All posts by Galaxians

Galaxians Mix 12: Autumnal Funk

Jed talks us through some of the tracks from this month’s Galaxians mix.

  1. Connie – Experience (Dub) (Sunnyview, 1986)

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Connie, aka Consuelo Piriz, was mainly active in the mid-80s, releasing material on the New York-based Sunnyview label.  Although it had a NY address, Sunnyview focused its releases on artists from Florida, and this included Connie, a native of the state.

“Experience” was Connie’s second single, released in 1986.  It was produced by Amos Larkins in Miami, and features elements typical of the ‘Miami bass’ sound from the period.  Connie still performs around the US today.

  1. Craig Paradise Cooper – Boogie Paradise (Trax I) 06:29 (Boogie Paradise Records, 2014)

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Craig Paradise Cooper is actually Italy’s Simone Vescovo.  Harking back to the classic drum machine/Juno synth production methods of Trax Records, this track was released on Japan’s brilliant Boogie Paradise Records in 2014.

  1. Circuitry – The Firm Funk 11:18 (Unknown; maybe – but probably not – 1985-86)

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Who are Circuitry?  As far as I can tell, someone uploaded this to the internet, claiming that was an “a demo instrumental from studio sessions in 1985-1986”. Discogs isn’t much more help, either.  Maybe it’s always going to be a mystery.  My money’s on it being a modern production.  Either way, it’s great – 808s, synths and reminiscent of Dam Funk.

  1. Kylie Auldist feat. King Merc – Good Time Girl (Original Mix) 14:25 (Freestyle Records, 2016)

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Australian vocalist Kylie Auldist released her album “Family Tree” on London’s Freestyle Records this year, featuring this track with King Merc.  Her previous album ‘Still Life’ came out on Tru Thoughts in 2012, which is also home to superb Australian funk band The Bamboos.  And as chance would have it, both Audlist and Merc have previously worked with The Bamboos.  So it’s good, is what I’m saying…

  1. Gina – Hooked On Your Love 18:38 (NIA Records, 1984)

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Cover of the classic Fantastic Aleems track of the same name.  And also on the same label, NIA, as the original release.  Not as raw as the original 1979 recording, but a great take nonetheless on a boogie classic.

NIA Records were based in New York and basically existed to showcase the many talents of the legendary Leroy Burgess, a central figure in the history of the development of funk, disco and dance music from the 70s through to the 90s.

Although Leroy was in the Fantastic Aleems, and despite being a multi-instrumentalist and immensely talented songwriter, he didn’t write “Hooked On Your Love”.  That honour falls to brothers Albert and and Arthur Allen (Arthur sadly died in 2014).  Although their names are actually recorded as Taharqa Aleem and Tunde Ra Aleem on the credits for this record, which I think everyone can agree is way cooler.

Who was Gina though?

  1. Gus Pirelli feat. Andre Espeut – Meet In The Middle 24:44 (Gutterfunk, 2015)

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Bristol-based DJ Die’s label Gutterfunk released this in 2015.  Long sold out, it’s a modern funk masterpiece.  Fellow Bristolian producer Gus Pirelli and superb vocalist Andre Espeut pull out all the stops with this shuffling, synth-driven groove – apparently all recorded with original equipment and no samples in sight.  If it was 1982, this would be on Top of the Pops…mark my words.

  1. Sho-Nuff – Hold On For Love 29:48 (Jamila Records, 1984)

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This 7”, released on Jamila Records in 1984, would set you back about £200 if you looked for it on Ebay.  And there’s plenty of reasons why: that synth bass, the super-tight horn section, that vocal hook – it’s all great.  And really obscure, which is what we like, obviously.

Sho-Nuff were actually a fairly big band in the 70s – they had albums out on Stax – but by the mid-80s they’d faded from their former glory.  Jamila Records was a really minor label, so it must have been a bit of a change to go from the dizzy heights of Stax to issuing the odd limited-press 7” once a year – with it all wrapping up by 1985.  And it’s undoubtedly for those reasons that this production sounds so raw, which only adds to its appeal.  A great and very underrated track, with exemplary musicianship.

  1. Joan Bibiloni – Migas 34:02 (Blau, 1987)

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Joan is a Spanish jazz guitarist, and this track is part of a soundtrack album for an 80s Spanish TV series called ‘Silencio Roto’ (‘Broken Silence’).  Released in 1987, this track features tasty DX7s, drum machines and an acceptable amount of synth-jazz-fusion.  I’ve no idea what ‘Silencio Roto’ was about, but this track gives my imagination plenty to go on…

  1. Zenit – Waitin’ 38:10 (Spray Records, 1986)

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Zenit were an Austrian jazz-funk band, who – of course – were particularly popular in the mid-80s.  “Waitin’” is the final track from the 1986 album “Straight Ahead”, written by Zenit’s keyboardist, Hannes Treiber.  Treiber actually worked with Donna Summer in the late 80s, with writing credits on her album “All Systems Go”.

