Mr. McFadden for correcting my error. I thought it appropriate to let you all know there is more to the band than just one song. I also figured that by using Lee's comment as part of my write-up it would give me another chance to feature the excellent track here.
So, back to the "my own worst critic" comment a moment ago. One of the things about this podcast that is endearing/aggravating is that it's a live mix. That is, I hit record and go for an hour or more - typically 15 songs. As you can imagine, things can sometimes go wrong when performing live, especially at 3 in the morning when I recorded this one. Some errors are bad enough I scrap the whole thing and start over. Sometimes, I just accept things like variances in recording levels or slightly mismatched beats because it's too time-consuming to spend an hour or more redoing an entire 'cast for small inconsistencies, especially when you're using cheap, finicky mixing equipment as I do. In the case of this podcast it turns out two of the tracks here had questionable endings. The first, Book Of Love's "I Touch Roses" mix had a repeated phrase for the last 30 seconds that sounded as if the track were skipping. Of course, I remembered that at the last possible moment and quickly began mixing it out. So, if it sounds like an unnatural point at which to fade in/fade out, it is. And now you know why. I'd say Daniel Miller should be flogged for ending the track in that way, but how can I possibly stay angry at the fellow who founded Mute Records? I forgive you Daniel. Just don't do it again! In case you were wondering about the other track with the weird ending it was 900 Hours by Boxcar. Thankfully, the first gaffe reminded me to avoid a second.
I'd like to spend a moment to write about Belouis Some. Frankly, I could spend a day debating the correct pronunciation of Neville Keighley's alter-ego ... but I won't. Just know that all the variants I've encountered rank right up there with bands like INXS, Cetu Javu, EBN-OZN and others whose names were all butchered during their infancy. (C'mon ... admit it. You called them "Inks" the first time you saw their record in the storefront window. You know you did!) Anyway, the track "Animal Magic" was released in 1987 on Belouis Some's self-titled album, two years after the band found chart success UK and stateside with the songs "Imagination" and "Some People". Those songs led to opening gigs for Nik Kershaw and Frankie Goes To Hollywood during their heyday in 1985 and a track called "Round Round" which appeared on the Pretty In Pink soundtrack. The soundtrack is notable for two things: it's association with a John Hughes film and for being killer back when soundtracks were mostly filler. (That rhymes!) As an interesting side note: Nik Kershaw's song "Wouldn't It Be Good" also appeared on the Pretty In Pink soundtrack as a cover version by Danny Hutton Hitters. Belouis Some's "Some People" would also surface on a Swatch commercial circa 1986.
Australia had its share of good rock music in the 80s. Men At Work, INXS (however you pronounce them) and Midnight Oil represent just a few of the names. But as club culture began to consume record racks in the mid-80s, fledgling bands began to dabble in electronics, shifting their focus from guitar-infused pub rock to synth-based dance music. Brisbane's Boxcar were one of those bands that gained prominence world-wide. But old pub-rock habits die-hard and the band had a difficult time of things even in their home country where they were often met by a chorus of boo-birds during live performances. The group was also ridiculed for being too derivative of established artists like New Order (whom they toured with at the turn of the 90s.) Thanks in part to producer Robert Racic, who had worked with Severed Heads (also an Aussie electronic band) and Single Gun Theory among others, Boxcar's first full-length release "Vertigo", issued in 1990, was praised by critics for it's sophisticated electronic sound. Tracks like "Freemason", which charted at #8 on the Billboard Dance Chart and "Gas Stop" brought the group some recognition outside Australia. But despite support gigs for Depeche Mode, Erasure, The Pet Shop Boys and the aforementioned New Order, the band was never really able to gain much traction and after two more albums, "Revision" in 1992 and "Algorhythm" in 1994, the band's output and live dates began to ebb even though they never officially called it quits.
