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 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!CRC Retro Mix #36
December 24, 2011 12:24 AM PST
1. The Chase - Propaganda
2. Follow the Rainbow (Razormaid! Mix) - Joe Machine
3. X-Rated (Moonitor Version) - Psyche
4. 19 (Destruction Mix) - Paul Hardcastle
5. Humatic (Razormaid! Mix) - League of Gentlemen
6. World in my Eyes (Oil Tank Mix) - Depeche Mode
7. Situations (Razormaid! Mix) - Cetu Javu
8. Thinking of You - Seven Red Seven
9. Handsome (Psycho-Ray Mix) - Camouflage
10. Komputer Pop - Komputer
11. Heaven (Extended Version) - Until December
12. Spooky (Magimix) - New Order
13. Render - Lassigue Bendthaus
14. W.Y.H.I.W.Y.G. - Front 242
15. One World - Ajax
Notes and other random things:
Update as of (02-01-12): God golly ... is it already February?!?!
Just realized I forgot to do my notes and random things for this podcast, which was already over a month ago! Jeez. Well, it's on the way, plus a new podcast once I find time to record. New job, new family member, new year and a cross-country move on the horizon are taking up all my time at the moment. Did you notice all the "newness" in that last sentence? Yet here I am dishing out what Bryan Ferry would call "The Same Old Scene" when it comes to reasons why I can't seem to get podcasts up in a reasonable amount of time anymore. Or, like ABC's Martin Frye crooned, "Excuses have their uses, but they're all used up." Seriously, though, I can't recall being any busier in my entire life and I beg your indulgence with my slow updates of late.
Update as of (02-04-12): Let's look at a few of the bands in this particular episode (finally, right!?) I want to start with League of Gentlemen. Funny I want to start with a band I know almost nothing about, but it's really the concept of this song that intrigues me so much. Back in the 80s, there were a lot of industrial-sounding bands that were fascinated with the synthesis between man and machine and what it might entail for the survival of the human race. Mysterious Art, for instance, if you recall from an eariler episode, touched on the theme with Men of Glass. There were plenty of others. This excellent number from 1987 does the same.
On a side note, I have always been fascinated how Eastern Bloc industrial artists could always seem to write cool songs even though they barely knew English. Somehow they take sentence fragments and comma splices, add the letter "z" wherever there is supposed to be an "s", pluralize words like "informationz" and still manage to give me chills. That's talent! Of course, this band only had enough talent to do one song because I haven't, to date, found anything else by these guys ... at least in this incarnation. As we have learned with producers like Morton, Sherman and Belucci they can "seed" an entire genre by doing hundreds of one-off bands to create a scene as those guys did with the Belgian New Beat dance scene years ago. So, maybe the guys in LOG reformed under another moniker. I'll have to look into it sometime.
But there's more to this "Humatic" phenomenon than meets the eye. As with other electronic groups who explored man's servitude to the rise of machines there is an inherent lack of logic there that makes me chuckle. I've played it out for you below, though names have been changed to protect the innocent. (Note: this is a completely fictional account)
Klaus: Hi, Gert.
Gert: Howdy, Klaus.
Klaus: Say, Gert, how would you like to be in a band with me?
Gert: Sounds great, Klaus. But is this another one of your band concepts that requires I wear lederhosen on stage while dumping a stein full of Krautspatzle over my head?
Klaus: No, Gert. This one is much better. I want to explore the relationship between man and machine and how eventually, due to elementary chaos theory, all machines will morph and rise up against their masters and enslave them, breed with them and create a hybrid race of automatons that will exterminate all humanity.
Gert: Count me in!
Klaus: Now, if you'll excuse me, I have to go get the drum machines, sequencing keyboards, electronic samplers and Commodore computers that we'll be using.
Gert: Sounds great, Klaus. I can't see anything that can go wrong with this utterly ironic plan of yours. By the way, do you have a band name yet?
Klaus: I sure do, Gert. I wanted something memorable and easy to recall, so it's come down to either Braunschweiger Umweltverschmutzung or League of Gentlemen.
Update as of (02-17-12): I don't have anymore fantastic re-enactments for the next band in the arsenal. In fact, like League of Gentlemen, I have little to no information at all about Joe Machine either, though I think I came across his social networking page on MySpace ... or at least some guy who goes by the name Joe Machine. Anyway, we have ZYX records in Germany to thank for this release and divinity to thank for the voice that is eerily reminiscent of Daniel Ash from Bauhaus/Tones on Tail/Love and Rockets fame.
As is the case so often with electronic music of this era, "Kraftwerk creep" rears its head a couple of times in this episode. Seeing as how they are one of the most influential collectives in electronic music history it's not surprising that so many others to follow were touched by their genius. From tempo to timbre to replicating the "Musique non-stop" mantra found in the Kraftwerk tune of the same name from the Electric Cafe album, Psyche's X-rated is a delectable morsel of synthetic cyber-porn sleaze that captures the Kraftwerk-ian spirit perfectly and garners this episode an "explicit" tag in the process. Sebastian Komor of Icon of Coil remixed the track. Then, there is the awesome, sub-splitting frequencies of the track Komputer Pop by the band Komputer. If you recall, I mentioned this band when discussing the group I Start Counting several episodes ago as they, Fortran 5 and Komputer are all brain children of David Baker and Simon Leonard. If you haven't done so and you are a Kraftwerk fan, I highly recommend Komputer's first album called World of Tomorrow. It's a fantastic concept album and is about as close to replicating the Kraftwerk sound as you're going to find. There are a bunch of great tracks to boot. And in case you missed it, Baker and Leonard recently released a compilation of tracks spanning all three iterations of their long-time collaboration. Called Konnecting, it contains 15 tracks. For die-hards, they also released a companion 60-track digital deluxe set of b-sides and rarities with tons of remixes. If you have never owned anything by these guys, the new set is a fantastic place to begin and perhaps end if you're not a completist when it comes to music collecting.
More to come ...
October 24, 2011 01:57 PM PDT
1. Sea-Missile Motel - Moev
2. New Decisions - Manufacture
3. See How it Cuts (Extended Club Dub Dance Remix Version) - I Start Counting
4. Slave (Extended Mix) - Revenge
5. Das Omen (Razormaid! Mix) - Mysterious Art
6. Opportunities (Ron Dean Miller and the Latin Rascals Mix) - Pet Shop Boys
7. Who Needs Love Like That (The Love That Mix Version) - Erasure
8. Locomotion (Razormaid! Mix) - Orchestral Manoeuvres In The Dark
9. Our Lips are Sealed (12" Mix) - Fun Boy Three
10. Love Reaction (12" Mix) - Divine
11. Our Love / Lucky (Razormaid! Mix) - Donna Summer
12. Everything's Gone Green - New Order
13. When Smokey Sings (The Miami Mix) - ABC
14. Send Me an Angel '89 (Dance Mix) - Real Life
15. Pretty in Pink (Berlin Mix) - The Psychedelic Furs
Notes and other random things: A couple weeks back I left a note at the top of my podcast explaining my current bandwidth situation. In short, I pretty much use up my monthly allotment within the first couple days of each month anymore ... and I blame you all! No, really. I do. But, as I said then, it's a great problem to have and I'm so very thankful that you guys tune in like you do to hear these classic retro dance tunes on a frequent basis. The only drawback is that PodOMatic has become pretty strict about allowing DJs to post new episodes if they have gone beyond their bandwidth limitations. What does that mean exactly?
