Flashback: Pet Shop Boys "Screaming" (1998)

Pet Shop Boys "Screaming" is one of the first tracks I experienced in the internet age. Accustomed to learning of upcoming releases from magazines or radio "Screaming" may be the first track I was first aware of from a site devoted to an artist. Given a spot on the soundtrack to Gus Van Sant's 1998 remake of Psycho the song seemed the perfect place for the PSB to strike for a stateside comeback in the "golden" era of movie soundtracks that produced hugely popular discs accompanying films like Romeo + Juliet and Trainspotting. The other artists on the soundtrack gave the Boys potential to reach a more youthful audience than they were receiving at the time with a bit of late 90s rock (Rob Zombie) and country filling out an album heavy on electronica with contributions from Howie B, Thievery Corporation, Mono, Lamb and Lionrock. There was recent evidence that PSB could turn out contemporary electronica (see the drum 'n' bass inspired "Betrayed") and their label was calling the song a "possible single" so the stakes were raised.
The track turned out to be a major disappointment. One of the least focused or memorable songs in their catalog it is mostly samples of screaming over a pedestrian beat that sounded very played out in the late 90s and absolutely elderly among their soundtrack-mates. Really the only redeeming factor is that the esteemed PSB commentator GeoWayne calls the lyrics "disturbing" in the context of the soundtrack. Given the track is a co-write with Tom Stephan, who seems to earn his living these days from not-terribly-inspiring remixes of Pet Shop Boys tracks, it seems all too easy to lay the blame at his feet but the whole soundtrack was a disaster with only Howie B's cheeky movie-sampling "Once Is Not Enough" holding up for more than a few listens. Tread lightly when you disturb a Hollywood classic:



: In addition to appearing on the Psycho soundtrack "Screaming" was also a b-side on the superb "I Don't Know What You Want But I Can't Give It Anymore" single a year later. Happily the Pet Shop Boys survived the song.

Flashback: Everything But The Girl Temperamental (1999)

I wrote this review for a college radio station a decade ago:

The stylistic makeover that began with their collaboration on Massive Attack's "Protection" is solidified on this album which firmly establishes EBTG's place among the electro-pop elite. Written while instrumentalist/songwriter Ben Watt was recovering from a life threatening illness, the melancholy disco songs of Temperamental, set to house, trip hop and drum 'n' bass beats, can be heard as music for the end to a long night out. The beats might be a bit generic, but the honesty of the songs coupled with Tracey Thorn's mesmerizing voice take the music to a level that is all it's own.

Flashback: Daft Punk "Revolution 909" (1996)

On this date in history: “There was an accident in our studio. We were working on our sampler, and at exactly 9:09 a.m. on September 9, 1999, it exploded. When we regained consciousness, we discovered that we had become robots."

While it has been ten years since tragedy turned Daft Punk robots there is something else on 9/09 that comes to mind. Released in 1998 "Revolution 909" was the last single to be pulled from Daft Punk's debut album Homework. Sirens and police demanding over a loudspeaker to "stop the music and go home" are only the beginning to this stomping dance track. The song even has a Roman Coppola directed video that takes an unexpected turn early on:



: Long before their robotic accident and finding their electronic way Thomas Bangalter and Guy-Manuel de Homem-Christo were in an indie group Darlin' whose sole release was a joint limited edition single. Fortunately there is now an unofficial myspace page for the group that allows you to sample their entire recorded output. Perhaps they were human after all.

Flashback: DeeJay Punk-Roc "My Beatbox" (1998)

After an introduction borrowed from LL Cool J's "I'm Bad" warns all cars to be on the lookout for mean fellow with dimples carrying a beatbox we are launched into one the great jams of the big beat era. DeeJay Punk-Roc amps up the track with robo vocals and truly break dance worthy "Planet Rock"-style electro beats that drive the track to extremes. To this day I am puzzled as to why more people don't know about the song.
Maybe it is the video which is definitely of the time when all electronic music video were silly because Fatboy Slim had such crossover success with the intelligently silly "Praise You". This one doesn't quite cut it:



