Simple Minds – Selected 12″ Tracks

I have selected my favorite Simple Minds singles to post on here.  These particular tracks are very hard to find these days, as most of them were available only as maxi-singles on 12″ records and audio-CD (only one in particular: Don’t You Forget About Me which was re-issued on CD-single in the late 80′s) back in the days when they were originally released.  Almost all of the instrumental versions below were on the B-sides of the 12″ records.  I’ve added slight reverb to give them more ambience.  It is very hard to find any of them on current CD releases or from legit digital-download services (iTunes, etc.) today.  Now, the very last track on the bottom below is Open Your Mind by Usura (Euro dance genre) and NOT by Simple Minds.  The reason why I’ve made it available here is because it borrowed (and possibly sampled) heavily from Simple Minds’ New Gold Dream track (also posted below, second-bottom).

Simple Minds – “Theme For Great Cities” (12″ Instrumental)…

Artist: Simple Minds
Title: Theme For Great Cities (12″ Instrumental)
Year: 1982
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Theme For Great Cities” (12″ Instrumental) (mp3)

 

Simple Minds – “Seeing Out The Angel” (12″ Instrumental)…

Artist: Simple Minds
Title: Seeing Out The Angel (12″ Instrumental)
Year: 1981
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Seeing Out The Angel” (12″ Instrumental) (mp3)

 

Simple Minds – “Promised You A Miracle” (12″)…

Artist: Simple Minds
Title: Promised You A Miracle (12″)
Year: 1982
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Promised You A Miracle” (12″) (mp3)

 

Simple Minds – “Every Heaven” (12″ Instrumental)…

Artist: Simple Minds
Title: Every Heaven (12″ Instrumental)
Year: 1982
Label: Virgin Records; EMI Music
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Every Heaven” (12″ Instrumental) (mp3)

 

Simple Minds – “Don’t You Forget About Me” (Extended Version)…

Artist: Simple Minds
Title: Don’t You Forget About Me (Extended Version)
Year: 1984
Label: Virgin Records

Simple Minds – “Don’t You Forget About Me” (Extended Version) (mp3)

 

Simple Minds – “Ghostdancing” (Extended 12″ Remix)…

Artist: Simple Minds
Title: Ghostdancing (Extended 12″Remix)
Year: 1986
Label: Virgin Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Ghostdancing” (Extended 12″ Remix) (mp3)

 

Simple Minds – “Ghostdancing” (Instrumental)…

Artist: Simple Minds
Title: Ghost Dancing (Instrumental)
Year: 1986
Label: Virgin Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Ghostdancing” (Instrumental) (mp3)

 

Simple Minds – “New Gold Dream” (81-82-83-84)…

Artist: Simple Minds
Title: New Gold Dream (81-82-83-84)
Year: 1982
Label: Virgin Records

Simple Minds – “New Gold Dream” (81-82-83-84) (mp3)

 

Usura – “Open Your Mind” (Chart Mix)…

Artist: Usura
Title: Open Your Mind (Chart Mix)
Year: 1993
Label: Time S.p.A.

Usura – “Open Your Mind” (Chart Mix) (mp3)

 

Let’s get one fact straight… former Sex Pistols impresario Malcolm McLaren was the first to bring vogue-dancing (from the gay underground scene in New York) to the international mainstream music almost two years before Madonna.  McLaren and Bootsy Collins’ Bootzilla Orchestra collaborated together and came up with a track called Deep In Vogue — an ode to the ballroom scene started by young, gay African-Americans and Latinos in New York City featured in the documentary Paris Is Burning. Dedicating the song to all the houses of ballroom and vogueing, the track featured vocals from voguing pioneer and legend Willi Ninja. (Also, click here to view image-results of Willie Nina.) On the production side, additional remixing were done by Mark Moore (of S-Express, watch video of “Theme Of S-Express”) and William Orbit.

Macolm McLaren & The Bootzilla Orchestra
- “Deep In Vogue”…

Artist: Malcolm McLaren
Title: Deep In Vogue
Year: 1988
Label: CBS Records

Malcolm McLaren & The Bootzilla Orchestra
- “Deep In Vogue” (mp3)

 

Macolm McLaren & The Bootzilla Orchestra – “Deep In Vogue” (Banjie Realness)…

Artist: Malcolm McLaren
Title: Deep In Vogue (Banjie Realness)
Year: 1988
Label: CBS Records

Malcolm McLaren & The Bootzilla Orchestra – “Deep In Vogue” (Banjie Realness) (mp3)

 

Music Video: Macolm McLaren – “Deep In Vogue” (Banjie Realness)…

Documentary edit: Paris Is Burning (of Willie Ninja)…

R.I.P. Willie Ninja (Apr.12.1961 – Sep.02.2006)…

In loving memory of Willie Ninja who was a legend and one of the early pioneers of vogue-dancing and posing.