Well, first it means I had to change the sub-title of my Podcast. Since its inception I have used the subhead: "An (almost) weekly retro dance experiment." With my current busy schedule, "almost weekly" was a stretch even using a qualifier such as "almost". Now, my window of opportunity is even smaller than before. As such, I altered the subhead to: "80s and 90s retro dance adventures of a boy and a cheap mixer." It's probably a better descriptor anyway as I'm a boy and I own a cheap mixer.
Second, it means unless I can scrounge up the roughly $250 per year PodOMatic charges for the next tier of bandwidth, I'm going to be saddled with this problem for the foreseeable future.
Third, it means you'll probably be seeing a PayPal donation button appearing on my page very soon. I had the option to remove it in the beginning, which I did, but I'll probably put it back up there in case any of you would like to chip in towards an account upgrade. I don't make any money doing this, nor did I intend to, but I also didn't anticipate the amazing response I've received thus far either.
Fourth, I'm also looking into placing some Google AdSense ads onto my page. I know, I think it cheapens everything and makes me look desperate, but if I can convince you guys to click on them when you visit my page, it might go far in helping me upgrade my account, which means I can provide retro goodness to you on a more frequent basis. I should point out that neither begging for donations nor begging for clicks are desirable options, but doing only one new Podcast per month isn't really an attractive option either.
All in all, I haven't yet decided how I'm going to handle my current situation, but I'm sure it will become clear as we move closer to 2012. I just wanted you all to be aware of what's transpiring right now. I can say from reading the forum posts that many other podcasters share my predicament and are none too happy because ultimately it's the listeners, the lifeblood of our shows, who end up getting shortshrifted. So, my apologies to everyone on that front.
Okay, now that that's out of the way, I can catch you up on some of the artists in this episode. In the meantime, I hope to have another new episode up very soon. Hang tight!
Let's start with Harris Glenn Milstead, better known as Divine. This is Divine's first appearance on CRC. I've shied away from his work over the past year and a half so far because I just couldn't find a good segueway for it. Well, that and his stuff is pretty crappy. It's highly derivative schlock that anyone other than a flamboyant drag queen wouldn't be able to get away with. I mean, this is the same guy who somehow got industrial record label Wax Trax! to release his version of The Name Game song (you know: Tintin, Tintin, bo-bintin, Banana fana fo Fintin, Fe fi mo-minton, Tintin!) But this is Divine we're talking about and you'd expect nothing less from a member of John Waters' "Dreamlanders" troupe ... and he delivered every time! I guess that sounds a little harsh if it weren't really the point. Heck, it was Waters, the guy who aspired to make the "trashiest motion pictures in cinema history", who gave Divine his name and enlisted him as the lead in several of his soon-to-be cult films. Those appearances piqued Divine's lust for more fame and fortune, which he would find at the start of the 80s when he delved into the club scene. His "act" consisted of yelling "f*ck you!" at the audience and getting into fisticuffs with a fellow drag queen. In a way, Jerry Springer owes his entire television career to Divine!
Pairing up with composer and record producer Bobby Orlando, Divine's live spectacles began to include disco numbers including the song Love Reaction, which appears here. His growing popularity on the club circuit spawned world tours even though Divine admitted at the time not being able to sing a lick as you'll witness first-hand. Orlando had gone about producing an entire album and touring before Divine had even mastered the lyrics. But that didn't stop him as Divine thought that if porn stars could have successful stints in the studio (I'm guessing he meant The Andrea True Connection and that ilk) why couldn't he? Really, though, the music was secondary to the trash, which is perhaps why Divine has been a secondary thought so far on CRC compared to other artists whose focus was the music. Still Love Reaction was the third single to chart on the Dutch Singles Chart and peaked at #25. It also spent 7 weeks on the German Singles Chart peaking at #55. And if you can't quite get enough of New Order's Blue Monday, this is basically the version Divine would have recorded had he been the lead singer, so there's that.
Next up is Donna Summer. Though I don't like to discount the possibility of any artist showing up on CRC at any point, I can tell you now, with almost complete certitude, that this will probably be her only appearance. It has nothing to do with her persona or a patent dislike for her music, except for the fact the bulk of her career occurred in the 70s and her hardcore disco sound doesn't exactly fit with what I'm trying to do here. Technically though, Our Love was released in '79, but didn't find massive success until the 12" version was released in 1980. From there it sold over a million copies. The track appeared on Summer's seventh album called Bad Girls, which became her best-selling album of all time as it spawned six different singles including the title track and Hot Stuff. One of the key contributors to Our Love and the Bad Girls album as a whole? Giorgio Moroder (of course!)
Moving from Summer to Sumner, New Order's Everything's Gone Green would seem an odd choice to mix into Our Love until you hear the similar electronic undertones. At that point it becomes more of a logical (and rather nifty, if I may say so) choice. In fact (or factus for you New order junkies), New Order have cited Donna Summer as an inspiration for their own work. According to lead singer Bernard Sumner, Blue Monday was heavily influenced by four tracks in particular: Dirty Talk, by Klein + M.B.O.; You Make Me Feel (Mighty Real) by Sylvester; Our Love, by Donna Summer; and Uranium by Kraftwerk. As for Everything's Gone Green, it was released originally in 1981, peaking at #3 on the UK Independent Singles Chart and #34 on the U.S. Billboard Hot Dance Club Play Chart. It is supposedly the first New Order track to contain computer-generated sounds and the last of the band's tracks to be produced by Martin Hannett. The song is also responsible for a major labeling gaffe. That's because the b-sides, Cries and Whispers and Mesh, were listed correctly on the record, but in reverse order on the record sleeve. The mistake led to several misidentifications on subsequent New Order album releases. For instance, the song Mesh appears as the third track on disc 2 of the Substance compilation, but should be credited as Cries and Whispers. Strangely, the real Mesh does appear on the cassette version of the album. Pretty dorky, stuff, eh? But where else are you going to find this kind of juicy information ... except maybe on the internet.
The lead track, Sea-Missile Motel, by Moev was the first track on their Dusk and Desire album, which was released in 1985. Originally formed in 1981 by keyboardist/percussionist Tom Ferris and keyboardist/vocalist Cal Stephenson, the band released their debut album, Zimmerkampf, in 1982, but was forced to find a new label after San Francisco-based Go! Records went under the following year. Interestingly, in 1984, band member Mark Jowett and manager Terry McBride formed Nettwerk Records in McBride's apartment as a way to release new Moev material. As many of you know, Nettwerk has attained worldwide success in the years since and is home to a musically diverse line-up of artists from Sarah McLachlan to Skinny Puppy. The band went through several personnel changes in the early going, but settled on Michela Arrichiello as lead vocalist during the years surrounding Dusk and Desire and she is the voice you'll hear on this track. Bassist/drummer Kelly Cook, vocalist Dean Russell and keyboardist/percussionist Anthony Valcic would eventually replace many of the early members and would form what is considered to be the classic Moev line-up. In 1988, their highly successful Yeah Whatever album spawned their best-known track, Crucify Me, which, unlike Donna Summer, I can assure you will appear in CRC at some point down the road.