: DeeJay Punk-Roc's debut album ChickenEye, now out of print, contained a wider range of styles than "My Beatbox" suggests adding a heaver dose of the turntablism and old school hip hop. There was some controversy at the time in some of the UK press suggesting that Punk-Roc was just a Milli Vanilli-type front man for his co-producer Don Sergic, who has only a few credts to his name like his remix of Ill Disco's "Keep The Jam Going", never had substance behind them and were dismissed by Sergic. Stuart Price turned in an early and utterly fantastic remix of the track that didn't make the single, which did contain a Big Audio Dynamite mix, but can be found on the Respect Is Burning compilation.
DeeJay Punk-Roc released his follow up album Spoiling It For Everyone a couple years later to a quiet reception. After putting out a couple of mix discs Punk-Roc has all but disappeared. I hope we hear a comeback soon.

Techno From Unexpected Faces: UB40

Taking their name from a United Kingdom unemployment form UB40 were discovered by Chrissie Hynde who invited the politically minded reggae group to open for The Pretenders. Things really took off for the group in 1983 with the release their covers album Labour Of Love that featured their massively popular version of Neil Diamond's "Red Red Wine" giving the band a formula for success. They would go on to have hit covers of "The Way You Do the Things You Do", "I Got You Babe" and "Kingston Town" before having one of the biggest hits of their career in 1993 covering Elvis Presley's "(I Can't Help) Falling in Love With You" for the Sliver soundtrack. The song reached number one in seven countries including the UK and the US but the single was backed with a song that revealed a more musically daring side to the group. While the instrumental “Jungle Love” has been referred to as “an oddball "dub" mash up” it actually is an early drum ’n’ bass track that boldly wears it’s jungle influence down to the pitched up mc vocal sample. 808 State had released a “vs.” remix of the band‘s 1981 single “One In Ten” just the year before and UB40’s sound at the time heavily incorporated electronics so it was not a totally unanticipated move but discarding vocals and traditional songwriting to throw themselves into the deep end of the then emerging jungle scene is quite an unexpected move from a group that so often plays things safe. Ultimately the track didn’t quite hold up at the time and in the years that have passed it sounds really quite confused as if they attempted to distill an entire genre into a single track. However they do get points for trying:

Flashback: The Trip Hop Test, Part One (1995)

The very definition of trip hop was in flux when Moonshine Music released The Trip Hop Test, Part One in January of 1995. The term had already surfaced in the US characterizing the downtempo music coming across the pond from Bristol producers like Tricky and Massive Attack but those listening closer to the underground also described rave music influenced equally by hip hop and psychedelic music by the same name. Was it the same movement? The Trip Hop Test doesn't answer the question but instead presents evidence allowing the listener to decide. Compilations almost always take related tracks to make a statement on a scene or time so taking the risk to ask questions about a scene is one of the most endearing things about the collection. Impressively the disc also manages to catch many of the major players of electronic music before they came to prominence in the later half of decade. Here is the track listing and some thoughts:

Saint Etienne "Filthy"
Originally the b-side to "Only Love Can Break Your Heart" the oldest track on the collection dates from the Saint Etienne's early days when they only had guest vocalists here featuring British rapper Q-Tee who was only 15 when she recorded the track.  The song was later remixed by Monkey Mafia and included on the band's Casino Classics remix collection.
The Dust Brothers "My Mercury Mouth"

Actually a track from The Chemical Brothers taken from the last EP they released as The Dust Brothers before going chemical for legal reasons.  The reason to buy the disc since the track is closer to delicate ambient techno than anything Brothers have released since becoming album artists.
Step Disk "Boing Dragon" 

The disc's first misstep from a group that faded away shortly after releasing this.  Notably "loose" production emphasising samples demonstrate the sound of the time but it is extremely repetitive.
Skylab "Sea Shell" 

This was a massive track on college radio at the time that introduces an unusual laidback beat to an ambient template. This group effort is the first time future Bjork and U2 producer Howie B appeared on my radar.
Paul Weller "Wild Wood (Portishead Mix)"

Who would have guessed the sole representation of the Bristol sound would come from The Modfather?  Portishead weave their Dummy-era sound around the original song's structure incorporating the best of both worlds.  A must for Portishead fans.

