this i found in the bin and was really puzzled on how it would sound. i knew that friend delved in more electronic stuff and i knew doktor kosmos did weird stuff but i didn't know what the combination would become. after taking it home it was clear it was more friend than doktor kosmos and but you could hear his influences on some of the tracks.
the track i was drawn to instantly was "doubt on the human" since it was this bumping electro track with nice bass. there is a hookline that they use during the breakdown which is corny but rest is quite nice. there is all sorts off waggly tweaks and attention to the details in the sound both in the foreground and in the back.
the whole ep is quite good to be honest and the three remixes by daniel ibbotson, metamatics and clatterbox holds really well. i'm really fond of the clatterbox version of career opportunities where he strips down and reshapes the big beat meets electro original into a slice of groovy minnesota-influenced funk piece.
buy here (klicktrack)
Wednesday 31 August 2011
Tuesday 30 August 2011
the cardigans - erase / rewind (nåid remix)
i discovered this version an ep called "gran turismo overdrive" which was a set of remixes by swedish producer nåid. he had been hired to do remixes of the three singles and from the album and he also did two versions of album tracks. this version of "erase / rewind" along with the rendition of "hanging around" are my favourites.
nåid takes advantage of it's steady groove and emphasise the bass in a sort of 80's boogie manner. the most prominent change or addition is the uses of vocoded vocals probably performed by nåid himself. they back up nina's vocals very well and the interplay is nice. the groove itself is really good and i love the bass and the additional synth twinklings.
buy here (7digital)
nåid takes advantage of it's steady groove and emphasise the bass in a sort of 80's boogie manner. the most prominent change or addition is the uses of vocoded vocals probably performed by nåid himself. they back up nina's vocals very well and the interplay is nice. the groove itself is really good and i love the bass and the additional synth twinklings.
buy here (7digital)
Monday 29 August 2011
hamasaki ayumi - naturally
i have been meaning to talk about hamasaki ayumi for a while now considering i was quite a big fanboy during my otaku phase (that took place during the first part of the the noughties). most westerners who eventually get into j-pop either through anime, japanese fascination in general or with people who like dance music through remixes.
for me it's a combination of the second one and third one and heavy emphasis on the latter. but to be really honest the cult of hamasaki ayumi eventually became bigger than japan and i honestly have no clue. i quite liked her songs even though i only understood them through translations of lyrics but unlike a few other singers (amuro naime and hikaru utada) she wasn't quite as talented.
while both hikaru and amuro did have their reign on the top i believe hamasaki's reign on the pop scene in japan was achieved by taking some pages from madonna's book. hamasaki has mentioned a few times that she is a fan and even called a song "vogue" and i believe there was a video which had some madonna influence. hamasaki became the biggest star through a relentless marketing machine and she became a mainstay on popcharts and dancefloors (with a shedloads of remixes).
while i haven't listened to a full hamasaki ayumi album in a while there are still a few songs i think that are her best. this is one them and it's from her fourth album called "i am..." and is an album i got into fast due to it's more american and european influences. which is different from her first album which is still kind of traditional j-pop.
youtube
notice that a part of my otaku phase still lingers on in how i write ayu's name with surname first.
for me it's a combination of the second one and third one and heavy emphasis on the latter. but to be really honest the cult of hamasaki ayumi eventually became bigger than japan and i honestly have no clue. i quite liked her songs even though i only understood them through translations of lyrics but unlike a few other singers (amuro naime and hikaru utada) she wasn't quite as talented.
while both hikaru and amuro did have their reign on the top i believe hamasaki's reign on the pop scene in japan was achieved by taking some pages from madonna's book. hamasaki has mentioned a few times that she is a fan and even called a song "vogue" and i believe there was a video which had some madonna influence. hamasaki became the biggest star through a relentless marketing machine and she became a mainstay on popcharts and dancefloors (with a shedloads of remixes).
while i haven't listened to a full hamasaki ayumi album in a while there are still a few songs i think that are her best. this is one them and it's from her fourth album called "i am..." and is an album i got into fast due to it's more american and european influences. which is different from her first album which is still kind of traditional j-pop.
youtube
notice that a part of my otaku phase still lingers on in how i write ayu's name with surname first.
