I revived an old music blog at the end of 2021?

Maybe it’s been a foolish endeavor, and maybe I’m the only one who misses the blog ol’ days, but I’ve been giving it a shot. I’ve been working on restoring some of the old content, though much of it was lost. I’ve slowly been rebuilding the old remix sunday archives, and even posting the occasional new edition. And I’ve been writing again.

You can find all the label’s releases here, on bandcamp, or most anywhere you listen to music these days. I’ve still got copies of some of the old vinyl releases, and I recently released the first in a set of charitable cassette compilations to raise awareness about the continued [mis]use of broken windows policing methods.

Plus, I put together a playlists section with a handful of spotify lists that hopefully start to capture a [slightly] updated version of the moods we used to peddle. Give those a listen and a ❤ if you would be so kind. If you want to get in touch, just give me a holler.

– Haldan/Boody

  • True Faith / Final Cut – Take Me Away (Pinned Up Mix) (1990)

    This is one of those songs that has so many different versions, and so many people associated with it, that no one ever seems to agree on its provenance or exact history. Some versions list the primary artist as True Faith, others as Bridgette Grace–I think True Faith was intended to be Grace’s artist name before the song was briefly picked up by Atlantic and Polydor, who both evidently preferred Grace use her real name. Others still list Final Cut as the primary artist–sometimes presenting or featuring or with True Faith. Final Cut was a production duo composed of one Jeff Mills and a fellow Michigander named Anthony Srock; later, it was Srock and various others after Mills left to focus on solo work and Underground Resistance. Even the names of the songwriters and performers are often misspelled. Srock is often spelled “Stock”, and Grace’s first name is spelled every which way possible (I believe the correct spelling is actually “Bridget” and she’s often not credited as a songwriter at all.) I haven’t seen Mills get skipped or misspelled, go figure.

    I suppose only Srock and Mills would be able to say for sure how exactly the timeline of the song took shape, but for all I know, they might not agree with each other, and maybe Bridget Grace would have a different story too. Maybe all the confusion is the reason why many of the original and best versions of the song are out of print. In 2012, Anthony Srock uploaded a kind of strange compilation of relatively current remixes (including that Prodigy song that samples Grace’s vocals) under the name AsRock. That compilation does indeed include a version titled “(Original Mix)”, which I suspect is in fact the first version produced. But it’s still not the version I think of as my original.

    The version that hits closest to my heart is a five-minute-fifty-second uncredited “Pinned Up Mix” from 1990 on Network Records (who appear to have owned the UK/Euro distribution rights by the end of 1989/early 1990) which featured prominent use of the Hot Pants break and various liberally sampled elements of Kevin Saunderson’s “Definition of Love” release as Kaos.

    The “Pinned Up” tag refers to the Pin Up Girls, who discogs tells me is Paul Waller. (Waller later worked on Björk’s Debut, among other important records throughout the 90s and beyond.) This mix was likely derived from a shorter version released a few months earlier as an original by the Pin Up Girls on a bootleg 12″ on Soft Records, which was then rebranded as a remix and released on Network (and some continental labels too). The label notes of one release claims that True Faith and Final Cut are the Pin Up Girls, but that doesn’t feel right to me. There are also other Pin Up Girls versions floating around. (One other contender for the best is a version very similar to this one that clocks in a minute or two longer.) Based on the prominent reliance on a breakbeat, and the sampling of Kaos (it’s almost a mashup), I’ll bet Waller probably produced the first initially as a bootleg using the acapella from one of the first 12″s, and then redid his version later in various incarnations on license back to Network and other labels.

    I could have a lot of this backwards or plain wrong, but this is all my best attempt at unraveling this historical rat’s nest. The Quietus reviewed the reissue of Final Cut’s Deep Into the Cut, their only album released while Mills was still a member, which provides a bunch of great context, but unfortunately doesn’t address “Take Me Away” at all. Still a good read, and a great album.

    For whatever reason, you can buy digital copies of a bunch of the song’s versions, but I don’t think you can buy this one, even though it’s the best one. At least I haven’t been able to find it. Maybe it’s that Saunderson sample preventing release, or maybe no one’s on the ball. Who knows. So I’m sharing a vinyl rip here. If you’ve got the scoop on the deeper history of this song, I’d love to hear it.

    True Faith / Final Cut – “Take Me Away” (Pinned Up Mix) (1990) (mp3)

  • Caustic Window – On the Romance Tip (1992)

    Long out-of-print early nineties gem from one of Aphex Twin’s many aliases. Maybe my favorite of all. Just a dream of a song.

    It’s not available for purchase or streaming anywhere, so I figured I ought to share a vinyl rip here.