The first video in the playlist below made me very sad with a huge apple in my throat. Every time I’ve been watching it brings tears to my eyes.  Perhaps I should just release it and ball out crying. And I will.  Willi Ninja — he was so beautiful man.  Rest in beautiful peace, Willie, as I’ve learned about your passing.  You were sent away heroically instead of dying like some aging deadbeat in a nursing home.  You danced, you taught, you loved, you lived most truly, and that’s what life is all about.  What a beautiful man you were and still are… .

Willi Ninja (April 12, 1961  September 2, 2006) was an American dancer and choreographer best known for his appearance in the documentary film Paris is Burning. Ninja, who was gay, was a fixture of ball culture at Harlem’s drag balls who took inspiration from sources as far-flung as Fred Astaire and the world of haute couture to develop a unique style of dance and movement. He caught the attention of Paris is Burning director Jennie Livingston, who featured Ninja prominently in the film. The film, a critical and box office success, served as a springboard for Ninja. He parlayed his appearance into performances with a number of dance troupes and choreography gigs. His style served as an inspiration to Madonna, who immortalized it in her 1990 hit song and music video “Vogue.” He also starred in the earlier music video for Malcolm McLaren’s Deep In Vogue.

Mercy Street is one of the most beautiful, original and highly intelligent and emotional songs ever composed and produced. It still gives me the goose-bumps every time I listen to it, and I’ve been playing it endlessly for the last 26 years. I listen to Mercy Street when I’m hurting and in search of healing; when I’m at peace and in solitude; and when I’m meditating and mind-traveling. The song never seems to wear out on me but rather continually evolve to something bigger and much richer for me to appreciate even more over time as it goes by.  Mercy Street is the song I want to be played at my funeral.

The only versions of Mercy Street which I love and respect are two of them: LP version and the William Orbit mix which is featured in a 1992 CD-single of Blood Of Eden by Peter Gabriel. Please take the time to read the lyrics and the meaning of the song below. I’ve provided a video of Peter Gabriel talking about what inspired him to write and dedicate his song to Anne Sexton who wrote a poem and play called 45 Mercy Street.

Peter Gabriel – “Mercy Street” (LP Version)…

Artist: Peter Gabriel
Title: Mercy Street (LP Version)
Year: 1986
Label: Real World Records / Real World Music

Peter Gabriel – “Mercy Street” (LP Version) (mp3)

 

Peter Gabriel – “Mercy Street” (William Orbit Mix)…

Artist: Peter Gabriel
Title: Mercy Street (William Orbit Mix)
Year: 1992
Label: Real World Records / Real World Music

Peter Gabriel – “Mercy Street” (William Orbit Mix) (mp3)

 

Mercy Street Lyrics…

Looking down on empty streets, all she can see
Are the dreams all made solid
Are the dreams all made real

All of the buildings, all of those cars
Were once just a dream
In somebody’s head

She pictures the broken glass, she pictures the steam
She pictures a soul
With no leak at the seam

Lets take the boat out
Wait until darkness
Let’s take the boat out
Wait until darkness comes

Nowhere in the corridors of pale green and grey
Nowhere in the suburbs
In the cold light of day

There in the midst of it so alive and alone
Words support like bone

Dreaming of mercy st.
Wear your inside out
Dreaming of mercy
In your daddy’s arms again

Dreaming of mercy st.
Swear they moved that sign
Dreaming of mercy
In your daddy’s arms

Pulling out the papers from the drawers that slide smooth
Tugging at the darkness, word upon word
Confessing all the secret things in the warm velvet box
To the priest-he’s the doctor
He can handle the shocks
Dreaming of the tenderness-the tremble in the hips
Of kissing Mary’s lips

Dreaming of mercy st.
Wear your insides out
Dreaming of mercy
In your daddy’s arms again

Dreaming of mercy st.
Swear they moved that sign
Looking for mercy
In your daddy’s arms

Mercy, mercy, looking for mercy
Mercy, mercy, looking for mercy

Anne, with her father is out in the boat
Riding the water
Riding the waves on the sea

The Meaning Of The Lyrics & Anne Sexton’s Poem 45 Mercy Street

Peter Gabriel was inspired by Anne Sexton’s poem 45 Mercy Street which led him to write/compose his song Mercy Street, dedicating his song to her. Gabriel could relate to Sexton as a deep thinker with a troubling depression who searches for meaning through her art.