Sunday 28 August 2011
papa blue - luna en la pampa
i bought this record back in 2008 and then i just knew what it was and who it was by but i didn't know how it sounded. the straight skinny is that it's the most unusual thing in the catalogue of finnish producer jaakko salovara (more known as js16). anyone who is familiar with him know that he produced the first bomfunk mc's album, co-produced darude's first album and makes tracks with heikii litmanen (aka bostik) as dallas superstars. along with that a whole bunch of trancers and other eurodancers under a few different monikers but yeah not many that holds up well nowadays.
the record came out on puu which is the housier imprint on finnish label sähkö. it's a four tracker ep and has a mowax meets compost records meets jimi tenor sort of thing to it. the whole ep is just jazz samples twisted up in a bristol kind of manner and to be honest it's not that impressive and there is only one standout track which is "luna en la pampa".
on this one salovaara gets some help from tenor's labelmate maurice fulton and while the beginning sounds like other tracks on the ep, this has some kick to it in the meatend part.
buy here (boomkat)
oh and with discogs lurking, much like i found out the existance of this record there is one other jaakko salovaara record that strays out of his usual zone and it's a record he made in '93 with mika vainio (more known as Ø). also released on säkhö, however i have no idea how it sounds or if it's any good. but i think it's funny that two people like salovaara and vainio who couldn't be any more distant sonically made a record together.
the record came out on puu which is the housier imprint on finnish label sähkö. it's a four tracker ep and has a mowax meets compost records meets jimi tenor sort of thing to it. the whole ep is just jazz samples twisted up in a bristol kind of manner and to be honest it's not that impressive and there is only one standout track which is "luna en la pampa".
on this one salovaara gets some help from tenor's labelmate maurice fulton and while the beginning sounds like other tracks on the ep, this has some kick to it in the meatend part.
buy here (boomkat)
oh and with discogs lurking, much like i found out the existance of this record there is one other jaakko salovaara record that strays out of his usual zone and it's a record he made in '93 with mika vainio (more known as Ø). also released on säkhö, however i have no idea how it sounds or if it's any good. but i think it's funny that two people like salovaara and vainio who couldn't be any more distant sonically made a record together.
Friday 26 August 2011
dania - leiley
this one came to me after i found it on a backup disc that i was storing for a friend of mine. i was her usual go to guy when it came to problems with her computer and she was sending in the damn thing for a fix or was it changing the thing for a new one? i can't remember, it's over 10 years or so. anyhow, she listen to more arabic music than me and the things needed backing up was documents, pictures and mp3s.
this song along with a few others became a few of my favourite tracks and i started really getting into arabic music. eventually i got into more than the mainstream habibi-pop however this track isn't one of those abdl halim hafiz, warda al-jazairia or mayada al-hannawi tracks but habibi-pop.
it was infact quite a big hit and it strayed out of the region thanks to the transglobal underground remix which was a lot of arabic chillout compos. i love that version and it was the rendition i heard first and i believe the video for the track uses that. i like the original a bit more though since the habibi pop of the 90's still felt like they used traditional arabic instruments played live even though it was backed up by drum-machines.
the drums machine and computers wasn't that prominent until a few years after and then you heard the influences of cheiron, timbaland/darkchild and etc. but i have to emphasise that "leiley" wasn't any less west-influenced than a natacha atlas track.
buy here (7digital)
i also have to talk about the other transglobal underground remix that exist on a few compilations and is a wet dream to be honest. i think it's called "way out mix" or "dusk to dawn mix" and comes in two forms. an eight minute version and a glorious eighteen minute version and the former is an edit of the latter.
i emailed tgu about this version and tim whelan mentioned that this version came about after they finished their main remix is a lengthy workout with the material from the session. transglobal undergrounded added quite a lot of their own material into their remix and it was a case of fucking around in the studio.
i love it since it has this acid-like sound that's deep into the mix and buzzes away and resonates quite waggly halfway in to the track. sort of the acidline in massive attack's "production" and i think these two tracks are sonic cousins only with more goblet drums and arabic sounds.
this song along with a few others became a few of my favourite tracks and i started really getting into arabic music. eventually i got into more than the mainstream habibi-pop however this track isn't one of those abdl halim hafiz, warda al-jazairia or mayada al-hannawi tracks but habibi-pop.
it was infact quite a big hit and it strayed out of the region thanks to the transglobal underground remix which was a lot of arabic chillout compos. i love that version and it was the rendition i heard first and i believe the video for the track uses that. i like the original a bit more though since the habibi pop of the 90's still felt like they used traditional arabic instruments played live even though it was backed up by drum-machines.
the drums machine and computers wasn't that prominent until a few years after and then you heard the influences of cheiron, timbaland/darkchild and etc. but i have to emphasise that "leiley" wasn't any less west-influenced than a natacha atlas track.