The Aloof "Society"

This group is probably better known for their work in other projects which include The Sabres Of Paradise, Red Snapper and the vocals to Luke Slater's 2002 electropop masterpiece Alright On Top.  This track is a bit shouty and has sirens but fails to effectively convey the talent involved.

Tranquility Bass "They Come In Peace"

More music branching out of ambient adding hip hop beats to the mix.  While they would go on to release higher profile albums this is as good as Tranquility Bass ever got.
The Crystal Method "Dubeliscious Groove"

American electronica's great hope turn in an early ambient techno track that sounds unfinished.  Try the far superior Fly Spanish Version from the Keep Hope Alive EP for something that will stick to your brain. 

Single Cell Orchestra "Transmit Liberation"

Another college radio hit here from San Francisco artist Miguel Fierro.  One of my favorite ambient techno tracks of all time.
Lemon Interupt "Minneapolis"

When Karl Hyde and Rick Smith left behind the gothic gloom of their first Underworld outing they added Darren Emerson and gained some techno edge but chose to release their initial offerings, and production on Saint Etienne's Tiger Bay, under the name Lemon Interupt.  This b-side to "Dirty" shows them working their new sound out even if it falls short of essential.

Tales from the Woodshed "Brainclog"

Proto-big beat from a duo that would shorten their name to The Woodshed before disappearing a few short years later.  

:  Moonshine Music would go on to release another two volumes of The Trip Hop Test before branching off into other ventures but they deserve credit for taking a snapshot of electronic music at the crossroads and not giving us the answer key.

Techno From Unexpected Faces: Eric Clapton

My college radio days coincided with the American Electronica Revolution (aka 1997) which gave me access to new music in a way that today can only be parallelled by anyone who knows how to log on to the internet (congratulations). Having a front seat to a musical movement allowed me to hear some albums that slipped by the larger public such as T.D.F.'s Retail Therapy. In an effort to guide dj's to better tracks and ferret out language that is less than FCC friendly all the station's music had short reviews and I recall that one staff member wrote something along the lines of "this is really good chill out music but it has these really annoying Poison guitar solos all over it". In a day and age when Daft Punk hid behind dog masks T.D.F. were ahead of the curve wearing helmets in all of their publicity photos even going further in creating a mystique by listing the group's members Simon Climie and someone named x-sample in the liner notes. As one of the first major label "electronica" acts out of the gate what they weren't saying was that Climie was an established industry sideman and that x-sample was a bizarre alias for Eric Clapton. The album has gone out of print but I can assure you that the album was decidedly more smooth jazz than anything else with only a few tracks that were even remotely on par with electronica of the time. The album's highlight is "Rip Stop" an admirable attempt at drum 'n' bass that came only a year after the sub-genre's first credible artist album was released:



: The album garnered some rough reviews including All Music Guide's that calls Retail Therapy "a bland, colorless dead alley into electronic music from two musicians who don't comprehend its essence" which may explain why there has never been a followup. However it's worth noting that in the late 80s Simon Climie's duo Climie Fisher had a not bad non-hit "Love Changes (Everything)" underscore an important montage of Savage Steve Holland's How I Got Into College and that movie has a young Lara Flynn Boyle attempting to play a character with warmth. That's almost as strange as a 60s guitar icon attempting drum 'n' bass.

Flashback: Cranes "Shining Road" (1994)

Taking their name from the machines that transport cargo on the docks of their native Portsmouth the often experimental, occasionally pop but always unique Cranes got their start in the mid 80s. They opened for The Cure (who have a new album out this week) on the "Wish" tour and first came to my attention when the Robert Smith remix of "Jewel" got a modest amount of airplay on Live 105. That song didn't really grab me and I assumed that I had heard the band's best material since Live 105 even played The Cure's b-sides in heavy rotation at the time. A year later the first single from Cranes next album Loved got a couple of spins and proved just how wrong I was. "Shining Road" is an amazing song. Unexpected and effortless it harnesses the groove of the UK's second wave of rave revolution to the best parts of showgaze alt-rock. All discussions of Cranes inevitably lead to the merits of Alison Shaw's singular voice, which is often described as "childlike" even though otherworldly is perhaps more accurate, but there is no denying her voice is the perfect conduit for the wordless emotion conveyed here:



: After some time off in the late 90s Cranes have kept active releasing music on their own label with an album out earlier this year. If you watch American tv you almost certainly are familiar with some of their recent work that was featured in an oft-aired commercial. Keep up with the band at their label's website.