  1. Pink Rhythm – Melodies Of Love 43:46 (Beggars Banquet, 1985)

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Some of the members of London funk band Freeez formed Pink Rhythm in the mid-80s.  “Melodies Of Love” came out in 1985 – it sounds quite Italo in places, but keeps hold of that minimal bassline/drum motif for long enough to drag it firmly back into boogie territory.

  1. T-Kut & Parkway Rhythm – FM Feeling 48:58 (Parkway Records, 2015)

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Produced by Mark Seven and released on his Stockholm-based label Parkway Records in 2015.  A seamless blend of old and new, with nods to classic ‘FM’ sounds produced by keyboards such as the DX7, old drum machines and strings, but with a modern production aesthetic.  Actually a B-side to ‘The Feeling’, this one gets my vote over the A-side.

  1. Tabu Ley – Haffi Deo 55:12 (Genidia, 1985)

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Tabu Ley was a singer-songwriter, dancer and later politician from the Democratic Republic of the Congo.  He was an extremely prolific songwriter, known as the African Elvis because he was so famous at the height of his popularity in the 70s.

This ‘soukous’ style track is just so infectious and danceable – Elvis himself should have released something like this and then maybe he’d be on here.  The call-and-response vocals, drum machine, synths, horns and guitars are all just spot on.  It seems like it could never end, and you could dance forever.

GALAXIANS MIX XI // Matt Talks Us Through Our Most Recent Mixcloud Mix

GALAXIANS MIX XI // ON MIXCLOUD NOW

1) Get It // FRANCISCO (Slow Motion 2016)
2) So Let It Be House (Featuring A.M.O.R, Alinka, Coco Solid, Debonair, Nightwave) // VIOLET X ELLES (no label 2016)
3) Dub The Tension // J-A GROOVE (Studio 1986)
4) Somehow, Someway // VISUAL (Prelude 1983)
5) Dubbing In Sunshine // ROCKERS REVENGE Featuring DONNIE CALVIN (Streetwise / London 1982)
6) I Need A Freak (Black Freak Mix) // S.L.Y (Elite 1988)
7) Don’t Turn Your Love (12″ Dangerous Mix) // PARK AVENUE Featuring TONY JENKINS (Movin’ 1987)
8) Circles // MIKE HUCKABY (Sounds of the Universe 2015)
9) Real Love (Paradise Garage Mix) // MAN FRIDAY Featuring LARRY LEVAN (Nite Grooves 2007)
10) Take Ya Pik, Nik!!! // OMAR S (FXHE 2016)
11) I’m In Love // SHA-LOR (Gertie 1988)
12) Don’t Let It Be Crack // CLAUSELL (Easy Street 1986)

FRANCISCO – Get It
On first listen you might be forgiven for assuming this super-tight minimal house jam to be a Larry Heard production from his mid-90s period. It is, in fact, the work of Italian DJ and producer Francesco De Bellis aka Francisco / Mr Cisco, founder of the Edizioni Mondo label, and forms part of Slow Motion Records’ third outing in their “strictly retro” Lineabeat 12” series. Francesco’s career spans over a decade and during that time he’s been prolific in his field running labels, organising radio shows and parties, and penning little-known gems like this one.

I’m not an advocate of the mindset that new dance music has to always push the envelope to be interesting, or that the four-to-the-flour house jam has become something to avoid. Put simply, a good song is a good song, whatever compositional form it takes and how it’s made. Exhibit A, right here.

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VIOLET X ELLES – So Let It be House
Made solely by female producers and artists in celebration of International Women’s Day 2016, this cover of Mike Dunn’s Chicago house classic on Westbrook includes vocal performances by A.M.O.R., Alinka, Coco Solid, Debonair, Elles, and Nightwave and helped raise money for Equality Now, an NGO (a non-governmental organisation) fighting for gender equality around the globe.

It’s a tasteful version (and I’m not a fan of covers, usually) with some fresh vocal performances and a subtle revision of the song’s core framework and sounds.

I struggled to find anything online for A.M.O.R (little help here?), but I can tell you that Chicago DJ (and now Berlin resident) Alinka has a prolific and impressive CV including live sets at Berghain, a multitude of successful remixes, and a long-lasting musical partnership with Hercules & Love Affair singer Shaun Wright. Coco Solid aka Jessica Hansell is more familiar, an emcee and writer and one half of disco-not-disco duo Parallel Dance Ensemble (I’m a fan of their first EP Pizza Turtle Cadillac on ISM 2009).