ABC were like the cool kids in high school that everyone wanted to be like. They had the swankiest clothes, the hippest hair cuts, listened to the coolest music and seemed to always have their finger on the pulse of whatever the "it" thing was to do at the time ... at least until the 20-year reunion rolled around and you saw them wearing the same clothes and sporting the same haircuts, albeit with much less hair and carrying around 50 extra pounds and you realized there had been little personal growth there. The band's roots grew from a band called Vice Versa. Both guitarist and synthesizer player, Mark White, and saxophonist, Stephen Singleton, were members of that group and are notable for their first ever gig being the opening act for Wire. (Not a bad way to kick off a career). After the release of an EP called "Music 4", future ABC singer Martin Fry, at the time editor of his own fanzine called Modern Drugs, interviewed the band. Shortly thereafter, they asked him to join. From the start, the band were pretty set on making 100% machine-made music. Having mega-producer Trevor Horn of The Buggles Fame, a guy affectionately nicknamed, "The Man Who Invented The Eighties" in your corner can certainly help chart a solid course for success. And did it ever. The first album, "Lexicon Of Love", went #1 in the UK, spawned innumerable imitators, featured great songs like "Look Of Love", "Poison Arrow", "Tears Are Not Enough", "Date Stamp" and others, and should be on a short list of the best albums from start to finish to come out of the 80s. From there, however, the band never ventured far from their original song-writing formula and were unable, despite some hits here and there, to duplicate the immense success of "Lexicon". In ABCs defense, not many bands could. Further, the group continued to splinter, losing members as the years went on. Drummer David Palmer left to join Yellow Magic Orchestra shortly after "Lexicon" was released. Stephen Singleton left in 1984. Remaining members Fry and White then recruited Fiona Russell-Powell (known as Eden) and David Yarritu to mitigate the departures of Palmer and Singleton. That line-up produced their biggest hit stateside with "Be Near Me". Mid-1987, ABC's album Alphabet City spawned the Top 10 hit "When Smokey Sings", a tribute to the great Motown singer, Smokey Robinson. Interestingly, Smokey was in the midst of a career resurgence for a new generation of fans and was himself firmly ensconced on the pop charts with his single "One Heartbeat" at the same time as ABC's tribute. It marked one of the only times in chart history a singer had a Top 40 hit while simultaneously being the focus of another.
Not many bands can say they were responsible for coining a term that would become part of the vernacular. In an earlier CRC, I mentioned that Throbbing Gristle's Genesis P. Orridge is widely recognized to have created the "industrial" tag with the advent of his label, Industrial Music, in the mid-70s. March 27, 1982 - that's the date Vicious Pink described their music as "techno" in a feature published in Sounds magazine - almost 4 years before the term gained wider acceptance in the Detroit DJ subculture. Band members Josephine Warden and Brian Moss formed the group in 1981 in Leeds, England, getting their start as backup singers for Marc Almond and Soft Cell. Originally called Vicious Pink Phenomena, Brian describes how the name came to be: "I met [Josephine] when I was DJ at an alternative night, I put on with friends, at a pub called “The Adephi” in Leeds. I also met Dave Ball and Mark Almond there through Jose, as she went to the same College as them, Leeds Polytechnic. We decided to start a band together for a bit of fun. Jose, Dave Ball and I wrote our favourite words down on pieces of paper, turned them upside down and shuffled them about. Then we each chose one of the pieces of paper, after that we rearranged them into the name Vicious Pink Phenomena, Jose’s word was Vicious, Dave’s was Pink and mine was, well, Phenomena. It was a kind of lottery I guess, but it worked. We thought it also sounded like it could be the title for a 50’s / 60’s Science Fiction B Movie." In all, the duo would release 5 dance singles, many produced by Dave Ball of Soft Cell. Despite zero promotion and garnering next-to-no mainstream support Vicious Pink managed to chart all five of those singles in the UK. The particular track here, "Cccan't You See" was their third single and was produced by the great Tony Mansfield of New Musik fame. It was the highest charting single of the bunch, reaching #67.
That's it for this episode. I'll be back soon with another. Thanks everyone and Happy Listening!
June 05, 2015 12:45 PM PDT
1. Visions Of You - Jah Wobble's Invaders Of The Heart
Notes and other random things:
Somebody slap me if I try to take several years off from podcasting ever again. I had to pretty much relearn everything I had known about my cheap mixer and recording software from scratch. Not only that, new updates to software means new interfaces and having to learn where all the navigation features are all over again. You may not be able to teach an old dog new tricks, but at least he can relearn old tricks since forgotten. Anyway, on to the music.
Starting everything off is sort of a forgotten gem by John Joseph Wardle, also known as the inimitable Jah Wobble. The track peaked at #10 on the US Modern Rock charts back in 1992. Featuring the unmistakable backing vocals of a young Sinead O' Connor, the song was a staple on college radio back in the day. But it almost never happened. Following his stint as the original bassist for Public Image Ltd.,
Talk Talk hasn't appeared a lot in CRC, but that's mainly due to the freeform nature of their later music and their lack of "hits" if you will. That's not at all a slam on the group or their style. In my honest opinion they were one of the more original groups coming out of the 80s. And that's not to say they didn't have their share of chart success, but like some other well-respected bands, as their popularity ebbs, their critical acclaim skyrockets. Mixed by producer extraordinaire Tim Friese-Greene, who co-produced Thomas Dolby's "Golden Age Of Wireless" album and has done work with another of my favorite bands, Catherine Wheel, this Extended Mix appeared in February of 1986. According to the band, there was also another 12" mix of this track, by Dennis Weinrich, that was omitted from the "Asides Besides" compilation where this track was taken to "stop the listener from being driven crazy". Seems like I'm going to have to find that one now ...