    Romance never dies, go kiss the one you love.

    Caustic Window – “On the Romance Tip” (1992) (mp3)

  • House of Venus – Dish & Tell (Bitch Mix) (1990)

    Venus absorbs and tempers the masculine essence, uniting the masculine and feminine in mutual affection. She is assimilative and benign, born of sea foam, a charm, a magic philtre.

    You’ve no doubt heard this Loleatta Holloway-sampling 1990 classic by the polyonymous Dutch trio composed of Eddy de Clercq, Gert van Veen, and Erik van Putten. If not consciously, then probably on a dancefloor somewhere. But it’s out of print now, and doesn’t appear to be available to stream, at least not stateside. I’ve got a few higher quality versions of this, but none sound quite as good as this vinyl rip. It’s got too much noise and crackle, but whoever ripped it had some kind of nice natural compression going on in their system that cut off the edges of the 909 in the right places and gave it the kind of heft it deserves.

    House of Venus – “Dish & Tell” (Bitch Mix) (1990) (mp3)

  • WIN WIN – Interleave

    WIN WIN – “Interleave” ft. Alexis Taylor

    Alex “XXXChange” Epton, best known as half of Spank Rock, has teamed up with long time friend Chris Devlin and video collagist Ghostdad on a new project, WIN WIN. The self titled debut album from the Brooklyn-based trio features guest vocals from Andrew WK, Lizzie Bugatsos, Spankrock, and Alexis Taylor of Hot Chip, the latter of whose collaboration “Interleave” was the subject for director Colin Devin Moore’s new video. Apparently the footage of Alexis Taylor featured in the video was taken inside of a janitors closet during soundcheck, and subsequently transformed by Moore into a visually stunning tour de force.

    WIN WIN – “Interleave” ft. Alexis Taylor (XXXChange’s 1993 mix) (mp3)

    WIN WIN – “Interleave” ft. Alexis Taylor (Kingdom Remix) (mp3)

    From the future: Anyone still have the Kingdom remix as an mp3? Send it my way, if you’d be so kind.

    From further in the future: Found it, thanks!

  • Truancy Compilation One

    Truants have been around for about a year now. To celebrate, they’ve redesigned their blog and released a compilation with fourteen free tracks. Quality stuff from Brenmar, Teeth, the NGUZUs, and LOL Boys & Teki Latex, among others. Listen below or take a jump over to Truants to download. Make a donation if you downloaded it and enjoyed it; all proceeds will be forwarded to the Libya & Region Appeal.

    Various Artists – Truancy Compilation One (sc)

    From the future: the only place this seems to have survived is on soundcloud. The Truants took down the zip file some time ago. I have a couple of the mp3s, but If anyone has the full collection, let me know — I’m happy to host it.

  • Datassette

    Datassette – “Vacuform”

    Datassette and Datashat are the aliases of London-based computer programmer and producer John Davies. His signature retro-digital sound has the crunch of vintage synthesizers while maintaining somewhat of a sharp edge. The sonic landscapes he creates are reminiscent of a video game, which isn’t surprising seeing as how he has made one of those too. The Datassette website has a pretty extensive free downloads section, so go check it out.

    Grand Master Flash & The Furious Five – “The Message” (Datashat Remix) (mp3) (originally posted as part of Remix Sunday 61)

    Datassette – “Start It Again” (mp3)

    Datassette – “Making Plans For Nigel” (mp3)

    Röyksopp – “Happy Up Here” (Datassette Remix) (mp3)

    From the future: Davies seems to have removed the free downloads section of his site, so I’m uploading these bits here instead. There is a bunch of pay-what-you-wish stuff on his bandcamp though, so check that out too.

  • Eamon Harkin – Lite Times

    Eamon Harkin is one of the most active dance music promoters in New York. The Irish native focuses on on bringing “classically minded/forward thinking” artists to his many events, which include Mister Saturday Night and Prime Time.

  • Jesper Dahlbäck Gave Me a Present

    Last week, I went to jesperdahlback.com. There was an ascii art image of Jesper with a small link that read, “Here’s a present” – the present was five tracks. Some of the present reminds me of Luke Eargoggle, while others sound like a continuation of the path he’s been taking as he journeys back to his roots.

    Jesper Dahlbäck – “Psycho 20” (mp3)

    Jesper Dahlback – “Psycho 49“ (mp3)
    Jesper Dahlback – “Psycho 63“ (mp3)
    Jesper Dahlback – “Psycho” (Acid) (mp3)
    Jesper Dahlback – “Spagat” (Flanger) (mp3)

    From the future: “Spagat” (Flanger) seems to have been lost to the sands of time. If anyone has it, please drop me a line.

    From further in the future: Found it!