buy here (7digital)
i also have to talk about the other transglobal underground remix that exist on a few compilations and is a wet dream to be honest. i think it's called "way out mix" or "dusk to dawn mix" and comes in two forms. an eight minute version and a glorious eighteen minute version and the former is an edit of the latter.
i emailed tgu about this version and tim whelan mentioned that this version came about after they finished their main remix is a lengthy workout with the material from the session. transglobal undergrounded added quite a lot of their own material into their remix and it was a case of fucking around in the studio.
i love it since it has this acid-like sound that's deep into the mix and buzzes away and resonates quite waggly halfway in to the track. sort of the acidline in massive attack's "production" and i think these two tracks are sonic cousins only with more goblet drums and arabic sounds.
Tuesday 23 August 2011
arvid - try
this one sprung up on me through my gonkyburg infatuation but also when naked music was one of my favourite labels. i heard the fenomenen rendition on astralwerks' naked music showcase "bare essentials vol. 2" and there i was fascinated with the vocal and the drumprogramming. it was around the time i also discovered broken beats and i really like that kind of bump.
the track is a joint effort between arvid niklasson of plej and ernesto (jonathan bäckelie). the original was introduced to me later and i thought the track was simple but effective but it was that vocal that held up the track.
i emailed bäckelie a few years ago about this track and it's lyrics and he told me that the vocal was for the most unplanned. the only part written down in advance was the bridge and the rest was improvised. he also said that he never done it like that before and the reason it was released was because that take was brilliant.
this is truly one of my favourite record and i cherish my vinyl of it. i've played and supported all versions of the track and will continue with that for a long time. lance desardi's version with a chunky bassline and lovely sounds always goes down nicely. the fenomenen version with it's sharp drums and killer piano break halfway through is lovely. andy caldwell's 80's flashback with the repeated vocal fragment saying "free i" is perfect for those 4am moments.
yeah i really love this track and i honestly go and on about this track but i'll stop here. also note that naked music mixed up the titling with the lance desardi/landshark version and andy caldwell's dub. it was like that on the actual record and they haven't fixed when they put it up digital.
buy here (junodigital)
the track is a joint effort between arvid niklasson of plej and ernesto (jonathan bäckelie). the original was introduced to me later and i thought the track was simple but effective but it was that vocal that held up the track.
i emailed bäckelie a few years ago about this track and it's lyrics and he told me that the vocal was for the most unplanned. the only part written down in advance was the bridge and the rest was improvised. he also said that he never done it like that before and the reason it was released was because that take was brilliant.
this is truly one of my favourite record and i cherish my vinyl of it. i've played and supported all versions of the track and will continue with that for a long time. lance desardi's version with a chunky bassline and lovely sounds always goes down nicely. the fenomenen version with it's sharp drums and killer piano break halfway through is lovely. andy caldwell's 80's flashback with the repeated vocal fragment saying "free i" is perfect for those 4am moments.
yeah i really love this track and i honestly go and on about this track but i'll stop here. also note that naked music mixed up the titling with the lance desardi/landshark version and andy caldwell's dub. it was like that on the actual record and they haven't fixed when they put it up digital.
buy here (junodigital)
Monday 22 August 2011
baby d - i need your loving (ray keith no sell out mix)
i have no knowledge on how thought of turning the korgis' 80's ballad into a club track but there were none other than three competing versions in the early 90's. later on there would be a few more but the most known are nrg's version from '92 and the baby d version from '95. where as the nrg version was a hardcore track sampling the original the baby d version was a combination between a redux and a version tailcoatin on nrg's version and biting some ideas.
the ray keith version however has nothing to do with any of the versions, well apart of the use of tr808's and amen drums. i always wondered why ray keith named his version as the "no sell out mix" but listening to the track gives a few clues. it starts off with reversed piano chords and a huge chunk of the vocal also reversed. it then goes into some tr808 drums and eventually some subby bass and a really rugged amen.
i also thought the title of his remix might have eluded to the fact that ray keith did a remix of previous baby d his "let me be your fantasy" but i fail to see why anyone would have given him slack for that since he did his remix in '92 with the original release. also his remix was amongst the best in the bunch and while it's quite early 90's jungle it's a quality version. as is this version which gives the dj something to work with as it shifts between the pulp fiction style 808's and the amens.
youtube
the ray keith version however has nothing to do with any of the versions, well apart of the use of tr808's and amen drums. i always wondered why ray keith named his version as the "no sell out mix" but listening to the track gives a few clues. it starts off with reversed piano chords and a huge chunk of the vocal also reversed. it then goes into some tr808 drums and eventually some subby bass and a really rugged amen.