Label mates Manufacture further exemplify the eccentricity that graced the Nettwerk Records musical stable. Formed in 1984 by Brian Bothwell and Perry Geyer, the group was originally created as a soundtrack company, making experimental music and video. After performing in front of live audiences, the duo eventually became a band. In 1987, they were signed to Nettwerk and were commissioned to make two full-length albums as well as a variety of 12" dance singles. The song here, New Decisions, comes from the second album, World Control. It was a bit more pop-friendly than their debut, Terrorvision, though Sarah McLachlan did perform vocal honors on the great track, As the End Draws Near. Believe it or not, that song eventually was awarded a platinum single in Canada when it appeared on her album, B Sides, Rarities, and other Stuff. For the record, Brian Bothwell continues to work in the film and video field and also works as a Photographer in New York City. Meanwhile, Perry Geyer continues to produce music and owns and operates CyberSound Studios in Boston and New York City.
That's all for this episode. Thanks for listening!
Note as of 12-18-11:
Hello, once again! I'm sending out these notes as a way to fill in the long gap left by my lack of posting a recent episode and as a way to keep you up-to-date on my status. For all the gory details of my recent podcasting travails, read the previous two entries in red below. Despite all the seemingly unfortunate news, this note is to let everyone know I have recorded a new podcast and it's ready to post once my bandwidth resets again in just a few days! (For all the gory details about bandwidth, you can also read below.) Anyway, hang tough, gang - the light at the end of the tunnel is rapidly approaching and I think you're going to find the new podcast was worth the wait. In it there are a LOT of great tunes that you probably have not heard before, plus some very different versions of a couple of old classics. Again, thanks for your patience!
Note as of 12-05-11:
Hi, all. Well, what a long, strange hard drive breaking down, no computer for two weeks trip it has been. I am happy to report that I have my computer back and it appears to be functioning just fine. The good news is I can get back to podcasting. The bad news is I have gone over my bandwidth for December already! The good news is I have tracks all selected for my next episode and will record it this week. The bad news I probably won't be able to post it right away. The good news is I will begin work on subsequent podcasts so that when my bandwidth resets once again I can hopefully post several episodes at once. The bad news is I'm hungry so I need to go get something to eat. The good news is you won't have to read anymore of this drivel!
You all are the best audience anywhere and I fully appreciate the support and your saint-like patience. Hell, if I were you I probably would have quit listening to me by now. But then I would have changed my mind and would have started listening to me more than ever! Gee, what a swell guy I'd be if I were you.
Note as of 11-28-11:
I meant to post a new episode this past weekend. I really did. Unfortunately, the hard drive on my computer gave out and I'm currently in the process of getting it replaced. Installing a new hard drive is no big deal, but it's trying to save all the data on the old one that is taking some time. The good news is I hope to have my computer back today or maybe tomorrow. The bad news is that I'm already halfway to my bandwidth limit for the month and we're only 4 days in. I just have to hope I can find time to record before I reach my ceiling. Again, I apologize to everyone for the lack of a new episode over the past month. Thanksgiving holidays + no bandwidth + broken hard drive = not good. Hang with me just a little longer! Everything should be back to normal shortly.
CRC Retro Mix #34
September 27, 2011 12:21 AM PDT
1. The Politics of Dancing - Re-Flex
2. Here Comes the Rain Again - Eurythmics
3. Fools (Bigger) - Depeche Mode
4. People are Still Having Sex - LaTour
5. Thinking of You (Warzone Mix) - Seven Red Seven
6. Ebeneezer Goode (Beatmasters Mix) - The Shamen
7. Doved Up - Sunscreem
8. Round & Round (The Club Mix) - New Order
9. Two Tribes (Annihilation Mix) - Frankie Goes To Hollywood
10. Living on Video - Trans-X
11. Deeper Shade of Blue (Extended) - Red Flag
12. Dust - Boxcar
13. Together in Electric Dreams (Extended) - The Human League
14. Smalltown Boy (Razormaid! Mix) - Bronski Beat
15. Leaving on a Midnight Plane (Razormaid! Mix) - Nick Straker
Notes and other random things: Well, if the new episode hadn't already tipped you off ... I'm back! Please, no applause (surely none of you applauded). It was great to get out of town for a week even though about a third of the trip was spent in the car. Yup. About 2200 miles in total. But if you've been keeping up with these podcasts you've probably come across several posts that discuss road trips. Personally, I enjoy them. There's nothing quite like watching unfamiliar scenery float by in parallax while skirting past 18-wheelers in a downpour. In all seriousness, it's nice to witness different topography, different natural wonders, different roadkill and take in the subtle differences of a McDonald's cheeseburger that was constructed in backwoods America versus that of the big city. In case you were wondering, it tastes like it has better family values ... and a dash more possum.
But the real point of taking a vacation is to come back re-energized which, if you look at the music selection in this episode, you can clearly see that I have (unless you don't know any of these songs in which case you'll have to take my word for it and then listen for yourself!) This set is positively high energy through and through with a delicate balance of 80s and 90s; major and minor keys; some meat and in one or two cases a lot of cheese (I'm looking at you, Nick Straker ... but don't think I haven't glanced more than once in your direction too, Phil Oakey). But I like cheese, which is why songs like Together in Electric Dreams and Leaving on a Midnight Plane surface in this podcast. And just so you know, Nick and Phil, I'm going to discuss you guys first to show there are no hard feelings.
Nick Straker was originally the keyboardist for a band called New Musik. Formed in 1977, the band was initially called The End of the World and was conceived mainly as a casual jam session outfit for four London-based school mates: singer Tony Mansfield, bassist Tony Hibbert, drummer Phil Towner (who drummed on the Buggles MTV-launching track Video Killed the Radio Star) and Straker. The band was one of the first to blend electronic instruments with traditional ones, creating an irresistible pop sound with superb melodies and unrelenting hooks. Why they were never able to make bigger waves on the commercial scene still baffles many music critics and historians. Mansfield, however, went on to become a big-time producer working with early 80s bands like a-ha, Vicious Pink, B-52's and After the Fire among others. Straker departed New Musik before the release of their first single choosing to pursue a solo career. He scored several hits, including A Little Bit of Jazz, which reached #1 on the U.S. Hot Dance Club Play chart in 1981 and A Walk in the Park, which hit #20 on the UK Singles Chart in 1980. The track here is the excellent (and cheesy!) Razormaid! mix of Leaving on a Midnight Plane. It originally appeared on the A Walk in the Park album and peaked at #61 on the UK Singles Chart in 1980.
Together in Electric Dreams is an interesting case study in musical perception. Often associated with The Human League, the track is really a Giorgio Moroder creation with lead singer of THL, Phil Oakey, contributing vocals. It's no surprise that THL often gets most of the credit because they were still near the apex of their popularity in 1984 when the song was initially released. The track was written for the film Electric Dreams, the first full-length feature film by Steve Barron. Barron made his mark directing some pretty high-profile music videos during the early 80s, including THL's international smash hit Don't You Want Me. The funny thing is, he intended Electric Dreams as a way of capturing the massive success of Flashdance from the year before. Yes ... Flashdance! Because that film used music from Moroder, Barron decided to employ Moroder as the music director for his new film. He wanted something heart-stirring to run during the final credits and a classic 80s track was born. The song would surface on a collaborative album by Moroder and Oakey the following year. This extended version is taken from an album of THL rarities and remixes, which certainly won't help the perception that this song is not a THL original. The fact that I credited it as THL (since it was taken from a THL album) won't help either. But I'm going to do something about that Giorgio Moroder for the remainder of the write-up Giorgio Moroder. I just hope it will set the record straight Giorgio Moroder about where some of the credit should go.
I'm still planning to cover one or two more of the bands in this podcast. However, I thought I'd pass this on: it's information about the new Erasure album I hinted at in an eariler episode. The album already dropped in the UK, but for those of us stateside, the release date is Tuesday, October 11. I can't wait!