Anne Sexton, a poet, committed suicide in 1974 after a life marred by mental illness. The first couple of verses in the song play on the difficulty she had differentiating between her successful creative life as a poet and her failings in her “real” life as a daughter/mother/wife. Years after leaving the home where she lived with her father, one day she decided to go back and look for the place on 45 Mercy Street. But when she walked there, she wasn’t able to find the house nor recognize the neighborhood what she once knew.  It has all been changed over time. so in essence, this is what the song Mercy Street is all about … Anne’s searching of her home and past.

According to the uncredited sources on the internet:

As a poet, Anne, in effect, had a “leak at the seam,” her inward thoughts and feelings that got expressed through her poetry. Many poets have commented on the pain that comes through revealing one’s inner self.

The boat references allude to her final book of poetry, “The Awful Rowing Toward God,” about our inevitable journey toward death and the afterlife. “Tak[ing] the boat out” refers to her intention to accelerate her own demise. (She killed herself just after finishing the book.)

Corridors of pale green [aka 'hospital green'] and gray” could refer to her stays in mental institutions during her manic episodes (which alternated with her stints of “ordinary life” in the suburbs of Boston).

Wear your inside out” again refers to the way a poet exposes his soul to the world. That which, for most people, remains private and unknown is shown to all. The “daddy” allusions again seem to refer to God, in whose arms she might find that elusive mercy (so difficult to attain in this life, hence the reference to the moved street sign.

All of the confession allusions have double meaning, as much of Anne’s life was spent “confessing” her innermost feelings to psychiatrists ((whereas in the song, the “warm velvet box” might also refer to the psychiatrists and mind doctors)) as well as revealing them to the public through her poetry. The shocks can doubly refer to shock therapy administered by psychiatrists as well as the shocking things a priest might hear in confession. Per Wikipedia, Sexton was the epitome of a “confessional poet.”

Live Performace of Peter Gabriel – “Mercy Street”…

Live Performance of Peter Gabriel – “Mercy Street” (1988)…

Peter Gabriel’s Real World Studio…

The pictures you see below are Peter Gabriel’s own Real World Studio where he recorded Mercy Street as well as the most of his previous albums, soundtracks and productions of other artists signed on his label Real World Music/Records.

Grandmaster Melle Mel -King Of The Streets 01

I am so glad that I got this 12-inch record back in 1985, because it is a rare and (perhaps) a solo single release of Melle Mel. I have speculated all these years that King Of The Street is the sequel to Beat Street Breakdown track (watch music videos below) by Grandmaster Flash, Melle Mel & The Furious Five.

Grandmaster Melle Mel – “King Of The Streets”…

Artist: Grandmaster Melle Mel
Title: King Of The Streets
Year: 1985
Label: Sugar Hill Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Grandmaster Melle Mel – “King Of The Streets” (mp3)

 

“Beat Street Breakdown” - Grandmaster Flash, Melle Mel & The Furious Five…

“Beat Street Breakdown” (live performance) – Grandmaster Flash, Melle Mel & The Furious Five…

http://youtu.be/_krJT3otj-E

The Latin Rascals - Beyond The Future

The Latin Rascals…

Artist: The Latin Rascals
Title: Beyond The Future
Year: 1986
Label: Sutra Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

The Latin Rascals – “Beyond The Future” (mp3)

 

More About The Latin Rascals…

I find The Lastin Rascals to be class-act with stellar production and rich sound, standing on their own plateau. Just take a listen to their remix production on the following blogs which I’ve posted here previously:

According to Music Guide and The Latin RascalsMySpace page:

Producers/DJs Albert Cabrera and Tony Moran — collectively known as the Latin Rascals — got their start as movers and shakers on the budding early-’80s New York City club scene, hosting an influential continuous-mix show on local dance radio. The duo went on to mastermind a number of Latin freestyle dance tracks, including work for TKA and The Cover Girls, among others. In 1999, the collection Mixmasters Vol. 1 was released, featuring reworkings of various Latin Rascals mixes by an array of DJs.