i also thought the title of his remix might have eluded to the fact that ray keith did a remix of previous baby d his "let me be your fantasy" but i fail to see why anyone would have given him slack for that since he did his remix in '92 with the original release. also his remix was amongst the best in the bunch and while it's quite early 90's jungle it's a quality version. as is this version which gives the dj something to work with as it shifts between the pulp fiction style 808's and the amens.
youtube
Friday 19 August 2011
livin joy - dreamer (loveland's viva tenerife mix)
i've mentioned before that when i go looking in the bins for albums and singles i tend to buy eurodance singles. i have a love for the music and every once a while you can find some additional versions of the track that are on par or better than the original. i've been on the look for "dreamer" since i love the original and i really like rollo's remix on the '95 release.
i've found the dreamer single before in bins but either crappy versions or in the disc is terrible condition. but i didn't know that the other versions that rollo's remix and the original was anything special, turns out on track four i found this epic cheesecake of a remix. track kicks off sort of like the original but with a piano at the start that sets the tone for the rest and the korg m1 synth sound (made popular by mk & stonebridge) playing the melody.
this versions camps up the original to an eleven which is quite a feat considering the original is set to ten. this is mostly due to the massive wave of sounds washing over you and the awesome inclusion of a key-change in the tail end of the track. that key-change is what tips it over to that eleven.
youtube
i've found the dreamer single before in bins but either crappy versions or in the disc is terrible condition. but i didn't know that the other versions that rollo's remix and the original was anything special, turns out on track four i found this epic cheesecake of a remix. track kicks off sort of like the original but with a piano at the start that sets the tone for the rest and the korg m1 synth sound (made popular by mk & stonebridge) playing the melody.
this versions camps up the original to an eleven which is quite a feat considering the original is set to ten. this is mostly due to the massive wave of sounds washing over you and the awesome inclusion of a key-change in the tail end of the track. that key-change is what tips it over to that eleven.
youtube
Wednesday 17 August 2011
swell session - a swell session
so the last of the three i mentioned about that gonkyburg thing is andreas saag and i can talk about any track of his since they are mostly quality. this track was on, as far as i know, the first release by saag and was put out by gothenburg label hollow. the ep is far more known for it's b-side "the music in her eyes" which features the vocal stylings of yukimi nagano.
both tracks on the ep have the distinct production values and musical content that would consist as the backbone of saag's future productions. you hear the fender rhodes noodling and the both complex and simple groove & rhythms that are built by using both live sounds and samples.
this track starts in halftime and the first part that serves as a sort of a masters at work meets herbie hancock thing and then slowly shifts into a meatier four on the floor. all the usual rhodes stylings and moog bass twiddlings are present in the mix and also a guitar by henrik cederblom (not that i know who that is, this tidbit is discogs info).
i really like how saag used the halftime in the begining and the middle to make it a more dynamic track but also a way to give djs something to work with. i think it's interesting to throw this in with newer records and with broken beat excursions to contrast the rhythms. to be really honest when i first got the record it was for b-side "music in her eyes" which is a great song but the more i listen to this track i'm more hipped to it.
buy here (junodigital)
i also recommend to the futher look into his backcatalogue, his album as stateless is nice and his swell communication album is immense.
both tracks on the ep have the distinct production values and musical content that would consist as the backbone of saag's future productions. you hear the fender rhodes noodling and the both complex and simple groove & rhythms that are built by using both live sounds and samples.
this track starts in halftime and the first part that serves as a sort of a masters at work meets herbie hancock thing and then slowly shifts into a meatier four on the floor. all the usual rhodes stylings and moog bass twiddlings are present in the mix and also a guitar by henrik cederblom (not that i know who that is, this tidbit is discogs info).
i really like how saag used the halftime in the begining and the middle to make it a more dynamic track but also a way to give djs something to work with. i think it's interesting to throw this in with newer records and with broken beat excursions to contrast the rhythms. to be really honest when i first got the record it was for b-side "music in her eyes" which is a great song but the more i listen to this track i'm more hipped to it.
buy here (junodigital)
i also recommend to the futher look into his backcatalogue, his album as stateless is nice and his swell communication album is immense.