'TOMORROW'S WORLD' - STANDARD EDITION CD & DOWNLOAD
'TOMORROW'S WORLD' - DELUXE EDITION CD & DOWNLOAD
Note as of 10-08-11: Okay, I had planned to write a bit more about some of these bands, but I just flat don't have the time. I guess if it comes down to the writing or the music, I'll err on the side of the music because that's what this podcast is really about. So, I'm going to begin work on a new podcast with the bit of free time I have and end this one here. I'm sure these bands will return in the future and I can write about them at that time. Now, I realize the irony of writing a paragraph to tell you I don't have time to write anymore on this episode, so you don't have to bother pointing that out. Hold tight for another episode coming soon!
On the Road Again 2011! Retro Mixtape #6
September 08, 2011 07:24 PM PDT
1. Rise - Sugar Plant
2. Chromium - The Church
3. Blue - Bark Psychosis
4. Archway People - Saint Etienne
5. Judas - The Charlatans UK
6. Lowdown - Electrafixion
7. Life's an Ocean - The Verve
8. Hooligan - The Heartthrobs
9. Satellites - Doves
10. Out of Hand (Extended Version) - The Mighty Lemon Drops
11. Squeeze-Wax - Cocteau Twins
12. Within the Daze of Passion - Kitchens Of Distinction
13. Sideways Forest - Love Spirals Downwards
14. Paradise - Bel Canto
15. Portrait in Atlanta - The House of Love
16. Ox4 - Ride
17. I Know - Bark Psychosis
Notes and other random things: Okay, gang. I'm getting out of dodge for a few days and I didn't have time to do another dj mix before I leave. So, I'm doing the sixth installment of the mixtape series. As most of you know, these episodes are designed to be more like the mixtapes I used to make for friends way back when. They are a great way for me to relive my past, but also for me to showcase great 80s and 90s bands that don't really fit the dance format.
This particular compilation was an actual "mixtape" I put together five or so years ago, I believe. I'll have to look it up again to make certain. Anyway, I'll possibly put together a little write-up for this when I return. For now, just enjoy the music. There's some great stuff here for sure and plenty to fall in love with if you're not familiar with these artists. Which reminds me ... be sure to support the ones you hear in this podcast.
Cheers, and thanks for supporting me as well! I'll be back with another episode again soon.
Image courtesy of: relamz.deviantart.comCRC Retro Mix #33
August 25, 2011 10:57 PM PDT
1. American Dream - L.A. Style
2. X, Y & Zee (Sensory Amplification Mix) - Pop Will Eat Itself
3. W.F.L. (Think About the Future Mix) - Happy Mondays
4. Never Let Me Down (Aggro Mix) - Depeche Mode
5. It's Over Now - Cause & Effect
6. Again ('90 Remix) - Do Piano
7. Prisoner to Desire - Psyche
8. Don't Argue (Dance) - Cabaret Voltaire
9. Hyperreal (Remix) - The Shamen
10. Life on Your Own (Extended) - The Human League
11. Hip Hop Be Bop (12" Mix) - Man Parrish
12. State of the Nation - New Order
13. Around My Heart (Razormaid! Mix) - Sandra
14. It's Alright Now (Back to Basics) - Beloved
15. State of Shock (L'Pool Edit) - Revenge
Notes and other random things: Greetings from Charlotte, NC. I'm DJ Tintin and this is my retro podcast. Glad you've found it. Feel free to stay as long as you like.
Sorry for the re-introduction, but I've been away for so many weeks between my last podcast and this one that I almost feel like stranger to many of you. If you're tuning in for the first time, I am. And if you are, in fact, a newbie, I recommend going back and re-reading the first sentence, making sure to apply a tone of sincerity to the voice in your head instead of a sarcastic one. Before you do, however, I need to add a few more adjectives. That first sentence should read: Greetings from bread-less, milk-less, power generator-less Charlotte, NC.
What the hell am I talking about?
Well, for those listeners in the U.S., (and possibly abroad) you are probably well aware of the recent hurricane that hit the eastern seaboard over the past week. (If you're not, may I suggest the internet?) As such, there is neither bread, nor milk, nor power generator to be found anywhere as these are the desirable items for which panic-stricken residents spend hours in check-out lines hoping to buy the week leading up to the event.
Now, as a mid-west transplant living in the Carolinas for 14 years, I get the fear associated with hurricanes. I do. They are analagous to the fear we mid-westerners have in regards to tornadoes. The difference is you have about 10-15 minutes maximum to prepare for a tornado as opposed to a week or so for a hurricane. What that means is after a tornado passes, I can at least emerge from the twisted pile of tinder that used to be my house, go down to the local market (if it’s still standing) and celebrate my continuing to live with a bowl of cereal. In the Carolinas, that’s an impossibility because the shelves have been completely wiped out.
If I were a guy who actually bothered to prepare for catastrophe instead of worrying about posting his next podcast, I'd actually scoop up all the lunch meat, cereal and lightbulbs from the nearby food emporium at the first word of impending doom. Surely, someone with bread, milk and a power generator would be willing to barter for shelter should I be left homeless. Methinks the guy with the cache of mustard or mayo would probably be sitting pretty as well.
On to the music …
L.A. Style make their first appearance on CRC. They were a rave group that toured extensively between 1991 and 1995, when they eventually split up. The group was founded by radio host Wessel van Diepen, also the most successful dance-pop producer in Dutch history having assembled the groups Nakatomi and the Vengaboys as well. The band was fronted by Frans Zid Merkx, a multi-tool artist going by the moniker FX. Best known for their huge club hit James Brown is Dead, L.A. Style were the first group to land a rave track on Billboard’s Hot 100 Airplay chart. The song here, American Dream, is the last track on L.A. Style’s self-titled album from 1993. The sample contained within comes from the first inaugural speech of President Richard M. Nixon, delivered Monday, January 20, 1969. See the excerpt below:
“The American dream does not come to those who fall asleep. But we are approaching the limits of what government alone can do. Our greatest need now is to reach beyond government, and to enlist the legions of the concerned and the committed. What has to be done, has to be done by government and people together or it will not be done at all. The lesson of past agony is that without the people we can do nothing; with the people we can do everything.”
Pop Will Eat Itself have appeared a couple times in earlier CRC episodes (#13 and #20) and both times the tracks used were taken from their Cure For Sanity album circa 1990. If you believe the past is a good indicator of the future, you won’t at all be surprised to learn that X, Y & Zee, the track here, also appeared on that amazing album. I say amazing because I have vivid memories associated with it, trucking home from Texas to Kansas over fall break my sophomore year in college. I took my roommate to see the Kansas/Kansas State football game and then we stayed in Manhattan (also called "The Little Apple", which is home to the KSU campus) with friends drinking and carousing well into the night after a KSU victory (though truth be told I’m a KU fan). This album received heavy rotation on that 1200-mile round trip and deservedly so, though you won’t find much agreement among those haters of what was called the “grebo” movement. Mostly a product of the music media who have an unfailing compulsion to label clusters of similar-sounding music, grebo started in the late 80s and continued on into the early 90s before “Brit Pop” took over. PWEI were forerunners of the subculture, which encompassed bands whose sound blended garage rock, hip hop, pop and electronica. Dreads, partially shaved heads and high ponytails, torn jeans, boots, lumberjack shirts, army surplus clothing, and eclectic hats defined the fashion (if you can call it that), a look dubbed by the Trouser Press as “slimy-looking lowlifes playing retrograde raunch”. Ned’s Atomic Dustbin, Jesus Jones, The Wonder Stuff and others were all part of that short-lived movement. The remix appearing here, though taken from the single, also appears as a hidden track at the end of the Cure for Sanity CD. A little PWEI trivia: the band was headed by Clint Mansell, a fine musician who has gone on to score many Hollywood films including the Darren Aronofsky films Pi and Requiem for a Dream, The Wrestler and Black Swan. Music writing credits on PWEI albums are all listed as Vestan Pance, a pseudonym for the entire band. At one time, after the addition of drummer Robert “Fuzz” Townshend to their line-up, they proposed the name Vestan Pance and Socks, which was summarily rejected by their label RCA.