Looking forward to some further digging on Debonair, Elles (Legendary Children?) and Nightwave….

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J-A GROOVE – Dub The Tension
Yes, the a-side (Release The Tension) is superior but it’s always nice to mix things up…

An interesting tale behind this one. It was originally demoed by Colonel Abrams – the version of which was recently released on Rush Hour – and also appeared in 1984 as a 12” by Circuit on 4th & B’way. This is by far my favourite version though. It’s a real fist pumper and the a-side always makes it into my DJ sets. A prime time 2am cut which always makes people dance without fail.

More interesting though is that this is a Boyd Jarvis tune, through and through. No biggie, but Boyd is only one of the originators of house music and something of an industry legend. An innovator in music production techniques, he also trained himself in applied Synthesis architecture and has worked with industry icons Prince, Madonna and Herbie Hancock. Not bad.

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VISUAL – Somehow, Someway
…..and on to the next Boyd Jarvis track. Less well-known than The Music Got Me for sure, but great nevertheless. What I love about this song and other BJ compositions of this era is that they transcend sub-genre tags and show the transition from disco, to boogie, to garage, and then finally to house. There’s an experimental approach at play in many post-disco tracks from the early 80s and here it all sounds pretty effortless and organic. We all know the mega-hits of their 70s output but Prelude Records definitely had it going on in the post-disco, pre-house years, too.

CS139834-01B-BIG ROCKERS REVENGE – Dubbing In Sunshine
In Walking On Sunshine – arranged and produced by Arthur Baker, engineered by Bob Blank, and mixed by John “Jellybean” Benitez – New York City gave us one of the finest post-disco club tracks EVER, in my humble opinion. It’s hard to over-emphasise my love for this song and it continues to be a song-writing benchmark to aspire to. Interestingly, it’s a cover of an Eddy Grant song (sorry, Eddy, this version is better) and for me is one of the finest examples of what became known as proto-house. Simply put, it has everything I love from this period – elements of disco, boogie, and house, and combines live instrumentation with those classic early drum machine sounds.

Love the London Recs sleeve design on this one. And yes, this is the b-side because why not?

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S.L.Y – I Need A Freak
Having recently discovered this one (like, literally a couple of days ago) and having trawled the internet for info about it I’ve drawn a bit of a blank, other than to say it was S.L.Y’s only record and features Jackmaster Black on Piano, aka Chicago house artist Peter Black. I’m not super-keen on some of the synth sounds used on this, but that’s beside the point. It’s a super-tight jam with a sweet groove and has all of the early ingredients of a classic early house banger.

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PARK AVENUE – Don’t Turn Your Love
It’s fair to say – and has been said several times – that I have something of an obsession with New York, and I do admit to having a fondness for studio projects from the disco and post-disco eras named after places; Crown Heights Affair being a personal favourite. It just sounds so glamorous!

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Aaanyway, Park Avenue was the writing duo of Rico Tyler and Todd Jackson who are arguably more well known for writing and playing on Adeva’s In And Out Of My Life (Easystreet 1988) and for their work with high-profile mainstream acts such as Kool & The Gang and Hugh Masekela. Again, this one is just a fine example of early house, with all of the musical motifs, sounds and compositional trademarks of the style. Above all else it’s super-soulful, and that’s what tweaks the emotions isn’t it?

MIKE HUCKABY – Circles
This one is from the recent Soul Jazz Records double vinyl comp Sounds of the Universe (Art + Sound) (2015) and along with the Golden Teacher track it’s a standout on the album for me. It’s nothing groundbreaking but it has a smooth, economic simplicity and a tasteful vibe, which as we all know, are common features of the Detroit style. Mike is a busy chap too – DJ, producer, sound recording teacher, lecturer…..who in the 1990s also used to work in the renowned Record Time music shop in Roseville, Detroit, alongside Rick Wade and others.

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MAN FRIDAY Featuring LARRY LEVAN – Real Love
Not officially released until 2007 unless I’m mistaken and who wouldn’t be glad to see it see the light of day on vinyl? It’s impossible to say anything about LL that hasn’t been said already so I’ll just say that this has a deep, druggy, sexy vibe, which pretty much describes many of Larry’s mixes (and by all acounts his character, too). I recommend also checking out the more recent Man Friday 12 also released by King Street Records, which features two demos of the songs ‘Winners’ and ‘Groove (Larry’s Yaw)’ – both interesting if you’re a big fan of the MF stuff. And who isn’t?