Monday 15 August 2011
amy winehouse - in my bed
i've been on a small hiatus for a while for several reasons but i've had a couple of entries that i've thought about and this stood out ever since the news hit that amy winehouse passed away. i mean it wasn't really a suprise since it's been expected ever since you'd see articles and reportings with winehouse being shitfaced and/or being a complete mess.
but i liked her music and i think her first album was simply brilliant to be honest. the tracks produced by salaam remi was sharp and winehouse pouring out her emotions about her failed relationships was a good combination. winehouse mentioned in this interview that she could only write when things in her life went wrong. she didn't think anyone would be interested hearing her singing about either love in a more positive respect as she wasn't big fan of that vibe or touring/about promoting an album.
from a production standpoint it's been pointed out before that remi reused the beat he made for nas' "made you look". but unlike in the original where that was fitted to be a cracking raw new york style hiphop track, remi added more to the track to suit amy's kind of thing.
buy here (7digital)
the beat to "made you look" was quite unique in that it used the classic michael viner's bongo band track apache in a new spin. and for a track that's been cut up and sampled for over 20 years in all shapes and forms. i mean yeah, there are actually only three positions where people usually sample "apache" and they are: the 4 bar drum intro, the shadows' hook & the lengthy 16bar(?) middle section of all drums and bongos.
the point where salaam remi is infact in those three positions but it's the unlikely part that is used. right after the hook is dropped there is two bars of drums in between every guitar riff and he utilized those bars and slowed it down. i'm guessing the reason why it was unique was that those bars have a echoed guitar trail.
i've nerded out enough about that so back to "in my bed" and i think this is the first track i heard from winehouse and this was in back in 2005 and back then i had no clue who she was but uk music mags (q, mojo, nme and the other usual suspects) loved to write about her so i thought she was just going to be a flavour of the month. but ye she sure became a force to reckon with.
buy here (7digital)
oh and i have to point out that the bugz in the attic remix is awesome and serves as a good 120-something bpm brokenbeat thumper with resonant synthbass and nice use of the some of the horns. but much like in the case of simbad's version of "after the dance" the dub is just bollocks and i can't stand the excessive repition of the phrase "in my bed" and it's a shame because i think the instrumental holds up with a vocal.
buy here (7digital)
but i liked her music and i think her first album was simply brilliant to be honest. the tracks produced by salaam remi was sharp and winehouse pouring out her emotions about her failed relationships was a good combination. winehouse mentioned in this interview that she could only write when things in her life went wrong. she didn't think anyone would be interested hearing her singing about either love in a more positive respect as she wasn't big fan of that vibe or touring/about promoting an album.
from a production standpoint it's been pointed out before that remi reused the beat he made for nas' "made you look". but unlike in the original where that was fitted to be a cracking raw new york style hiphop track, remi added more to the track to suit amy's kind of thing.
buy here (7digital)
the beat to "made you look" was quite unique in that it used the classic michael viner's bongo band track apache in a new spin. and for a track that's been cut up and sampled for over 20 years in all shapes and forms. i mean yeah, there are actually only three positions where people usually sample "apache" and they are: the 4 bar drum intro, the shadows' hook & the lengthy 16bar(?) middle section of all drums and bongos.
the point where salaam remi is infact in those three positions but it's the unlikely part that is used. right after the hook is dropped there is two bars of drums in between every guitar riff and he utilized those bars and slowed it down. i'm guessing the reason why it was unique was that those bars have a echoed guitar trail.
i've nerded out enough about that so back to "in my bed" and i think this is the first track i heard from winehouse and this was in back in 2005 and back then i had no clue who she was but uk music mags (q, mojo, nme and the other usual suspects) loved to write about her so i thought she was just going to be a flavour of the month. but ye she sure became a force to reckon with.
buy here (7digital)
oh and i have to point out that the bugz in the attic remix is awesome and serves as a good 120-something bpm brokenbeat thumper with resonant synthbass and nice use of the some of the horns. but much like in the case of simbad's version of "after the dance" the dub is just bollocks and i can't stand the excessive repition of the phrase "in my bed" and it's a shame because i think the instrumental holds up with a vocal.
buy here (7digital)
Tuesday 2 August 2011
2 bit pie - soto mundo
on the small rack of cd's i have on my desk i have a some albums that i either listen to. or just they have just been there for ages and i'm lazy to actually move them to where i store my records, singles and albums. they are also just to show what i sort of listen to but not that anyone cares since that logic falls flat if they look at my last.fm.
these albums include whitney's "my love is your love"; stephen simmonds' "alone"; strange cargo (william orbit)'s "hinterland"; bent's "programmed to love"; vivian green's "a love story"; avril's "that horse must be starving"; d'angelo's "voodoo" and 2 bit pie's "2 bit island".