Flashback: Prodigy The Fat of the Land (1997)

A short 11 years ago this week Prodigy's The Fat of the Land was unleashed on the world where it unexpectedly debuted as the number one album on the US charts. Dropped by Elektra after Experience failed to live up to major label standards the band had been written off as "kiddie rave" in America before the two pre-release singles "Firestarter" and "Breathe", both of which topped the charts in the UK, started getting attention from alt rock radio and began a bidding war that ended with Prodigy signed to Maverick in the States. I got on board early on picking up "Firestarter" the week it came out as a Mute released 12" single (the song would later be re-released by Maverick on CD single) so it was exciting to see group pick up momentum and acceptance from the alternative scene that had been hijacked by grunge which had effectively silenced the synthesiser in the States.


The controversial opening track weighs heavily in the legacy of Prodigy and the album. The titular sample of a thrown off Kool Keith line taken from Ultramagnetic MC's "Give The Drummer Some" is a major sticking point and while Liam Howlett suggests it is not literal but rather means "doing anything intensely, like being on stage - going for extreme manic energy" using the offending phrase simply makes the song ugly. Following one of the most extreme build ups ever recorded with the suggestion of domestic violence as the payoff is truly foolish and irresponsible. In the years that have passed there have been several attempts to reclaim the song including the oddly controversial video (spoiler: it's not a dude behind all that misogyny) and the Charlie's Angels movies but both take on the basic violent premise of the song's sample rather than deal with "extreme manic energy". The song does have legs and despite limited exposure at the time of it's release it continues to get played on Live 105 and ended up as their top ranking electronica song on a recent listener voted countdown.

"Breathe" is the band's masterstroke as Keith Flint and Maxim Reality spark over an understated Howlett track that does amazing things with an all 16th note bass line. The second pre-release single for the album effectively raised the stakes from the genre bursting "Firestarter" suggesting that Prodigy were more than simple adrenaline junkies and in fact a thinking man's band as well. Time may have proven otherwise.

A decade on "Diesel Power" remains the best electronica/hip hop track ever. Is it the rap? Probably not although Kool Keith would enjoy a renaissance in the late 90s where he would record boasts about the amazing amount of money he was given to work on "Diesel Power". It is the beats that have me reaching to turn up the volume when this comes on time after time.

Howlett sampled the Beastie Boys on this "Funky" track that takes the album down the rave route. Not a favorite by any means but one that sold my former boss on the album after hearing it in a record store.

We reach the low point of the album with "Serial Thrilla" which is a stupid, stupid, stupid song with Keith "my first single went to #1" Flint on screaming vocals. This is what happens when musicians give in to the influence of too much testosterone.

"Mindfields" is the mysterious fourth single from the album that was only released as a "white label" that was one of the most professional and least disguised "unlabeled" pieces of vinyl I've ever encountered. It's a Maxim song in the mode of "Breathe" and while a review mocked the "this is dangerous" line for trying too hard to be scary this was just a decent edit away from being a hit. Also it helped introduce the action movie world to bullet time on the soundtrack to The Matrix.

The Indian influenced "Narayan" brought Kula Shaker's Crispian Mills in for vocals to create mystic synthpop that had run through the big beat blender. There are some great bits but the track's nine minute running time, which in part are a set up for the big hit that follows, helped make it one of the most complained about tracks on the album. Kula Shaker reprised the song as "Song of Love/Narayana" on last year's Strangefolk which doesn't do much to improve the song's reputation.

There was a time when I suggested that "Firestarter" was the new "Smells Like Teen Spirit" as it rocked alternative radio out of it's grunge haze. Perhaps I overstated my case but the song did truly breakdown barriers as it took samples from The Breeders' "S.O.S." and Art Of Noise's "Close (To The Edit)" as it introduced the world to the punk version of Keith Flint. Twisted indeed.