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OMAR S – Take Your Pik, Nik!!!
Gotta love Alexander Omar Smith. A former street racer and employee at the Ford factory in Detroit, Omar has released five albums and over thirty EPs on his FXHE Records Detroit label, as well as a number of mix albums. My favourite of his album titles has to be It Can be Done But Only I Can Do It. Genius.

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This one is from his most recent album The Best and is possibly my favourite on the record, alongside On Your Way. It’s pretty typical of his style really – stripped back, minimal, raw-sounding, solid. The kind of jam you’ll always want to include in a late night set. The bass line is where it’s at.

SHA-LOR – I’m In Love
Otherwise known as Sharmelle Jon and Lori Maynard, with Ben Cenac (also of Dream 2 Science and Newcleus). I picked up the Rush Hour reissue of this a couple of years ago, but the original came out in 1988. Although I don’t tend to play it out it definitely has its charms and whenever I do put it on it never fails to reel my attention in pretty quickly. Ben’s Dream 2 Science mini-LP (also reissued on Rush Hour) is something of a New York deep house gem and is also well worth checking out.

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CLAUSELL – Don’t Let It Be Crack
One of the less well-known Easy Street Records releases, this one. Or at least I never see it on playlists or hear it in mixes, but that’s probably more to do with the fact that most of my favourite Easy Street records are the least famous ones (Orlando Johnson’s 1983 Italo-disco gem Turn The Music On being another favourite of mine). I think that’s part of the appeal involved with digging for records and having a passion for labels in that one develops an interest in trying to track down some of the more obscure or less-talked about releases.

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Clausell is in fact Clausell Hickenbottom, which sounds a somewhat unlikely name for a suave disco producer. This one is a Paul Simpson mix, I believe. The lead vocal is undeniably soulful and the drum and percussion is chunky and pounding. It’s typical of a mid-80s NYC house jam really, and that pretty much means a) it doesn’t fuck around and b) you might hear the odd sample key hit repeatedly which might be a human voice or dog bark.

Matt Woodward

 

 

 

 

 

 

 

 

 

 

 

 

Galaxians Summertime Mix

It’s that time again!  Jed’s done some digging with this month’s mix.  Enjoy – and maybe learn something.  We have, for sure!

  1. Stephane Deschezeaux & Enois Scroggins – She Played You (Springbok Records, 2016)

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Hailing from Tulsa, Oklahoma, Enois Scroggins has been in the business for over 30 years.

Some of the artists he’s worked with during that time include Ronnie Wilson from The Gap Band, Charlie Singleton, lead singer and guitarist for Cameo, and saxophone player Branford Marsalis.  He’s also had success with several gospel groups and appearances on US religious TV programmes.

This track with producer Stephane Deschezeaux comes from Stephane’s digital release Prime Time, released on French label Springbok Records this year.  Harking back to classic 80s bangers by the likes of Colors or D-Train, Enois’ soulful hooks grab a-hold of that groove and just keep it bumpin’.

  1. Tomorrow’s Edition – In The Grooves (Atlantic Records/RFC, 1982)

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In the GROOVES, plural.  That’s how much funk is in this track.  This was produced by Adil Bayyan, who also wrote for the Chi-Lites, LaToya Jackson, Candela and Richard Jon Smith.  So it’s no mistake that this track has got that unmistakably chunky production you’d associate with those artists.  Plus the album A Song For Everyone (which this track is from) is totally banging, too.

  1. In-Sync – Sometimes Love (Easy Street Records, 1987)

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That’s IN-Sync, who are in all possible ways better than that other similarly named band.  Using that 80s AKAI sampler repeat-voice thing to the max at the start, this track quickly settles into a drum machine-driven groove, backed up with a thick Juno bassline.  Typical of Easy Street’s releases during this period, this track perfectly blends elements of boogie with early ‘garage-style’ house.

  1. Uku Kuut – Ralph (People’s Potential Unlimited, 2013; originally recorded 1989)

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Uku Kuut is the son of Estonian jazz singer Marju Kuut.  During the 80s and 90s, Uku released lots of jams like ‘Ralph’, a good number of which have been collected and re-released by People’s Potential Unlimited.  He also recorded a few tracks with his mother on vocals.  ‘Ralph’ was originally recorded in 1989 and is featured on the PPU compilation and retrospective Grand Hotel.

  1. Universe – Every Single Night (Instrumental) (MBT Records, 1984)

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Formed in 1983, Universe were a British funk band of four young lads, who all seemed in their early twenties to be capable of knocking out a stone-cold classic boogie banger.  This seems to have been their only release – but excellent nonetheless.  You can hear the excellent arranging in this instrumental version.  Some session musicians helped out with their release: assisting with guitar arrangements was J.J. Belle, best known as the guitarist for the Pet Shop Boys, plus notable for working with Grace Jones, George Michael, Madonna and Tina Turner.