this album i found on a sale and it was the two disc promo (?) edition with the instrumental versions (and two extra tracks) on the second disc. 2 bit pie is as any discogslurker or electronic music fan would know the incarnation of fluke after mike tournier decided to create his own project "syntax".
i quite like fluke but i'm not like friend mart who is a big fan of them and tries to collect most fluke related things. i'm more of a casual fan but i haven't found any fluke tracks that have sucked really.
this track is one of my favourites on the album and it's mostly the combination of big soaring operatic vocals and an instrumental that is quite "big beat". heavy drums, a moving bassline, guitars and a whole lot of energy and breakdowns that work like calm before the storm.
yeah, ok that combination isn't just big beat but this track sounds like an unreleased fluke remix of chemical brothers' "electrobank". and i just love it for how it is. it's just so much raw drive and it's very much big beat in it's song structure. reason being that it's all bang and no chunks of drums and beats.
buy here (7digital)
these albums include whitney's "my love is your love"; stephen simmonds' "alone"; strange cargo (william orbit)'s "hinterland"; bent's "programmed to love"; vivian green's "a love story"; avril's "that horse must be starving"; d'angelo's "voodoo" and 2 bit pie's "2 bit island".
this album i found on a sale and it was the two disc promo (?) edition with the instrumental versions (and two extra tracks) on the second disc. 2 bit pie is as any discogslurker or electronic music fan would know the incarnation of fluke after mike tournier decided to create his own project "syntax".
i quite like fluke but i'm not like friend mart who is a big fan of them and tries to collect most fluke related things. i'm more of a casual fan but i haven't found any fluke tracks that have sucked really.
this track is one of my favourites on the album and it's mostly the combination of big soaring operatic vocals and an instrumental that is quite "big beat". heavy drums, a moving bassline, guitars and a whole lot of energy and breakdowns that work like calm before the storm.
yeah, ok that combination isn't just big beat but this track sounds like an unreleased fluke remix of chemical brothers' "electrobank". and i just love it for how it is. it's just so much raw drive and it's very much big beat in it's song structure. reason being that it's all bang and no chunks of drums and beats.
buy here (7digital)
Monday 1 August 2011
alex gopher - the child (source direct remix)
usually i just talk about tracks that i really like or something that i bought and in most cases a combination of former and latter. this one i've been on the look for a long time since i was tipped off on it as being a really great version of "the child".
i would like to refute that infact this version isn't great at all. it's very source direct but it's the kind of track that only works in a set because it's minimalism. source direct are quite known for their stripped down and darker tracks and i enjoy those tracks as well but i like their good looking records-esque atmospheric tracks like "shimmer".
this track was given plenty of versions and there is in fact a couple of excellent ones by faze action (one that i played in a set), demon, wuz (etienne de crecy & gopher) and the most known version by kenny dope gonzalez. faze action uses more of gophers production and add so much additional music to it and i love it. but the version by source direct is just a drumbreak, gophers bassline and every once a while a small sample from either gopher's production or small bits from "god bless the child"
the story of the original is apparently that alex gopher was overwhelmed with joy when he became a father or found out that he was going to be a father and decided to make a track about it. he sampled billie holiday's classic "god bless the child" and built a track under it.
what really guts me about source direct's version is that they could have easily used the billie holiday sample to it's fullest and done an excellent jazzy version but no. it's just stripped down drum & bass however i do see use for it in a set and the groove is quite nice.
buy here (7digital)
i would like to refute that infact this version isn't great at all. it's very source direct but it's the kind of track that only works in a set because it's minimalism. source direct are quite known for their stripped down and darker tracks and i enjoy those tracks as well but i like their good looking records-esque atmospheric tracks like "shimmer".
this track was given plenty of versions and there is in fact a couple of excellent ones by faze action (one that i played in a set), demon, wuz (etienne de crecy & gopher) and the most known version by kenny dope gonzalez. faze action uses more of gophers production and add so much additional music to it and i love it. but the version by source direct is just a drumbreak, gophers bassline and every once a while a small sample from either gopher's production or small bits from "god bless the child"
the story of the original is apparently that alex gopher was overwhelmed with joy when he became a father or found out that he was going to be a father and decided to make a track about it. he sampled billie holiday's classic "god bless the child" and built a track under it.
what really guts me about source direct's version is that they could have easily used the billie holiday sample to it's fullest and done an excellent jazzy version but no. it's just stripped down drum & bass however i do see use for it in a set and the groove is quite nice.
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