Speaking of heading up an artistic movement, The Happy Mondays would most certainly qualify. Lead by one-time smack user Sean Ryder, the Mondays charged headlong into what would become the Ecstasy-fueled club scene in Manchester, England. Dubbed “Madchester” by those who were there, the Mondays became poster boys for the “haves” of the sonic landscape, diving into excess so severely that they nearly drove their label, Factory Records, into financial oblivion. The whole thing is pretty well-chronicled in the excellent film 24-Hour Party People, directed by Michael Winterbottom, which is sort of a dramatized account of Factory Records head man, Tony Wilson, and the rise of Joy Division, with some attention given to other Factory bands including: New Order, A Certain Ratio, The Durutti Column and, of course, the Mondays. The track here, W.F.L. (which stands for Wrote For Luck) was remixed by Paul Oakenfold and appears on the mini-album Hallelujah. Hallelujah was originally a four-song EP called the Madchester Rave On EP, but was renamed after three bonus dance mixes were added before its release in the U.S. For Erasure buffs, a Vince Clarke remix of W.F.L. also appears on the CD version of the Mondays’ second full-length album called Bummed.
When close-knit bands lose a member to tragic circumstances there exists a time of deep reflection followed by a re-evaluation period where remaining members make the critical decision to fold up the tent or to carry on. After losing singer Ian Curtis to suicide on the eve of their first U.S. tour, Bernard Sumner, Peter Hook and Stephen Morris of Joy Division decided to continue on, though they decided a name change was in order to escape the long shadow left by Curtis. Out of the ashes came New Order. For Rob Rowe of Cause & Effect, the untimely death of friend and co-founder Sean Rowley too put his hopes for the future in serious doubt. The tragic loss in many ways eclipsed the success of their self-titled debut album on Exile Records (which was later re-issued as Another Minute by BMG). That album spawned two top ten dance singles, including You Think You Know Her, which stands as the group’s pop chart high point. Unlike Joy Division, Rob made the decision to move forward under the C&E banner. He enlisted Keith Milo, a California-based electronic musician and, along with drummer Richard Shepherd, the band released their second full-length album, Trip, in 1994.
“Performing the tribute to Sean at the KROQ Acoustic Christmas Show in LA was a turning point,” explains Rowe in the band’s Offical bio, “The overwhelming support from the fans and audience made me realize that giving up just wasn’t an option.”
“Coming in to Cause and Effect after Sean’s death was a scary thing to do,” adds Milo. “There was so much uncertainty. Sean was a genius with melody, he was irreplaceable. I think there was solace in the fact that we became a very different band at that point and we all felt that we were doing the right thing by continuing on.”
Produced by the great Martyn Phillips, Trip contains the brilliant track appearing here, It’s Over Now. It ultimately climbed to #7 on Billboard’s modern rock charts, and was the band’s fourth release to appear on Billboard Hot 100 singles chart.
The last artist I want to touch upon this go-round is Man Parrish. An Andy Warhol, Club 54 “freakazoid”, Man Parrish is responsible for a couple of the most enduring, innovative and influential tracks in the history of electronic music. I say a couple because as quickly as he arrived he vanished once again into relative obscurity. Arriving right at the juncture of the evolutionary electronic music tree where legendary producers like Arthur Baker and John Robie split from the Kraftwerk-infused trunk to create a portion of the hip-hop foundation with Soul Sonic Force’s track Planet Rock, Manny Parrish would split the other way, building upon the notes of Kraftwerk’s Autobahn that were no doubt trapped somewhere in his brain. Using a Roland TR-808 drum machine and two keyboards, he crafted Hip Hop Be Bop in his bedroom. In doing so, he became one of the early producers-turned-artists on the electronic music scene.
In an interview, Man said of the track, “It was played in a really wide spectrum: in black hip-hop clubs, in white underground places like Danceteria, in after-hours clubs. The radio station pumped it like crazy because I did vocoder spots for them and in exchange for payment, they put my stuff into heavy rotation. When you first hear it, you think, ‘Huh, weird instrumental track.’ But the more you listen to it, it's like, 'This is really interesting.' It even happened to me: I used to hate it at first."
Hip Hop Be Bop went on to sell over two million copies, but Parrish received almost nothing for his groundbreaking efforts. Much like innovation, ripping off artists was commonplace back then. As Parrish explains, “When I first started out I was so broke I made this song called Heatstroke as a soundtrack for a porno movie. Some DJ had sampled it off the movie, made an acetate, and somebody told me, ‘Hey they're playing your music at this club.’ I ran down to the club and all of a sudden my song came on. I asked the DJ, ‘Wait a minute, where'd you get that record? It's my music.’ He told me, ‘That's your music? Come down to the record company, they'll sign you on the spot.’"
He goes on to say, “I got nothing--it was the classic first record rip-off deal. I would go to the label and literally beg for rent. The guy who owned it bought a plane, a house in Vermont, and a Porsche with a hand-carved dashboard. It was how everyone did it back then.”
After suffering so many disappointments and massive burn-out, Parrish ended up a male prostitute for a spell to pay the bills. As many musicians as were influenced by him, Man Parrish inadvertently may have influenced thousands of lawyers as well as his story reads like a textbook case of copyright infringement, an issue which would come to the forefront of music as technology and sampling began to take hold during the 80s.
That’s it for this episode. Thanks to everyone for tuning in and be sure to support the artists as they make this all possible. Barring any more hurricanes, I’ll be back soon with another episode.
CRC Retro Mix #32
July 31, 2011 09:56 AM PDT
1. Tempted - Waterlillies
2. World in My Eyes (Safar Mix) - Depeche Mode
3. Neighbors (Extended Version) - Camouflage
4. So in Love (Brand New Extended Mix) - Orchestral Manoeuvers In The Dark
5. In Love with Love (Razormaid! Mix) - Debbie Harry
6. Always on My Mind / In My House - Pet Shop Boys
7. You Spin Me Round (Murder Mix) - Dead Or Alive
8. Witchcraft (Extended Mix) - Book Of Love
9. Don't Stop (Razormaid! Mix) - The Mood
10. Anvil (Night Club School) - Visage
11. Let's Go to Bed - The Cure
12. The Beach - New Order
13. Chorus (Fishes in the Sea) (Aggressive Trance Mix by Youth) - Erasure
14. Cry Wolf (Extended Mix) - a-ha
15. Hold It (Extended Mix) - Tin Tin
Notes and other random things: I don't know about you, but I've had about enough of the triple digit temperatures. In my part of the world, at least, it's so hot that sweat sweats, stadium vendors are selling "luke warm" dogs and Paris Hilton has changed her catch phrase to "That's cold." And August has just begun! I'm afraid it's going to get a lot worse before it gets better. Thankfully the opposite is true for this podcast.