  1. The Snapp – You Knock Me Out (Beat Street Records, 1985)

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The Snapp’s ‘You Knock Me Out’ was written by keyboardist Ray Miles, who also wrote some tracks for Con-Funk-Shun.  Lead singer Calvin Tillery was in Bill Summers & Summers Heat and appeared on Coke Escovedo’s 1975 album ‘Coke’, before fronting The Snapp.  Funky dudes.

  1. MSQ II featuring Jeffrey Cheatham – Too Much (Just Enough Mix) (Easy Street Records, 1987)

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Another track with that classic Easy Street vibe.  Produced by Michael Cameron, who also produced Adeva’s classic ‘In And Out Of My Life’.  Before that, he acted as percussionist for George Benson, and wrote Michael Watford’s classic ‘Holidin’ On’ (see Galaxians Mix 8 for details of how much we love that particular track!).  Seems like Michael Cameron is responsible for a range of total classics.

  1. Fonda Rae – Heobah (Hey-O-Bah) (Instrumental) (Posse Records, 1983)

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Fonda Rae’s probably most famous for ‘Over Like A Fat Rat’ (written by Leroy Burgess), but ‘Heobah’ has got that kind of 80s tropical excitement vibe going on.  The instrumental version keeps the groove going with no distractions; dig, if you will, that crisp Linndrum tom in the background, and that chacka-chacka thin guitar riff over the wavy synth lines.  Instant party.

  1. Mtume – C.O.D. (I’ll Deliver) (Instrumental) (Epic Records, 1984)

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James Mtume wrote a lot of what one might now call ‘G-Funk’ and ‘slow jams’.  This is definitely a slow jam.  In fact, some people have possibly been born as a result of this track.  By the way, C.O.D. means ‘cash on delivery’, so we can only speculate as to what exactly is going on here – possibly something rude.  But check out that dub delay over that bass, and those sweet DX7 electric piano chords.  DAYUM.

  1. Tramaine – The Rock (Larry Levan Instrumental Dub) (A&M Records, 1987)

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This is totally Larry Levan.  A Paradise Garage classic, Tramaine’s release also comes with a Shep Pettibone vocal mix, which is nice – but this is better.  Larry’s mix just takes a bit of the groove, ditches most of the vocals, and keeps it banging all the way through.  There’s nothing even wrong with the vocals.  But Larry had the insight – keep the groove going.  In fact, you wonder if it’s ever going to stop.  But, sadly, it does.  And we’re out!

Upcoming shows

Fresh from playing the first gig with Emma Mason on vocals, we’re really excited to be doing a few more as a trio.

  • 16.06.16 LEEDS Chunk (w. Bodybeat and Factory Acts)
  • 18.06.16 LONDON No. 8 Stoke Newington Road (w. Bodybeat)
  • 10.07.16 LONDON Upstairs at The Ritzy, Ritzy Cinema
  • 22.07.16 DEERSHED FESTIVAL, Baldersby Park, North Yorkshire
  • 24.08.16 DIMENSIONS FESTIVAL, Pula, Croatia

Be sure to get the latest via our Facebook, Twitter and Instagram.

More photos and sounds coming your way soon – watch this space!

Picture by Trent Wave – taken at Neon Workshops, Wakefield, 11 June 2016.

 

Mixcloud: New Mix, Many Dope Jams

Hey!  We’ve put together another mix for you this month via our Mixcloud channel.  This month, Jed’s been the DJ and has gone for some quite bass-driven, rhythmical jams, moving into early deep/vocal house influenced tracks, before settling on some classic boogie bangers to finish.

1. Chanelle – One Man – Profile Records, 1989
2. Omni – Body Groove (Dub) – Mercury Records, 1983
3. Peewee In The Newz – Keep Dancin’ (Instrumental) – N.A.M.E. Brand Record Company, 1983
4. Tom Noble – Malaco – Future Times, 2011
5. Andras Fox feat. Oscar S. Thorn – What They Say – Dopeness Galore, 2013
6. Michael Watford – Holdin’ On (Original Shelter Mix) – EastWest, 1991
7. Bas Nor – I’m Glad You Came To Me – Nu Groove/10 Records, 1989
8. Lee Prentiss – Love This Way – MSB Records, 1983
9. Mtume – Tie Me Up (Extended Version) – Epic Records, 1984
10. Hot Cuisine – One Night Stand (Dub) – Vinyl Mania, 1986
11. The Whispers – Tonight – Solar, 1983
12. Dayton – Out Tonight – Capitol, 1983
13. Deco – Fresh Idea – Qwest Records, 1983
14. Powerline – Journey – Prelude Records, 1981

 

Some interesting points on the above:

Chanelle’s classic ‘One Man’ was produced by a surprisingly large team, including Bob Blank, Frankie Knuckles and David Morales (later to have huge success in the 90s with ‘Needin’ U’).  Chanelle herself is a native of New Jersey and still releases house tracks.  She remains a powerful house vocalist.