Although the original version of "Birthday" by The Sugarcubes is one of my favorite Sugarcubes tunes, and although I got to see them live back in 1989 opening for Public Image Ltd. and New Order, and although Bjork has attained a level of success whereby she needs only one name, I think the more interesting persona involved with the remix is Justin Robertson. It's unprecedented for me to write about remixers in CRC, but to any music lover at the turn of the 90s Justin's name has probably surfaced many, many times in record collections everywhere. Turned on to music by the burgeoning acid house scene while a student in Manchester, Robertson quickly jumped headlong into the club scene, taking the record store to DJ to club owner route. Erasure, Bjork, Happy Mondays, New Order, Talk Talk, Stereo MCs and Gary Clail are just a few of the more recognizable names Justin has worked with. You may have noticed that four of those artists/bands are featured in this podcast. Coincidence? Well, yes, it was just coincidence. To read more about Justin Robertson's odyssey, you can check him out at http://thedeadstock33s-justinrobertson.com/
Four albums and twelve singles. That's the total output of Renegade Soundwave's eight-year run as dance/east-end hip-hop/dub/sampling/electro-industrialist noise-makers. The song here, Transition, is from their "In Dub" album, which was a quick follow-up to the success of their first long-play album, "Soundclash". Released in 1989, "Soundclash" followed up several popular singles: "The Kray Twins", "Biting My Nails", and "Probably A Robbery", which charted at #38 in the UK during the year 1990. "Probably A Robbery", though gained chart legs mostly due to the b-side, "Ozone Breakdown", a favorite in dance clubs somewhat due to the prominent sample from the cult film, "The Warriors". RSW have been cited by The Chemical Brothers as a major influence.
Red Flag, in my opinion as far as electronic dance music goes, was very under-appreciated. Buried beneath their hearty dance beats are beautiful pop songs with lush melodies and harmonies and catchy hooks, at least that was the case with their earlier material, including the track here, "Machines". Originally called Shades Of May, the band was conceived in 1982 and consisted of brothers Mark and Chris Reynolds. Both classically trained musicians, by 1984 the two took seriously to studying music and computer technology. A 1988 gig for a Southern California record pool got them noticed by producer Jon St. James. Shortly thereafter, their first single "Broken Heart" (an amazing song, no less) made its debut. Stacey Q, of "Two Of Hearts" fame, co-produced the single with St. James. Their album "Naive Art", a fantastic album from start to finish that included dance hits such as "Russian Radio" and "If I Ever", appeared in 1989. If timing is everything, the brothers' was impeccable as "Naive Art" hit the streets just as Depeche Mode were riding high at what was perhaps the peak of their songwriting prowess. As such, Red Flag's sound struck a chord, literally and figuratively with the synthpop crowds who, ahem, just couldn't get enough of DM at the time. Regulars to CRC will notice a rather robust selection of Razormaid! remixes throughout these podcasts and "Naive Art" remains the only album Joseph Watt and Co. from Razormaid! ever produced in its entirety. Paul Robb of Information Society also helped with the production. Red Flag were victims of label doldrums twice: the first was the dissolution of Enigma Records in 1991, which led to their signing to IRS, the label on which "Machines" appeared. The second was the following year when they were dropped from IRS, an event which, considering the label's impending financial troubles, may have been rather fortuitous. The brothers also had the foresight to use their advance to build their own studio, which would be home of their own label, Plan B Records. It would be the imprint of all future releases. While the band is still actively recording, Mark Reynolds sadly committed suicide in 2003. May he rest in peace and may his music live on forever.