This week, CRC continues its new wave hangover from the previous episode with great old tracks from The Mood, Visage, The Cure and New Order among the selections. The Mood were from York over in the UK. They formed in 1980 and, like so many other groups, members John Moore, Mark James Fordyce, Steve Carter, John Dalby and Eric James Logan met in a local music store they frequented. This particular establishment was called Track Records. As it was with Fad Gadget, Depeche Mode appeared as The Mood's supporting act for several early live gigs. (Funny how DM eventually surpassed so many of the groups for whom they opened.) The song here, Don't Stop, was released in 1982 and peaked at number 59 on the UK singles chart, but did reach the top spot on the UK dance chart, which had recently been introduced. Between their formation and dissolution in 1984, the band released 5 singles, but none did well enough for their label RCA to support a full album, though a 5-track mini-album was released in the US. A deal with EMI never materialized after the group left RCA and they split up in 1984.
OMD have appeared several times before on CRC. Though mostly remembered for If You Leave, their bittersweet contribution to the awesome Pretty in Pink soundtrack, Andy McClusky and Paul Humphries strung together an amazing collection of pop hits throughout the 80s. The song here, So in Love, originally appeared on the Crush album, which was released in 1985. The album was the first that producer extraordinaire Stephen Hague (Pet Shop Boys, New Order and others) produced on his own. Though a little nervous, he and the band got along splendidly. The tracks for the album were recorded at Manor Residential studios in Oxford, an isolated locale which led to "long work days and a heroic amount of drinking," according to Stephen. As for the remix that appears here, Andy said that it "... was recorded with some live drums and most of the other instruments were from the Fairlight CMI sequencer, but all put to tape. Therefore, the 12" was made of a series of dub runs of the multi-track onto two track tape, then all spliced together like the good old analogue days." OMD recently released another studio album and have been touring quite liberally over the past year.
It's not often cover songs show up on this podcast, but in the case of Always on My Mind, I made an exception. Here, the Pet Shop Boys do their thing to Brenda Lee's 1972 country music hit, though Willie Nelson's version from ten years later may be fresher in most minds. Neil Tennant and Chris Lowe released this particular mix of the song in 1988 for their six-song album Introspective. They originally recorded the track for an ITV television special in Britain commemorating the 10-year anniversary of Elvis Presley's death (he covered the song as well). The song was such a sensation that the duo released the track as a single. The version here melds the original track with an acid-house track called In My House, which you will hear in its partiality before giving way to Dead Or Alive. A little trivia: In 2004, The Daily Telegraph slotted PSB's version of Always on My Mind at number two on their list of the 50 greatest cover songs of all time. It is a dandy, indeed.
Speaking of cover tunes, one of Visage's earliest demos was a cover of Zagar and Evans' In the Year 2525, a haunting tune about man's inquisitive, yet self-absorbed and self-destructive nature. Formed by Steve Strange, the ubiquitous club kid, Visage were a distinctive zag(ar?) to the zigging of the post-punk movement going on at the end of the 70s. With ex-Rich Kids members vocalist Midge Ure and Rusty Egan already in tow, Ultravox's Billie Currie and bassist Barry Adamson, guitarist John McGeogh and keyboardist Dave Formula from the band Magazine joined forces with the group and released their first single, Tar - probably not the best choice, but it was material leftover from Strange's time in his previous band The Photons. Still, the difference between making your mark or not in the music biz often boils down to timing and for the next release, the group, now on Polydor instead of the tiny Radar Records, released their most successful song, Fade to Grey. It went on to sell massively throughout Europe and the single jump-started what would become the New Romantic movement.
A few other notes: In case you hadn't figured it out, The Beach is more or less the instrumental version of New Order's phenomenal dance track Blue Monday; mad props to the guys at Razormaid! for their absolutely killer mix of Debbie Harry's In Love With Love. My advice after hearing this version? Don't ever think about listening to the original on the Rockbird album - it's completely lifeless by comparison; a couple of episodes ago, you heard Snappy, the b-side to the Chorus single from Erasure. Well, here is the actual single, in a trance remix form you may never have heard before; finally, though it's far from my favorite track by Book of Love, band member Ted Ottaviano provides one of the better quotes you'll hear about a song. He said of Witchcraft, "While writing our second album I came up with this unrequited love song. The recipe is pretty clear: 1 part Greek Mythology, 1 part Nick at Night and a dash of JJ Fad." Good stuff!
That's it for this episode. Please support the artists, for they make this all possible. Check back very soon for another new episode and thanks to everyone for listening!
CRC Retro Mix #31
July 16, 2011 09:30 AM PDT
1. Rio (Carnival Version) - Duran Duran
2. White Feathers - Kajagoogoo
3. We Live So Fast (Special Dance Mix) - Heaven 17
4. Always Hoping - Vicious Pink
5. Underneath the Radar (12" Remix) - Underworld
6. Photographic - Depeche Mode
7. Sex Dwarf - Soft Cell
8. Heaven is Waiting (Dance Mix) - The Danse Society
9. A Day (Remix) - Clan of Xymox
10. Dancing in Berlin (Dance Remix) - Berlin
11. Whip It - Devo
12. I Melt with You - Modern English
13. Just Like Heaven - The Cure
14. Never Say Never - Romeo Void
15. Chosen Time - New Order
Special Note from DJ Tintin: While originally recorded in 2011, I re-recorded this May 28, 2017 to correct a few of the recording glitches from the original post. Since the original post, I also found a remix version of "Heaven Is Waiting" by Danse Society, which I have substituted for the album version.
Notes and other random things: Every so often, I go real old school with the old school. The multiplier makes this podcast feeble decrepit school in some ways. Everything you hear in this one is roughly 1981-1985, the exceptions being Underneath the Radar by Underworld and club/radio mainstay Just Like Heaven by The Cure.
This episode begins with Duran Duran's Rio, the lead-off track for their album of the same name. The particular version here, the Carnival Version, is very similar to the original, though it contains a few more measures of instrumentation for a nice change of pace to the familiar one any retro lovers will know by heart. Stephen "Tin Tin" Duffy, known for his catchy 80s tune Kiss Me and for his band The Lilac Time, was the original vocalist for the band, though he left after a year figuring they would go nowhere. Simon Le Bon eventually became the frontman and the highly recognizable face of the group, though it's keyboardist Nick Rhodes with his flair for production and keyboard wizardry that really helped define the group's sound. An avid fine artist, he was acutely aware early on of the power that music videos could have on album sales, as any boy on the verge of his teens will recall from the early days of MTV. Though most guys at that age were taunted and teased mercilessly for listening to such flamboyant music, Duran Duran were an early guilty pleasure that found their way into my regular music rotation when I wasn't hanging out with the rabble-rousers.
Speaking of Mr. Rhodes, there is a larger connection between Duran Duran and Kajagoogoo, the second band appearing in this episode, than just the beat matching. It was Nick who discovered them and persuaded them to sign with EMI records despite a bidding war among three other record labels. He also helped produce their first album, White Feathers, along with Duran Duran producer Colin Thurston (who has made several appearances here on CRC doing work for Talk Talk and others). That album contained the title track heard here. An interesting side note: Nick also produced Kajagoogoo's biggest hit, Too Shy, which went on to top the charts in 1983. The kicker is that Duran Duran wouldn't have their own number one until later to the chagrin of Nick. I'm certain there are no sour grapes as Duran Duran went on to have a much longer career when all was said and done.