"Climbatize" delayed The Fat Of The Land's release by several months while it was being developed because Liam said it was amazing and told NME that it would be a single for sure. It never was but the instrumental is a highlight that steps back from the hyper masculinity that permeates much of the album.

The album comes to a close with the hard electro rock cover of L7's "Fuel My Fire". Keith handles the vocals on this one with Saffron from Republica adding a nice bit of color as the backup vocalist which make it sound like an angry love song. Interestingly the choice to end with a cover hint at Howlett's limitations as a songwriter which would go to be far more obvious years down the road when Prodigy finally released a new album.

Fat Of The Land was the commercial pinnacle of the Electronica Revolution of 1997 and while the album has it has faults it stands nearly alone in it's mainstream acceptance. One of the reasons "Firestarter" failed to make Prodigy the next Nirvana is that no one could duplicate their sound that combined songwriting with aggressive techno trash. Actually Junkie XL came close and CJ Bolland did a direct riff on the band's sound on a song that is probably better know for it's remix, but no one else could match what Prodigy had at that moment.

Flashback: Pet Shop Boys "Discoteca (Trouser Enthusiasts Adventures Beyond The Stellar Empire Mix)" (1996)

A kind youtuber uploaded one of my favorite Pet Shop Boys remixes, one that always got me calls when I played it on my college radio show, with a video that reads suspiciously like a blog entry. Let's take a look and have a listen:



: Trouser Enthusiasts only lasted a couple of years but left behind a discography that included many remixes and the single "Sweet Release". Both Ian Masterson and David Green continue to create music but as Masterson notes on his blog "you'd think I'd be a lot wealthier than I am" given the artists they have worked with. Oddly enough the duo's other big moment came under their alias Flexifinger when they traded off production on Dannii Minogue's 1997 album Girl with another young production team Xenomania. Can you guess which one of the teams was just announced as the producers of the Pet Shop Boys next album?

Flashback: Tricky "Pumpkin" (1995)

Tricky's Maxinquaye is not only one of the high water marks of the trip hop movement but one of the most critically praised albums of the 1990s with honors that include ranking as Spin magazine's 2nd favorite album of 1995 and one of Q magazine's 100 Greatest British Albums Ever. Portishead and Massive Attack had defined the genre in the public eye by the time the album was released but Tricky's vision changed the mixture of the genre's formula suggesting a British hip hop as even the album's biggest rock moment, the NIN-esque "Black Steel", is really just re-imagining a Public Enemy song. While some critics would argue it was the production that really grabbed the ear Martina Topley Bird got plenty of press, along with booklet photo appearances, as the sweet voiced female foil to Tricky's mumbling raps many marked her as a future star which played out when she released a 2003 Mercury Prize nominated solo album.
The album's sixth (and final) single is an odd piece of music. A largely unedited sample of The Smashing Pumpkins Gish era song "Suffer" provides the backing track as Tricky does his usual vocal interplay not with Martina as he does on almost every other track on the album but with a young vocalist Orbital had recently discovered yodelling during a performance art piece. This is the music video debut of Alison Goldfrapp:



: Following the success of Maxinquaye Tricky had a fling with Bjork, put in a memorable appearance as Gary Oldman's henchman in The Fifth Element and released four increasingly disappointing albums in four years before bragging about his record deal on the flopped single "For Real" which was his last before he was dropped by the previously indulgent Island. Tricky did stage a comeback with Blowback and is currently involved in a variety of projects including an album that might be released on April 7 2008 although you would hope to see some promotion at this point if that is true.
Alison Goldfrapp went on to ride a white horse and create amazing music with Will Gregory.

Fun Fact: "Suffer" was produced by Butch Vig who would call on Tricky to remix his band Garbage's own trip hop inspired single "Milk" shortly after the release of "Pumpkin".