Omni were also known as Unfinished Business and scored a big hit in 1987 on the garage house scene with ‘Out Of My Hands (Love’s Taken Over)’, produced by Frankie Knuckles, which was a cover of their song released as Omni in 1981.

Michael Watford was also in a group produced by Roger Sanchez known as Brotherhood of Soul, and featured fellow soul/house singers Colonel Abrams (Morris Abrams) and Jay Williams.  Strictly Rhythm put out ‘I’ll Be Right There’ in 1995.  Watford’s career has spanned at least 25 years, and ‘Holdin On’ was his first release, originally on EastWest, before being picked up by Atlantic.

Bas Noir‘s name means “black stocking” and is pronounced “bah-nwah”.

Lee Prentiss‘s ‘Love This Way’ was written by Michael Garvin, who has also written for Sister Sledge, Tammy Wynette and George Benson among many others.  This track was mastered by Herb Powers Jr, who worked on our own release ‘Personal Disco Component’ in 2013.

Hot Cuisine was producer Kevin Roberts, who also worked with 80s acts Netwerk and Linda Lewis.

Produced by Quincy Jones, Deco’s ‘Fresh Idea’ is super-tight and contains all the musical wizardry you’d expect from arguably the world’s best producer.  Keyboard player Phillip Ingram is now a session musician and has worked with Janet Jackson, The Commodores and provided backing vocals on a bizarre album by Bruce Willis (yes, Bruce Willis) in 1987 called ‘The Return of Bruno’.

Enjoy!

NEW SONG ‘STREET LEVEL’ NOW ON SOUNDCLOUD

We’re delighted to be able to share a new song with you from our forthcoming album Let The Rhythm In.

The song, titled ‘Street Level‘ is the first to feature the new Galaxians line up featuring the voice of Emma Mason, and was recorded at Ross Halden’s Ghost Town studio on Mabgate in Leeds. The studio has since closed after a seven-year residency, with Galaxians having been one of the last bands to have recorded there.

“The Galaxians records we made at Mabgate are some of my proudest achievements, I’m pretty much setting up the new studio for the next one” ROSS HALDEN (head of Ghost Town studio)

The song includes lyrics by Matt Woodward and will be the band’s first song from the new record to be performed live as a trio, along with three further album tracks featuring Emma.

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KMAH Radio Exclusive: New Galaxians album track debuted

New Galaxians album track ‘Street Level’ debuted on KMAH Radio, Leeds 31 March, by resident Steven Nuttall (Nope).

The song is the first to be debuted on radio featuring the band’s new line up of Emma Mason (voice), Jed Skinner (synths & programming) and Matt Woodward (drums & programming), and will feature on upcoming new album ‘Let The Rhythm In’.

Track plays at 1:12:30…

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GALAXIANS 2016: NEW LINEUP ANNOUNCED // SINGER EMMA MASON JOINS THE BAND

We’re extremely excited to announce our new lineup for 2016.

During recent recording sessions for our upcoming record we collaborated with our friend and singer Emma Mason, who worked with us on four new songs, ‘Street Level’, ‘Subway Dancers’, ‘How Do U Feel?’ and ‘Worldwide Experience’. The four songs form part of a collection of nine which are set to be released as Galaxians’ first full-length album ‘Let The Rhythm In’.

Having been officially invited to join the band in 2016 following the studio sessions, Emma spoke to Stargaze Records….

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Stargaze Records: How did your path as a singer take its course? When did you first have that ‘hey, I can sing!’ moment? 

Emma: I was a late starter, I knew I could carry a tune and loved music but I didn’t get a notion that my voice was anything special until my late teens. I remember singing a Brand New Heavies song and my sister came in the room looking surprised and said ‘Was that you’? She told me I was really good and it hit home that maybe I was.

SR: I know that for me as soon as I knew I wanted to learn to play a musical instrument that I was going to play either bass or drums, how did your realisation that you were going to do something musical occur?

E: Singing on stage was something I daydreamed about a lot but didn’t have the confidence to do for a long time. There came a point in my mid-twenties where the need to sing outweighed the terror of performing in public. A friend urged me to put an ad in the free paper saying I was looking for a band and it all started from there.

SR; How old were you when you first felt that music was a serious thing for you?

E: Well I’ve always been passionate about music, it keeps me sane, but I probably became serious about my own musical aspirations in my late twenties when I started to write and perform my own music with the band ‘The Bloody Wowsers’. I wanted to perform as much as possible and I realised this was something I needed in my life to be happy.