CRC Retro Reboot #2 (originally broadcast 2-18-11)
April 17, 2015 08:38 AM PDT
1. Messages (Razormaid! Mix) - Orchestral Manoeuvers In The Dark
Notes: Hi, again! This is my second installment of the Retro Reboot series. It's kind of a way to revisit some of my better, older podcasts while I get everything ready to do some new podcasts in the near future. For some of you these episodes will be familiar, but for some of my newer friends and listeners they will sound completely new. Regardless, it's all great music that should be heard. This particular episode was originally published in February of 2011. Happy listening!CRC Retro Reboot #1 (originally broadcast 4-23-10)
March 04, 2015 08:07 AM PST
1. The Dominatrix Sleeps Tonight (Dominant Mix) - Dominatrix 2. Touched By The Hand Of God (Razormaid! Mix) - New Order 3. West End Girls (Razormaid! Mix) - Pet Shop Boys 4. Kiss You (When It's Dangerous) (Extended Remix) - Eight Seconds 5. The Promise - When In Rome 6. A Letter From Afar (Big Mix) - B-Movie 7. Wishing (If I Had A Photograph Of You) - A Flock Of Seagulls 8. Brave New World (Razormaid! Mix) - Moskwa TV 9. Situations - Cetu Javu 10. LFO - LFO 11. Change Your Mind (Razormaid! Mix) - Gary Numan 12. Shellshock - New Order 13. Don't Go (Razormaid! Mix) - Yaz 14. Getting Away With It (Razormaid! Mix) - Electronic 15. Love U More (A Version) - Sunscreem Notes: I'm back! Well, kind of. It's been a long three years away, but a career change, a cross-country move, starting a family and all the obligations that go along with it quickly push podcasting down the ol' priority list. It also didn't help that all of my music has been in packing boxes since the move. Well, that has recently changed and I'm starting to get it all organized again, meaning I'm hoping to start doing podcasts again. They probably won't be as frequent as I'd like, but it will be something, which is more than the nothing I've given you, my listeners, for the past long while. During the process of unearthing my music collection, I came across some of my earlier podcasts. Because I ditched my Pro account for the free one in light of my time constraints, most of my old podcasts were removed from this site as my storage capacity was severely depleted. While I try to get organized, I thought it might be cool to re-post some of my better, earlier efforts. For new listeners, it will give you some new material to listen to. For those who have been with me from the start, it will at least replace the podcasts that have been up for an eternity. The one here is the one that started it all: my first ever podcast. I'll post the track list in the next day or so for those who do not have it. In the meantime, it's good to be back (well, kind of). Happy Listening!CRC Retro Mix 37
February 27, 2012 10:26 PM PST
1. Meant to Be - The Listening Pool
2. Silent Cry - Chris & Cosey
3. Sometimes (Extended Mix) - Erasure
4. Beethoven (I Love to Listen To) (Razormaid! Mix) - Eurythmics
5. She Drives Me Crazy (David Z 12" Version) - Fine Young Cannibals
6. I Don't Want Your Love (Dub Mix) - Duran Duran
7. Secret (Original 12" Mix) - Orchestral Manoeuvres In The Dark
8. The Blue Sky - a-ha
9. Don't You Want Me (Special Extended Dance Mix) - The Human League
10. True Faith (Shep Pettibone Remix) - New Order
11. Breakaway (Popper Mix) - Big Pig
12. Date Stamp - ABC
13. Dangerous (Hazchemix) - Depeche Mode
14. Possible Worlds - The Shamen
15. Fanatic (Razormaid! Mix) - Claudia Brucken
Notes and other random things: How I'm going to do this write-up when I haven't even finished the last one is a complete mystery. Stay tuned to see whether or not I solve it!
Think you know all there is to know about new wave, pop, synthpop, and early electronica from the 80s and 90s? Think again. Groove to a continuous mix of some of the great retro dance club classics, forgotten gems and rarities from one of music's greatest eras. Pop your collar, strap on a Swatch or five and enjoy!
DJ TINTIN PERSONAL NOTE 11/7/16: I HAVE NOW UPGRADED ONCE AGAIN TO A PRO ACCOUNT, SO BANDWIDTH ISSUES SHOULD BE NEGLIGIBLE ONCE AGAIN. PLEASE VISIT, LISTEN AND DOWNLOAD AS OFTEN AS YOU LIKE. TELL YOUR FRIENDS. TELL YOUR ENEMIES. TELL ANYONE WHO WILL LISTEN TO COME BY AND SAY HELLO! ABOVE ALL, ENJOY THE MUSIC! I guess you could say I've been a fully-fledged DJ for a while now, having had the good fortune to perform opening sets at a local 80s dance establishment called the Breakfast Club in Charlotte, NC from about 2005-2010. It was a chance opportunity and one that I relished until the night ran its course and came to an end. I started Clearance Rack Classics as a way to continue doing live mixes and to share great music with anyone willing to listen. Gone are the crowds and the funky fashions in this format, but gone also are the music mandates from club owners. Here, I get to play what I really want my audience to hear and not have to devote all my time to the "hits", so to speak. It's not that I have anything against the hits, but there is so much good music out there that begs to be heard. It seems that, as the years go by, more and more genres have been compartmentalized into about 75-100 songs that get repeated over and over in various media. The rest gets squeezed out or gets forgotten entirely. It is my hope that I can keep the dimming embers burning bright right here. Happy listening!
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