Techno From Unexpected Faces: Jesus Jones

Jesus Jones usually bring to mind a very specific time and place which I imagine for many is the fall of the Berlin Wall the collapse of 20th century communism. That's not exactly the case for me. Almost every time I hear "Right Here Right Now" I am reminded of an anti-drug assembly in high school that featured extreme athletic feats performed by a team of born again ex-addicts in front of video projectors playing hit music videos before the athletes slipped a rather overt Christian message past my school's administration during their testifying of the evils of drugs. Perhaps it's just that context that colors my thinking but Jesus Jones have never struck me as ravers and the All Music Guide agrees defining the band's sound as a "watered-down Madchester and dance-pop hybrid". While that less than flattering description fits the general impression of the band they did expand their pallet on their flopped followup to their breakthrough Doubt recording with midi-modified instruments in singer/songwriter Mike Edwards bedroom studio creating a tech heavy sound that brought world music influences to the forefront. "The Devil You Know" exemplifies the best qualities of Perverse but the single's b-side showed that they were willing to go beyond traditional song structures and embrace rave culture. "Want To Know" is a product of the band's keyboardist Iain Baker and a surprisingly effective no nonsense techno stormer based around a vocal sample that asks "what did you do today?". Shame it didn't make that greatest hits collection they shared with EMF.

Flashback: Mono "Life In Mono" (1996)

The 90s were a difficult time for those looking to combine a love electronics and the craft of songwriting. The rise of underground techno suggested that vocals and traditional structure weren't necessary while the reactionary grunge movement knocked anything with a synthesizer off "alternative" radio in the US but the success of Portishead opened a new door that allowed songwriters access to the American market. The caveat: their music was labeled as trip hop. There was a time when trip hop was, at least in my mind, a fairly specific genre during the first half of the 90s when it directly involved the hip hop inspired Bristol Sound. Over the course of the decade the term diversified when bands like Hooverphonic and Morcheeba revealed similar stories about sneaking their music onto major labels by convincing A&R men that they could sell to the trip hop crowd.

Producer/instrumentalist Martin Virgo had a solid background in the genre working as a session musician on albums from Massive Attack and Bjork before forming Mono with vocalist Siobhan de Maré but the tone of the project echoed a decidedly more pop approach exemplified by other late 90s trip hop acts. The band's sole album Formica Blues produced four singles including the Saint Etienne-esque "Slimcea Girl" but "Life In Mono" is their finest, if perhaps darkest, moment. Equally bringing together Virgo's passion for all things John Barry and Phil Spector with drum 'n' bass inspired beats the song had the unique quality of sounding dated and futuristic on the first listen. A decade later it simply sounds timeless:



: The song's inclusion, reportedly at the suggestion of Robert De Niro, on the soundtrack to Alfonso Cuarón's Great Expectations helped make the song a radio hit in the US two years after it's initial release but my first exposure to the song was the Propellerheads instrumental remix which used the originals Barry flavored guitar to turn the song into a proper James Bond dance track. More recently former Spice Girl Emma Bunton used "Life In Mono" as her most recent album title and included a faithful cover of the song which I'm sure was not inspired by a karaoke version being available.

Despite their moderate success Mono didn't survive after rifts between the two proved to be too great to bridge. Siobhan de Maré has since worked with Robin Guthrie and Martin Virgo seems to have slowed down as reports suggest he is spending his time with a rightfully unsigned jam band. Sigh...

Flashback: Saint Etienne "I Was Born On Christmas Day" (1993)

A couple of albums into Saint Etienne's career they realized that "when you're in a pop group, you want to do a Christmas single, don't you?" which led to their Xmas 93 EP. The highlight is the duet with The Charlatan's Tim Burgess "I Was Born On Christmas Day" which is a danceable uptempo love song in the tradition of The Waitresses "Christmas Wrapping" that is much less interested in Christmas so the song can be enjoyed year round.
The video keeps things light with Sarah and Tim meeting up for the wedding suggested in the lyrics and getting down at a wedding reception in a low cost "discotek" decorated with a Christmas tree. Having gotten married around the holidays myself the Christmas tree in the video brings back fond memories of the tree at the corner of our reception that snuck into more than a few of the wedding photographs:



: Saint Etienne's Bob Stanley was born on Christmas day so do wish him a happy birthday if you happen to run into him somewhere on this side of the international date line. While the Xmas EP is long out of print "I Was Born On Christmas Day" can be found on the North American versions of Tiger Bay and on some of Saint Etienne's singles collections.