Galaxians 2016

SR: What was your first performance?

E: My first performance was with a Motown covers band called Chicago Joe and the Soul Divas in a pub somewhere near Leeds. I still laugh at the name and we were a motley crew but the music was decent. I drank a bottle of wine to get over the stage fright.

SR: What kind of music were you heavily into as a teenager?

E: A huge variety of music, Ella Fitzgerald, Depeche Mode, Cud, Ned’s Atomic Dustbin, The Cure, The Housemartins, Nina Simone, The Smiths, Sugarcubes, Stevie Wonder, Eddie Cochran, Neil Sedaka, David Bowie, Donna Summer, Aretha Franklin and music from Cabaret and The Rocky Horror show….I could go on and on but those were probably the artists I probably listened to the most. Mum has great taste in music and my older sisters were always bringing music home to listen to so I was lucky.

SR: Who were your first singing influences? Who influences you now?

E: Stevie Wonder has a very special place in my heart particularly his early Motown tracks and 70’s albums Talking Book, Innervisions and Songs in the key of life. I spent hours singing along to Stevie Wonder songs when I was young along with Aretha Franklin, Nina Simone and Ella Fitzgerald. They taught me how to really sing. I still love those artists but I’ve expanded my tastes since then. In recent times I’ve been influenced by old RnB and gospel artists like Big Mama Thornton, Sister Rosetta Tharpe and Lavern Baker, such amazing musical talent largely forgotten by the mainstream. I love discovering new old artists. I’ve been listening to more 80s disco lately too since working with Galaxians, Gwen Guthrie is the bomb. Most of my musical influences are pre-90s. 

SR: The art of performing, and of writing music is quite complex isn’t it? But then it is also by nature very simple sometimes. What has always intrigued me is that the nature of art can be very contradictory at times, and that’s part of what drives people to make it, and to engage with it? Because above all else art is human and it mirrors humanity, and contradiction is part of the human condition?

E: I would agree with those statements, I think for for most serious musicians it is a need rather than a choice to make music and that’s why we persevere through the challenging times, disappointments, creative block, crises of confidence and the general burden of the sensitive creative temperament. Sometimes the joy of making and performing music just falls into place seamlessly but, as with life in general, we only really appreciate those moments because of the trials we face.

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SR: You’ve had experience at performing in quite a few really different musical environments haven’t you?

E: I surely have, I think because my tastes are so eclectic I never felt the need to limit myself or be pigeon holed, plus it makes life interesting to try new things and increases performance opportunities. I’ve performed in a Motown covers band, acoustic soul duo, swing bands for dancers, rhythm and blues ensembles, I’ve done classic jazz and blues, collaborated with hip hop artists, I’ve even tried a little classical singing as part of a project called Symphony for Yorkshire for the BBC and of course now this wonderous union with Galaxians which is so very exciting. 

My cabaret showgirl persona ‘Em Brulée’ has been a big part of my performing life for the last 8 years, I love the decadence of burlesque and cabaret shows, the creativity and the theatre of it. I basically fantasise that I am Sally Bowles in 1930s Berlin. My cabaret work has made a performer of me as well as a singer.

SR: Can you talk a bit about working with Galaxians and how it came about?

E: Well Matt and I have been great friends and neighbours for many years, we have always shared a passion for good music and a mutual admiration and support of one another’s work; we have played together on a couple of occasions. I’ve been a fan of Galaxians since the beginning, so when Matt suggested the boys might want to try a few vocal tracks on the new album I jumped at the chance to be involved.

I think we were all amazed about how seamlessly it all went in the studio, I’ve never enjoyed the writing/recording process so much and the results were beyond expectations. It started out as a collaboration but we want to keep making sweet music together and Jed and Matt have officially invited me into the fold. 

MR TC (Optimo) // DIE WILDE JAGD (Dusseldorf) // GALAXIANS // XAM // GAME_PROGRAM // 07.05.16 // LEEDS

stargaze (905x1280)Stargaze Records Presents…..

MR TC (Optimo / Glasgow)
DIE WILDE JAGD (Dusseldorf)
GALAXIANS
XAM
GAME_PROGRAM

Wharf Chambers
23-25 Wharf Street
LEEDS
07.05.16
£6.00
9pm til 3am

MR TC
MR TC aka Thomas Clarke is a DJ and musician based in Glasgow. Another affiliate of the city’s prolific Green Door studio, he has immersed himself in the city’s electronic music scene since arriving 6 years ago, running the Night of the Jaguar parties out of The Art School and DJing around the city.