Over the past two episodes, the summer edition and this week's new wave edition, you may have seen and heard your fill of Modern English for a while. Both Face of Wood and now the heartbreakingly overplayed I Melt With You come from the band's second album called After the Snow. If I may say so, it is one of my all-time favorite albums. Vocalist Robbie Grey, Gary McDowell, Michael Conroy, Richard Brown, and Stephen Walker put together a sound that resonates with me more than any other: guitars, percussion, excellent vocal timbre and just the right level of keyboard accoutrements. I'm pretty sure that is the reason I fell in love with New Order and mid-80s The Cure as well. Produced by Hugh Jones, who did a lot of work with Echo and the Bunnymen, and released in 1983, After the Snow has great melodies, lovely arrangements and every song hits the sweet spot. And though I Melt With You was re-recorded and re-issued in '90, used in a Burger King ad, a Hershey ad, a Ritz ad, a Taco Bell ad and in cover form by Nouvelle Vague for automaker GMC, and overplayed on 80s flashback radio shows everywhere, if you can somehow transport yourself back in time and try to remember how you felt when you first heard it, you'll recall just how amazing this song still is. A little Modern English trivia: The band formed in Colchester, Essex in 1977 and were originally called The Lepers. Thankfully that didn't stick.
Heaven is Waiting from Danse Society represents the pinnacle of the band's early output. Kind of like B-Movie, they suffered from poor timing, ill-conceived decisions from label management and never really were able to capitalize on momentum. While recording the material for the Heaven is Waiting album, the guys sought to work with Ian Broudie, who produced for Echo and the Bunnymen, had his own band Care and later went on to form The Lightning Seeds. Anyway, Ian had other projects in the works and the band instead teamed up with Nigel Gray, who had worked with the Police and Siouxsie and the Banshees. It should have been a good fit, but Gray apparently had a rigid schedule consisting of 10am -5pm sessions. The problem was that even if a session was going well, he would call it a day at 5pm. The result was an album that, according to keyboardist Lyndon Scarfe, "was dull, lifeless, uninspired, and depressed the shit out of us." While the guys did eventually hook up with Brodie to retool the tracks, their Arista label decided to release the Stones cover 2000 Light Years from Home as their third single, something the band fought adamantly to prevent. Despite a video and a huge promotional push, the single failed to chart and it thus began their ultimate demise. Shame, really.
As founder of 415 Records, Howie Klein brought bands like Wire Train, Translator, Until December and Red Rockers to the fore. He later went on to become the President of Reprise Records from 1989 until 2001. In this episode, you'll hear one of the ultimate sexual equivocations from the 80s in the track Never Say Never by Romeo Void, another one of Klein's finds. Lead singer Deborah Iyall is Native American and if anyone could look less like how she sounds, Deborah would certainly qualify with her half-spoken, half-sung style. Though Romeo Void disbanded in 1985, she did a couple of solo albums and, having teamed up with songwriter Peter Dunne, is still performing live today, though they haven't quite generated the buzz that she and her band did in 1982 with this tune.
That's all for this episode. As always, if you like any of the music you hear, please support the artists. Oh, and in case you were wondering, the image above is from artist Patrick Nagel. His iconic work appeared on the cover of the Rio album by Duran Duran, though an alternate image was used on the 2001 limited edition remastered version. Nagel died in 1984 at the young age of 38. He was found dead in his car after suffering an apparent heart attack. Ironically, he had earlier participated in a 15-minute celebrity Aerobathon to support the American Heart Association.
So, on that happy note ... but I'll be back again soon with another episode, so there's that!
Thanks again to everyone for your continued support.
Summer 2011! Retro Mixtape #5
June 22, 2011 09:15 PM PDT
1. Sunshine Smile - Adorable
2. Face of Wood - Modern English
3. Here's Where the Story Ends - The Sundays
4. Touched by the Hand of God - New Order
5. See You - Depeche Mode
6. Anitina (The First Time I See She Dance) - M|A|R|R|S
7. There is a Light That Never Goes Out - The Smiths
8. Everybody Wants to Rule the World - Tears For Fears
9. Lemon - U2
10. Wishing (If I Had a Photograph of You) - A Flock Of Seagulls
11. Fascination Street - The Cure
12. Nr 9 - Hooverphonic
13. Machine Gun - Slowdive
14. Dawning - Tamaryn
15. View From a Hill - The Chameleons
Notes and other random things: Once again, summer is upon us, so once again I decided it was time for another edition of the CRC Mixtape Series. These episodes are different from the regular ones in that the format is more akin to the mixtapes I used to make for friends "back in the day". The point of them, really, is that they give me an opportunity to shine the spotlight on excellent 80s and 90s tunes that aren't considered dance tracks per se. I'm not suggesting you can't dance to these songs if you so choose because, like raindrops from a downspout, pneumatic nail guns or utility trucks driving in reverse, anything that provides rhythm is technically dance-worthy. It's just that these tunes are not ones you would typically hear in a dance club. (note: Dancing to the tune of a pneumatic nail gun is dangerous!)
Because it is now officially summer, I decided to create another mix that has the feel of the solstice. For last year's summer episode, I used only tracks that had the word "summer" in the title, mentioned "summer" in the song or talked about things related to summer (such as Vacation by the Go-Go's). This time, I approached it a little bit differently. All the songs in this podast are ones to which I have vivid summer memories attached. Am I saying this episode is all about me? You bet! In fact, this episode of CRC will probably go down as the most self-indulgent, self-centered one of all-time. Granted, the music is still about the amazing artists, but the write-up here will have so many "I's" that it could be mistaken for a scallop ... because scallops have lots of "eyes". Get it? I's ... eyes ... um, yeah. So, anyway, it's going to be a lot like the show VH-1 Storytellers only I'm telling you stories about songs I never wrote in the first place! Doesn't that sound like fun, kids? Of course it does!
Now, before I begin, I'd like to point out that I'm not going to tell 15 stories. That would take way too long. Instead, I'm going to pick a few of my favorites and focus on those. I'd also like to point out that, for me, like for most of us, music has the power to create strong memory associations. Quite frankly, I had a boombox or walkman accompanying me just about anywhere I went during my formative years, so pretty much any song you can name has some association with it no matter how insignificant. Of course, growing up as a kid from the midwest in the 80s, radio DJs played an inordinate number of Phil Collins and Kenny Loggins songs, which means about 95% of my memories are associated with Sussudio or Danger Zone. For example:
Riding my bike to school - Danger Zone
Mowing the lawn - Sussudio
Eating Cap'n Crunch at the breakfast table while trying to block out my sister's face using the cereal box - Sussudio
Oreo-ing my buddy's new car - Danger Zone
Watching the movie Top Gun - Sussudio
The other 5% of my memories are much stronger because they are much more interesting. And thankfully they have much better soundtracks. Over the coming days, I’m going to post a few of these.
I’ll start with Lemon by U2. The year was 1993. Some friends and I took a road trip from Topeka, Kansas to Chicago. Destination: A New Order Concert. We had the car, the tunes, the Nintendo Game Boy and plenty of beer to tide us over for the 10-hour drive. U2’s Zooropa, having been released that year, was one of the albums we had with us and it received tons of airplay (or carplay as it were).
That weekend, we stayed in a rented house with some friends of other friends. We drank a ton of beer. We did tons of shots. I learned I don’t like cement mixers. On the way to the show, I complained that my meatball sub cost about $12, only to leave half of it uneaten because the meatballs were the size of bowling balls. It was Chicago and I should have known better. At the show, 808 State and The The opened. 808 State were fantastic, but there was still too much sunshine and not enough people in the seats when they took the stage. The The were solid, but I was disappointed when they did a slow, plodding version of Infected. New Order were good, but rather unremarkable as they tended to be live. After the show, I, being the most sober one there drove us back to our temporary home. “Most sober” should not be construed as “well enough to operate a motor vehicle.” I don’t recall much of that drive, only snapshots of lane lines as I tried my damndest to keep the car between them.