According to Answers.com about Albert Cabrera:

Better known as one half of The Latin Rascals, Albert Cabrera, along with partner Tony Moran, helped create the mid-’80s, edit heavy genre of dance music known as freestyle. Working as DJs in the early ’80s, the duo realized that after the disco backlash dance music wasn’t the most popular of genres. Still, they were working in the U.S. capital of club culture, New York, and after much hustling they were able to score a high profile gig as mix masters on WKTU’s popular “lunch time mix” program. It was there that they unleashed their bedroom edits, songs by acts like Bruce Springsteen and the Rolling Stones that had been re-mixed and lengthened. Cabrera and Moran were then tapped by Fever records to produce The Cover Girls and the resulting single, “Show Me,” became a club hit. For the next few years the duo had a good little run, releasing their own dance singles, as well as re-mixing many a popular rap, rock, and R&B act. Their success was based largely on re-tooling other artists’ hits, though, and eventually the public’s interest in this format diminished and the duo parted ways.

The following FAQ about The Latin Rascals is cited from the Freestyle Dance Party site:

How did they meet?

Albert Cabrera was selling tapes of music he liked for $10, and walked into Dowtown Records, where Tony Moran just so happened to be working. Cabrera played some of his mastermixes for Moran, and on one occasion, Carlos deJesus was there.

Who was Carlos deJesus?

Carlos deJesus was a radio personality on WKTU. He overheard one of Cabrera’s mixes and asked him for a copy. The problem was, all of Cabrera’s mixes were on cassette, while the station needed them on reel to reel.

Well, guess who had a reel to reel?  Who?

Tony Moran, of course, and he let Albert Cabrera borrow his, for which he gave him due credit.

How did they get their start?

They shook up the New York club scene in the early 1980s by hosting an influential continuous-mix show on a local dance radio station, WKTU. They would take other artists’ already popular songs and splice them together. They later moved to Kiss-FM.

Then what happened?

Arthur Baker contacted them.

Where have I heard his name before?

Well, he was the producer of “Planet Rock” and “I.O.U.” amongst many other hits. Arthur Baker gave the Latin Rascals their first editing job on the song “Breaker’s Revenge.” Soon, Aldo Marin from Cutting Records hired the duo to edit “B-Boy’s Break Dance” for which they were paid, to the surprise of the duo, who only wanted the experience and opportunity.

Then what happened?

Arthur Baker was so pleased with the results that he sent more remixing and editing work their way, including work on recordings by Hall and Oates, Diana Ross, and Brenda K. Starr.

Soon the Latin Rascals were a big hit on the dance floor. The Latin Rascals are often credited with making hits out of early freestyle artists TKA, Safire and the Cover Girls. Riding on the crest of their success as producers, Cabrera and Moran released their own material as the Latin Rascals.

But did they still produce for others?

Oh yes. In fact, Show Me was Tony Moran’s first top 40 gold record and really started the Freestyle movement in music. Many of that genre’s biggest stars, from TKA, Safire, and Lisette Melendez, all benefited from the talented duo.

What music did they make for themselves?

They made two instrumental albums, Macho Mozart and Bach To The Future, making classical music rather dance-able. Even “Arabian Knights” was originally an instrumental, but it did so well that the Latin Rascals decided to improve upon it by laying down a vocal track headed by Tony.

What was the effect of that?

Well, fans ate it up. That record put the duo in demand for shows nationwide, where the crowds would sing along to the words.

Wasn’t one of them married to someone else in freestyle?

That’s right! Albert Cabrera married Safire, who was greatly successful with “Boy I’ve Been Told.” Unfortunately, their synchronized success was also the undoing of the marriage, due to conflicting schedules and outside influences.

Well, I guess Albert still had Tony.

Yeah, but that professional pairing ended by growing apart. Tony was more into singing while Albert was into freestyle. Still, the breakup of Latin Rascals was amicable and each partner remains grateful to the other.

Then what happened?

Albert Cabrera wanted to keep making freestyle music but, by this time, its popularity had fallen just as disco had years before. He tried to update freestyle by blending it with the trendy trip-hop genre in his album Trip Hop Dance 2000. It featured the voices of Judy Torres, Corina, Lil’ Suzy, Joey Kidd, Sam Savon and Brenda K. Starr, while Tony Moran came back in to re-record an updated version of “Arabian Knights.”

Since then, what has Cabrera been doing?