His music and DJ sets encompass Left-field Disco, Tropical Oddity, House and Techno whilst channelling the spirit of a youth spent playing in psychedelic rock bands in Luxembourg, listening to krautrock and worshipping Lou Reed and David Bowie.

His debut EP ‘Soundtrack For Strangers’ was released on JD Twitch’s Optimo Music Imprint in November 2015, receiving support from the likes of Red Axes, Rebolledo, Ivan Smagghe, Trevor Jackson, Christian S, Hugo Capablanca, and Manfredas and proceeded to sell out all 300 copies of the initial pressing within three weeks. There is a repress on the way.

DIE WILDE JAGD
Ralf Beck and Sebastian Lee Philipp first met in 2006 in Düsseldorf’s Salon des Amateurs, a meeting place for new and established experimental musicians and artists, also known as Germany’s “postpunk Hacienda”.

It seems no coincidence that Düsseldorf is the duo’s founding city: their music is full of subtle references to local acts, such as Kraftwerk, NEU!, DAF, Liaisons Dangereuses, Pyrolator, the Krupps and Propaganda.

GALAXIANS
Fresh, future-boogie duo Galaxians are equal parts Hacienda and Paradise Garage, and, having already released two records on Brooklyn New York’s Dither Down imprint and Atlanta’s Rotating Souls Records respectively, they will present their debut album in 2016. Now a trio, having recruited singer Emma Mason as a result of recent studio collaborations.

XAM
XAM is the solo project of Matt Benn, one Hookworm, whose move to this kind of generative and rigid electronica is not too surprising, given the well-patterned psychedelia of his band. Comprised of three longforms, he stretches out warm tones and lets generous beats synchronise with the gliding atmosphere. Think Jonas Munk’s polished ambient tunes given Harmonia’s meandering but maintained drum machines and you’ve got “Werk & Play”, which does just as its title tells it to: it’s mechanical but wide-eyed.

“Coke Float”, which is easily the best named song of all time no contest (to quote JME, don’t @ me), goes a bit harder, shuffling in with a grittier beat that skitters over a forever kind of melody. The tune’s simplicity doesn’t stop it from being big on the detail, with effects pouring in, creating the feeling of crickets chirping on the moon. Finally we’re left with “Lifer”, whose patiently growling drone becomes both transcendent and loopy, climaxing with the twinkliest of synth sounds, content to wander forever beatless. You’ve had a dance — now be raptured to a place where dancing is sleeping.

GAME_PROGRAM
Jon Nash is primarily known as a talented multi-instrumentalist and songwriter from bands like Hookworms, Cowtown, and Nope. But he also does Game_Program, a one-man electronic soundtracker of imaginary 80s high school coming-of-age dramas. GP evokes sun-drenched Miami beaches, palm trees, and teen dreams and evokes sounds reminiscent of College, Giorgio Moroder, and Mr Fingers.

*** Wharf Chambers Co-operative Club is a members’ club, and you need to be a member, or a guest of a member, in order to attend. To join, please visit wharfchambers.org. Membership costs £1 and requires a minimum of 48 hours to take effect ***

GALAXIANS ANNOUNCED FOR LONG DIVISION FESTIVAL // JUNE 2016

Galaxians have been announced, along with acts Gang Of Four, Los Campesinos, Field Music and more, for Wakefield’s Long Division festival in June 2016.

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Long Division is a weekend music and culture festival that takes place in Wakefield City Centre each year in June.

“It was the existence of Long Division that gave me the confidence to bring back Unity Hall as a music venue.” – Chris Hill (Unity Works Developer). 

Since its formation in 2011, Long Division has led the way in develping Wakefield as a respected and revered musical and cultural destination. It is run by a very small but dedicated group of people who wanted to showcase Wakefield’s often overlooked musical talents to a wider audience.

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“Absolutely invaluable to us, the biggest showcase of the year for bands and venues in the city. Makes me proud to tears every year.” – Rob Dee (Philophobia Music, Wakefield). 

Using a range of city centre venues, it now attracts 3000 people each year, showcasing local talent by placing them alongside national artists. It has consistently produced line-ups amongst the strongest and most value for money across the whole country.

“Made by Music fans, for Music fans.” – Louder Than War. 

 

GALAXIANS INCLUDED IN FIRST WAVE OF ACTS ANNOUNCED FOR DIMENSIONS FESTIVAL, PULA, CROATIA

Galaxians have been included in the first wave of acts announced for Dimensions festival, which takes place in a Roman amphitheater in the centre of Pula in Croatia between the 24th and 28th of August 2016.

Dimensions 2016 – Initial Line-up release:Book tickets now: bit.ly/DF16fe4 – See you in the sun!

Posted by Dimensions Festival on Friday, February 5, 2016

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