Flashback: Chemical Brothers "It Began In Afrika" (2001)

First played live in late 2000 "It Began In Afrika" is the Chemical Brothers single that almost never was. A few months after the song's debut, but long before the Chems had a version they found satisfactory, they sent the song out in acetate form to a few select producer and dj friends for feedback but as they continued to tinker the track developed a life of it's own. Appearances in high profile mix sessions from their superstar dj friends created buzz for the track and several publications predicted it would be the "anthem of the summer" as far back as May of '01. Despite the praise it appeared that The Brothers couldn't bear to part with the track before it was fully realized and in the age of Napster it may have cost them. With no single in sight versions of the song and clones that sampled the title phrase flooded p2p networks by mid-summer as it became more than just an anthem but a product of the collective imagination of dance fans across the globe.

Why then was there a long wait? I believe it comes down to two factors. First off it is one of the most straightforward club tracks that The Chemicals had released as a single at that point. The song maintains the classic four-on-the-floor throughout and while it works the template fantastically there is nothing definitively "Chemical Brothers" about the track. The other factor is Norman Cook. The title sample and most likely some of the percussion are taken from proto-rap spoken word and soul artist Jim Ingram's "Drumbeat" but Norman Cook used them first in his 1988 one-off project The Urban All Stars on a track called "It Began In Africa". They were working with material their friend and competitor had already cheekily committed to a "dj and producers only" sample disc (track 30 if you're interested) so I suspect they wanted to be sure that when it was released every ounce of floor filling potential was maximized.

An official video for "It Began In Afrika" was never created and it came out nearly six months before their next album leaving the impression that they never really finished the song but it had just reached the point where it had to be released. It charted at the number 8 position on the UK singles charts which is respectable for a track that had the opportunity to tire potential buyers who had download options available for months in advance.

Also of note is the US release date on which other events of a much more important scale overshadow anything else about the song. Reminded of the release date I do think it was my intention to pick it up that day before I woke up to the worst news my generation has witnessed.

Listen to it by way of this unofficial video (actually The Chemical Brothers song over the visuals from a Cassius video):

Flashback: Sarah Cracknell "Anymore" (1996)

Sarah Cracknell, the sexy front woman for consistently brilliant Saint Etienne, put out a solo record Lipslide in the UK in 1997, only released in butchered form during 2000 in the US, which was an attempt to distance herself from her apparent "just a pretty face" reputation by proving her artistic and songwriting muscle outside the group. Ultimately the album flopped commercially despite a few fantastic songs on it. She had this to say about why:

I had a lot of trouble with the label I was on [Gut Records]. They weren't very nice to me. It wasn't a great relationship, between me and the label.
I think they were just trying to turn me into something and the thing was I don't think they ever listened to a Saint Etienne album, do you know what I mean? I didn't realize it at the time. It's one of the first thing you'd do, I would think.
So, it was a real struggle and I was very unhappy. I was very happy when the album was finished and I'm proud of it, but they then pretty much didn't put it out. They put it out just about. They didn't promote it at all or do anything.

: I think that's a fair assessment. I remember hearing that they deleted the second single "Goldie" for some odd reason and the maybe-it-exists-maybe-it-doesn't third single "Desert Baby" has the exact same sleeve as the "Anymore" single.

Speaking of "Anymore" I've become re-enamored with the song recently and have been listening to the single on repeat in the car recently. The most striking thing about this Stephen Hague produced the track is just how completely effortless it sounds. Purely electronic for most of the song it has a subtle build that goes from quiet digital pianos to Hague's trademark lush sound with a live Motown-esque horn section introduced in the last third of the song that is just the right thing to take the song to the next level at just the right moment. Even if pop perfection might be a bit of an overstatement it is a great song that deserved a better showing than peaking at number 39 on the UK singles chart. The video has Sarah doing a bit of acting as a pout-prone gas station attendant which doesn't work that well just like most other pop stars pretending to work at dull every-day jobs videos:




: According to some Sarah will next be heard covering Dusty Springfield's "I Close My Eyes and Count to Ten" with Marc Almond on his forthcoming 2007 album. Just don't look for any information on his site because it's the most paranoid promotional site that I've ever encountered where you can't copy-and-paste anything from the site and it's "news" section largely consists of denying rumors.