He went to school for 5 years and began producing bass music, as he saw it as the closest to freestyle. He re-teamed with freestyle legend “Little” Louie Vega, creating “Rascal Dubs” in house music. He’s also been working with artists as musically diverse as KC and the Sunshine Band, David Morales, Mariah Carey, and Tori Amos.

Mito Automat Vangelis - Droid Pulstar

Mid Summer 2009, a very close and longtime friend of mine RC Lair came to my side of town and hung out with me. Before going inside the Ocean Club for drinks, we stayed inside my car to listen to the entire Hale Bopp mix CD which he’d done in the mid 90′s. All the tracks on that CD were retro classics of electric disco/dance/italo ranging from the late 70′s through the mid 80′s. By the time we reached track-05, I was going through the car’s roof from excitement. The track was just THAT awesome … pure electronic analog circuitry … melodic and true to its form and genre its era. And I JUST HAD TO HAVE IT … and own it! So I asked RC who/what that track was, but he couldn’t remember from the top of his head, and he wasn’t going to look through his entire record collection at any time soon, because they were all stored in boxes. Now I was on a serious mission to hunt for a full-length copy of track-05. After six weeks of unsuccessful digging and searching, I still had no name of the artist nor title of the track.

A few days later, my producer friend Peter Hecher exposed me to Casco who was an Italian legend DJ and Italo music producer. I checked out his MySpace page, his main site and all other webpages related to him; listened to all his amazing original/classic Italo tracks; and downloaded few of his old live mix-sets. When listening to one of his Italo mix-sets … low and behold … track-05! Thus immediately I sent Casco an email requesting him to identify track-05 for me. Few hours later he sent me a reply, “Mito – Droid.

After searching the net for days, I was able to find only bad quality MP3 copies. But just recently, over the net, there was a nice fellow from Europe who had an actual 12-inch record of Mito/Droid and, at my request, was kind enough to record and send me a good quality .wav digital file of it.

However, during the entire period of searching for Mito/Droid, I had discovered that it is in fact a remix of an original 1978 “Droid” track by Automat. According to SongBooks blog:

Automat was a project of a disc, from the Italians Musumarra, Gizzi and Maggi. The first two were members of the pop band La Bottega dell’Arte that was successful in Italy between 1976 and 1984. The “Automat” LP was released in 1978 as a kind of demo Synthesizer MCS70 (Memory Controller Synthesizer 70) built by Maggi. The funny highlight of the LP is the band Droid, who say they were the opening theme of a TV news at TV Globo (Brazil) in the early 80′s. In fact parts of this theme were used twice in television news, in one of them no Globo Esporte noon. This all in it for 81/82. But it was common to the Globo television, since I remember that was used in the novel called “Brilhante”, type in 80/81. There are many more electronic themes that the Globo TV used in the field of the Fantástico.

I was able to find and download the entire Automat album on torrents. There were only four tracks in total, and all of them were in mono. At first I’d thought it was an accident by the person who recorded the album to digital, but in fact the original source of recording was done in mono. So I took the liberty to re-master Automat’s Droid, making it pseudo-stereo, adding true stereo ambient reverbs with independent left/right parameter settings, and enhancing the track’s overall low, mid and high range across its spectrum frequency (by using Waves Linear Phase Multiband plugin, among other RTAS plugins, in Protools). I’ve included both the original/mono and my enhanced re-mastered versions for comparison.

All in all, I find that Droid sounds very similar to VangelisPulstar (1976). To my ears, it seems that Droid borrowed heavily from the melody of Pulstar with noticeable variations, although both manage to stand out away from each other at the same time.

As a bonus, I managed to find a great Italo remix of Pulstar by Hipnosis (thank you Beat Electric).

Mito – “Droid” (12″ Remix)…

Artist: Mito
Title: Droid (12″ Remix)
Year: 1982
Label: Zanza Records

Mito – “Droid” (12″ Remix) (mp3)

 

Automat – “Droid” (Hashmoder Remaster)…

Artist: Automat
Title: Droid (Hashmoder Remaster)
Year: 1978 (2009)
Label: EMI Odeon

Automat – “Droid” (Hashmoder Remaster) (mp3)

 

Automat – “Droid” (Original, mono version)…

Artist: Automat
Title: Droid (Original, mono version)
Year: 1978
Label: EMI Odeon

Automat – “Droid” (Original) (mp3)

 

Vangelis – “Pulstar” (Vangelis original)

Artist: Vangelis
Title: Pulstar
Year: 1976
Label: RCA

Vangelis – “Pulstar” (mp3)

 

Hipnosis – “Pulstar” (remix of Vangelis)

Artist: Hipnosis
Title: Pulstar
Year: 1982 ?
Label: ?

