all the songs in this post come from my collection.
it didn't help that everyone started dying horrible deaths in the mid 80's making the disco a morgue. as i go through the vinyl, i note the bodies, of those who created the music and those who danced to it,left behind. where would things have gone, how differently would we have grown if AIDS had never been?
the 12 inch vinyl is just the most evocative medium. all these cracking songs that were massive in europe but largely ignored here. we got crappy top 40 house music for cd's advertised on tv and 80's nights instead of trance and breakbeat and house that meant anything.the computer and modern society has puposely bred humans with the attention spans of newts.
when the only dj that meant anything to me was railroaded out of mangays ,she gave me a heaping stack of records. each one is a hint of the roads not followed in the world of convenience and ultimately selfishness over bliss. she put on ' body medusa' and said- "This is the future only people here are too musically ignorant and limited to see it." and she was right. this sound was massive- everywhere else on earth- on fucking beaches in third world countries, to donkeys pulling carts in some lost corner of the globe- but meant nothing in boston except to a small clique of househeads and people who gave a fuck about music with meaning instead of floor fillers for trolls and weekenders, musical tourists with no emotions, no feel for a mood and sense of unity created by sound.no bloody soul is what it is.
if you're going to stand around like a road cone and wait for a song ' you know' well, that about sums up boston clubbing for the better part of over 2 decades. armand van helden came from boston- there's no excuse for it.oh, but he left, didn't he?
supereal/ body medusa:(dark and tasty and proof that techno and trance is just disco . but one must love it unreservedly because that's what sets you free. disco is your mother. she loves you. love her)
todd terry todd terry todd terry.it's all about todd terry.
blackriot/ a day in the life
royal house/ can you feel it?
todd terry project/bango(to the batmobile)
todd terry presents shannon/ it's over love(diilon & dickens divine mix)
gypsymen/hear the music( sample is 'there but for the grace of god go i'/machine)
todd is god/jumpin'
EBTG/ missing (todd terry orig. mix)
moloko/ sing it back to me(tee's freeze mix)
you wouldn't consider todd terry and steve 'silk' hurley, whitey, because it sounded black and gay and scared you. that's why you're stuck with the ever fading entirely empty calories charms of gaga and the tedium of faceless,autistic, repetitive Teutonic stompy disco disco. and digging through the dusty crates further re-emphasized for me that skeletor's i.e. madonna's career can be summed up as "the greatest hits of shep pettibone, william orbit and stephen bray". at least siouxsie wrote her own material and is Real.
and you're scared of bass. and probably of women too. on any standard industrial/goth/80s night how many women do you hear? at a house or techno night it's almost all female voices.the lie of the 80's and new wave is that, unlike the 70's cock rock, it embraced women. it did not-except for a handful of female lead singers who were usually just eye candy or stand ins for the music of men, like,say, madonna.
shannon may have been ' the girl singer' but she made freestyle.and shannon is, by the way, actually electro-original electro.( what the ever threatened emo tot won't do not to have to admit liking disco, really gay disco...) the voice and the beat rules the heart. and the bass. whitey do get flighty when he hears the Bass.treble's the thing for the whiter than white WASPiness of the soul.
and here's some treble, and it's still better than lady fucking meatpuppet gaga because hi-nrg is boss. it gave house and then techno major parts of their musical lexicons by dragging electronics into the mix. hi-nrg updated disco, which everyone was sick of, and brought us music made in your bedroom. all of lime's songs were recorded in a living room in canada:
lime/babe we're gonna love tonight
i can still be reduced to tears by jomanda, reduced to really feeling and really having my heart destroyed rather than whining like a robot about drugs or an iphone like bored auto- tuned youtubed american psychos. of course it cant compare to dressing in a meat suit and just pretending to be a freak( a real freak isn't just an attention seeking malignant narcissist. you are born a freak or not. we can tell the difference, bitch.) the promise of house was and is the promise of difference, the promise of love, the promise of feeling something deeply in a moment, a mere blink. the promise of the Real at whatever the cost in pain, desire and need.
"Uk club culture with it's rootless brand named jocks and their 2 hour guest sets has bred dancers with a painfully short attention span. Our dance floors may throw their hands in the air for a clever technical mix... but they are largely immune to anything that takes a bit longer to achieve-like pacing, building,teasing,exploring. Sadly these days most of us just want to pay our money and get an immediate dance fix...it's rare today to find a dj brave enough to take a crowd down as well as up. Or to reflect emotions more complex than mad-for-it ecstasy, or to play music outside the narrow focus of their niche. Or throw a risky curve ball to 'cleanse' the dance floor for a fresh start....
For its' members, the Garage was a sanctuary from an increasingly cruel and voracious city, a role made poignantly necessary as AIDS cut through the city. Dance there and you were treated as an honored guest, with a level of courtesy and respect unheard of in clubs today...In a drab district in south-west Manhattan, it created a private world based on disco's original ethos of loving equality. In stark contrast to the harsh city lights, the Garage offered freedom, compassion, and brotherhood."
liner notes, 'larry levan live at the paradise garage',Strut records.
sylvester/ someone like you (larry levan mix)
"Levan took records that every other dj in the city had long been playing and made them recognizably his,'Love is the Message' being the most famous...
Levan took this to extremes and was a determined manipulator of his clubbers' tastes, pushing unusual, sometimes bizarre records and making them work through his immense force of will. One such record was Yoko Ono's...'Walking on Thin Ice'...Another example was Pat Benatar's 'Love is a Battlefield', one of several extremely unlikely Garage anthems. Someone said he could never play that there...That was reason enough for him to play it and make it happen."- liner notes, larry levan live at the paradise garage.
diebold and kim cataluna/ white rabbit(Steve Bourasa & Rhythm Stick mix)