When we arrived home, everyone passed out from exhaustion, but mostly from acute alcohol poisoning. As for me, I stumbled to the couch in the living room where I too fell asleep. At some point in the wee hours, I was awakened somehow by a commotion at the front door. Half asleep and still in an alcohol haze, I could make out two silhouettes creeping into the house, carrying some bizarrely-shaped object between them. Rather noisily, they set it down by the front window and skulked off into the darkness. I did not move to investigate, nor did I care to find out what the object was. Shortly thereafter, I passed out once more as if nothing happened. Had the situation been reversed and had the two shadowy figures been carrying an object out of the house as in a robbery, I can honestly say that, in that state, I still would not have cared.
I cannot recall what time I awoke the following morning, but when I finally forced my eyes open, what greeted me was a glint of sunshine coming through the curtain, only it wasn’t a direct hit. Instead, it was a glancing blow from a USA Today paper box. Two of the guys had gone out in the middle of the night and had lugged the thing several city blocks to its current resting spot. Some people get angry when they drink. Some get melancholic. These two knuckleheads became information thieves.
Eventually the fun came to an end and we departed Chicago for Kansas. Only two of us stayed awake the entire trip and we split time in the driver’s seat. While the trip home was mostly uneventful compared to the weekend that was, at one point we nearly ran out of gas because we decided we didn’t want to fill up in a town that had the same name as one of our high school math teachers. Though it was funny at the time, little did we know the next exit was some 20 miles away. We almost didn’t make it, but our derring-do did help us find a hot dog stand that sold 50-cent cylinders of sustenance. Being at the point where hangovers turn to hunger pangs, I think I ate six of them.
The Zooropa album and, in particular, the song Lemon will forever remind me of this great summer adventure.
Rewind 10 years. It was 1983. Nearing teenager status, my world was starting to expand. I had more freedom to hang out with friends. Girls suddenly mattered. I was only six months or so away from arguably the greatest year for album releases in the decade that was the 80s. I was also six months away from seeing if my actual reality was going to be anything close to the one George Orwell had predicted decades earlier. I wouldn’t have that kind of opportunity again until 1999 when Prince’s then future-looking song about parties would undoubtedly have significance. But that day was still 16 years off. It would surely never arrive.
Of greater importance was the fact that I would be entering Grade 7 in the fall … junior high school. I had to act older and look cooler, but I couldn’t drive or get a job so that possibility was moot. I spent the dog days of summer with buddies and all the other degenerates at the public pool, trying to impress 16-year-old girls, who were usually nearby listening to Asia, by cannonballing off the high dive. The other option was to get as far away from home as our bikes would take us, wherever that may be. Some days we explored a quarter-mile long drainage tunnel that ran under the highway next to the cul-de-sac at the end of our street. We had the boots, the flashlights, the backpacks and everything. And we had to scale a chain link fence to get to it, adding to the sense of danger. It was Tomb Raider meets The Goonies before either ever existed. There was no gold or treasure to be found at the end of the trek, but there was a Dairy Queen.
My buddy John and I were the first two to conquer the tunnel. He liked Dungeons & Dragons and Dr. Demento, and often suffered from spontaneous nosebleeds. He also had cable television. I often stayed over at his place on weekends because of it. We stayed up late into the night. We watched music shows like Night Flight. We watched movies with Pia Zadora and other things we probably shouldn’t have on HBO. It was at his place that we decided it would be a great idea to go out on the balcony at 8 am one Sunday morning with his boombox and blare U2’s War album. Why I’ll never know. I Will Follow was gearing up for the second chorus when John’s mom stormed outside in her bathrobe and slippers, hands on hips, and exclaimed in a hushed maniacal tone, “What the hell do you think you’re doing!?”
Sometimes John came over to my place, but we didn’t have cable. Instead, we listened to music and played Nerf basketball in the hallway upstairs. It was wider than the typical hallway and more like a foyer which gave us ample room to do some creative playmaking. Because the door had to be closed for the goal to say in place, it wasn’t uncommon to smash face first into it when going in for a windmill slam. Those poor doors! Musically, we liked the Go-Go’s. We liked Adam Ant. But we also liked Van Halen and Black Sabbath. Our music supply came from those mail order cassette tape businesses that were popular back then. Buy one cassette at regular price and get 852 free … or something like that. All we had to do was order one more at regular price in the next six months. Of course, the regular price was about $63.45. Every month, they sent you a card. Every month you had to send that card back saying you didn’t want anything, otherwise they would mail you the selection of the month or something else you didn’t want and bill you for it. I wonder if my parents ever sent in those payments.
One afternoon, after listening to the Surf Punks and playing some Nerf hoop to Black Sabbath’s Live Evil, my buddy was about to head back home when he pulled a cassette from his bag. It was reddish orange and had some strange imagery on the cover. John said the music service had sent it to him, but he didn’t want it, so he offered it to me. The cassette was Listen by A Flock of Seagulls. Their song I Ran had been my favorite song since its release the previous year and, as most of my friends know, it completely changed my musical direction. It was so strange-sounding, but I loved it. I also had two copies of the song on 45 because I thought I had lost the first one at a school dance. I was so upset, I bought a second one with my allowance only to have the first one turn up weeks later.
Needless to say, I accepted the kind gift. The song Wishing was the first song on Listen, which was great because it made rewinding a cinch. I played it over and over again as I didn’t really know any of the other songs. At that time I was all about the hits. Over the years, I learned to appreciate the other tracks. I would also learn to appreciate that the cover image was drummer Ali Score’s silhouetted face overlaid on a circuit board and that Bill Nelson produced (It’s Not Me) Talking. By then, I had also learned that Prince’s song was way off the mark after all.
Wishing will always remind me of that wonderful summer in 1983.
Well, I think I've bitten off more than I can chew with this write-up. I have enough time constraints lately trying to post new episodes of music let alone trying to find a block of time to hack up personal stories from my youth. Don't get me wrong: it's a great exercise and perhaps the stories were even mildly enjoyable for many of you, but I think this write-up was a bit ambitious even for someone who can't get his keyboard to shut up. Therefore, I'm going to stop here on the stories, but you'll be glad to know I've assembled the tracks for my next podcast and it's just a matter of finding the time to record it. I'll cross my fingers that I get the chance tomorrow or perhaps Saturday morning.
Before I move onto the next episode, there is one thing you should know: I have once again reached my allotted storage space for this podcast. Those of you who have been here since the beginning know that I upgraded to a PRO account last summer because I didn't want to worry about bandwidth or storage issues. While it was worth the expenditure, I simply don't have the funds to upgrade once more. So, moving forward, I will be removing older episodes as I go to make room for newer ones. I will keep them in my personal archive, but they will no longer be available on my podcast page. So, if you haven't yet downloaded episode 3 or some of the earlier 'casts and you want to do so, now is the time. They may resurface at a later date as a "Best of CRC" episode or something, but for now they will be going away as I have no other choice. The good news is there will always be about 25-30 episodes available at any given time, so you'll have lots of good retro stuff to listen to at your leisure.
Thanks again to all my listeners for tuning in and check back soon for a brand new episode!
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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