HUH & HAH! Upright bass. Jimi Hen­drix looks. John Coltrane poster on the wall. Sin­cer­ity of Bernard. The break­down part of the song start­ing at 2:27. Not a sin­gle mis­step in the video — or in the song. Pure aes­thetic pleasure.

Head of People’s Poten­tial Unlim­ited Records & Tapes, Andrew Mor­gan says some things on this inter­view (it includes an exclu­sive mix for Phon­ica Records which you can find also below). PPU’s mainly a re-issue label; qual­ity picks from rare disco, boo­gie and funk cuts. Do also take a look at their home­base: http://peoplespotential.com/.

1. Tri-Fire — Tri-City Con­nec­tion (unre­leased warped cas­sette mix)
2. Truth Is Light 010 — Mouth­piece
3. Flickk — Want You On The Floor
4. Cal­i­for­nia Flight Project — Hook With You (PPU-022)
5. Kur­tis Scott — Uncrowned Champ (cas­sette tape demo)
6. George Small­wood — Rock WIth Me (PPU-100 CD ONLY)
7. Vleet — Red Viola
8. MCP
9. Uku Kuut — Vision of Estonia

The Gap Band — You’re So Cute (320k)

Shoulda have posted this already last sum­mer like I was plan­ning to. Oh well and what­ever. Life goes in cycles they say. Is that meant to be under­stood so that some­times you’ll lose some good things, and some­times you’ll find some good things? Oh so obvi­ous, phew? Any­ways, I’ll be repeat­ing myself from last autumn: “Hmmm. Am I going out this week­end, and if so, am I going to drink alco or cof­fee — and should I also try to pick up on women?” Ain’t got no thing any­more so it should be quite obvi­ous. It’ll be two days of play­ing records for pos­si­bly the most drunken stu­dent crowds of the year. It’s the few days before 1st of May that are times of heavy cel­e­bra­tion for finnish students.

Me being such a lazy boy some­times and not forc­ing myself to check if this is a fact or not — but any­ways — I do think this cut is an exclu­sive for orig­i­nal sound­track album “I’m Gonna Git You Sucka”. Movie’s Directed by Keenan Ivory Wayans.

So the com­ing week­end… On thurs­day I’ll be play­ing some nu-discoish/house/techno/something in between of those — here (flyer for the event):

On fri­day (and of course thurs­day also) hope­fully like this. On fri­day I might be slip­ping towards electro-house and dub­step, basicly what­ever “rocks the party”, “bangs”, “slams” and so on. 4x4 ftw, though.

Mar­cel King — Reach For Love (320k)

This is what hap­pened yes­ter­day. I was walk­ing home, mi belly full after late lunch, my thoughts deeply on dif­fi­cul­ties of life. And there it was, near the side­walk, down this lit­tle bank. Some­thing round and black stick­ing out of the snow. Had to get down imme­di­ately, and within few steps there I was: kneedeep in snow with this 12″ in my hands. Quickly to home and some trusty ole AM Record Cleaner con­sumed. So here we go.

This song appears to have been a def­i­nite floor­filler at the leg­endary Hacienda club in Man­ches­ter, Great Britain — hence — a party banger? I’m start­ing to get fix­ated on extend­ing the mean­ing of this bit point­less term. Cur­rent view seems to be too lim­ited. Any­ways few of the pro­duc­ers involved with this song would be some dudes called Don­ald John­son (known from A Cer­tain Ratio) and Bernard Sum­ner (of New Order). Below some juicy details on how this song came onto being.

Rumour has it that New Order’s man­ager, Rob Gret­ton (a huge north­ern soul fan him­self), found his hero Mar­cel sleep­ing home­less in the back of a car. Enthu­si­as­ti­cally, Mar­cel was asked to make the record which was pro­duced by the Bernard Sumner/ Don­ald John­son, Be Music/ Dojo music axis, giv­ing it an elec­tronic based pow­er­ful rhythm and bass line riff pos­si­bly influ­enced by Gior­gio Moroder with its repet­i­tive and demand­ing sequenc­ing. The song is cer­tainly a pre­cur­sor to the rock/dance crossover genre.

The vocal range and con­trol on ‘Reach For Love’ was excep­tion­ally high level, both from a tech­ni­cal and emo­tional stand. The record was per­haps too intense for day­time air­play but was cer­tainly one of the great lost hits of the 1980s. It’s incred­i­bly baf­fling how nobody has ever cov­ered the song since.
– http://www.headheritage.co.uk/unsung/review/1851

The b-side Dub Ver­sion is also nice. No kick drum at all, some syn­th­bass flour­ishes, gui­tar and synth licks here and there. Snare and claps plus conga/bongo per­cus­sion run­ning through the whole 7 min­utes and 39 sec­onds. And the vocals of course, in style of dub mixes famil­iar from lots of 80s songs, cut up from time to time, delayed and reverbed. Def­i­nitely a Dj tool — to be so worked out like a m*****f***ker.

Who­ever it was, being maybe bit frus­trated, maybe even a frus­trated dj, think­ing: “F**k it, to hell with this 12″, NOBODY LISTENS TO THIS 80S SHIT!” — my sin­cere thanks go there. Made my day, espe­cially as Mar­cel King’s advice is mostly the sorta every­one likes to hear from fam­ily & friends some­times. Or from a vinyl record.

Just wanted to point out two recently released 12″ sin­gles of edit-goodness from Kojak Giant Sounds label. Ace disco/boogie/house-y stuff! You can pre­view both releases @ Kojak Giant Sounds Sound­cloud page.

Buy Alpha­bet City Edits 12″ from Phon­ica or Juno. Buy Rayko edits 12″ from Juno.

Hiiop.