Hipnosis – “Pulstar” (mp3)

 

Vangelis

Vangelis in his studio, early 80's.

Mantronix - "Simple Simon"

Spring 1988, Denham Village, Buckinghamshire, UK ….. on the way to Syco Systems (high-end pro audio shop — by appointment only — caters only to high-end clientele and famous artists such as Peter Gabriel) to pick up the gear for my first studio (see pictures below)  ….. I heard this track by Mantornix on the radio.

Notice: If you need to know more about Mantronix and the man himself, Kurt Mantronik, refer to my previous blog Hanson & Davis. Please read that first and then come back here and continue reading this blog/article.

I used to dream about having a Linn-9000 one day, so I could load my own drum samples and program beats with its sequencer; I used to sit for hours and drool over the brochures of the Roland D-50 synth and think about how breathy and paddy (also see video below) my tracks would sound along with the Linn-9000 drums pulsing underneath. The D-50 was revolutionary at its time (1987), because it was the first synth to have built-in effects, such as the the reverb, attack-transient samples and linear synthesis, among many other things. When I went to Syco Systems with my dad to buy the new gear, Kendall Wrightson (see quick shout-out below) informed me that the Linn-9000 was no longer in production, because its parent company went bankrupt; however, its designer Roger Linn had come up with a much better machine through Akai. He pointed his finger towards the Akai MPC60 at the other end of the room. It was GORGEOUS. It looked like a mean machine with a tilting LCD screen! Oh, those 16 square rubber finger pads. I didn’t hesitate to add it on the transaction. Kendall said something along the lines that he had one in stock, boxed and with Tony Banks’ name on it (yes, Tony Banks — the keyboardist of Genesis), but Tony didn’t want it at the time. When I looked at the box, sure enough his name was in fact printed on the shipping label.

After picking up my new studio gear from Syco, I stopped by Our Price record store, bought the 12-inch of Simple Simon and then drove home from London to my parent’s country-home in Denham Village. I love this track through and through. It’s very melodic and street-emotional, especially the bassline. Love the guitars (which are not real but tone-sampled and played from a keyboard sampler). The sound and style is very different from Mantronix’ previous releases which were more freestyle-based. Simple Simon sounded more mature but still had that “Mantronix” feel … perhaps it was the snappy, hard drum samples and programming coming from an E-mu SP-1200. Whatever it was, it certainly had the Mantronix‘ stamp with MC Tee‘s rap vocals. These two guys really stood out with this one.

I used to play both A and B sides of the 12-inch. Check out the amazing editing and fast-gating on You Dubba Regard mix, which were very hard to produce. Around that same time of year, the Latin Rascals were doing clever edits like this, with stutters, splice-edits and gated chops. Check out their sound/edits on Information Society’s – What’s On Your Mind which I’ve blogged about previously.

Quick shout-out to Kendall Wrightson:

Kendall Wrightson
who was my personal salesman at Syco Systems. He was very well-known in the pro-audio industry, for representing and selling high-end gear like the Fairlight (watch Kendall’s demonstration), SyclaviersSSL mixer consoles, etc.. There were times when Kendall used to let me and my best friend Noel Derblich to go inside one of Syco‘s studio rooms and transfer samples from the E-mu Emulator-III (also watch video here) to my Akai MPC60 drum-sampler/sequencer (64 midi channel, 99 tracks). Kendall was also featured in several documentaries about music technology.

Mantronix – “Simple Simon” (You Gotta Rock Hard)…

Artist: Mantronix
Title: Simple Simon (You Gotta Rock Hard)
Year: 1988
Label: 10 Records (UK)
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Simon – “Simple Simon” (You Gotta Rock Hard) (mp3)

 

Mantronix- “Simple Simon” (You Dubba Regard)…

Artist: Mantornix
Title: Simple Simon (You Dubba Regard)
Year: 1988
Label: 10 Records (UK)
Media Source: Recorded straight from 12-inch record to enhanced digital.

Mantronix – “Simple Simon” (You Dubba Regard) (mp3)

 

My first studio with nice gear which I've bought from Syco Systems, London. Kendall Wrightson was my personal salesman. See his videos below.

Kendall Wrightson at Syco Systems, demonstrating the Linn-9000…

Kendall Wrightson at Syco System, demonstrating the Fairlight…

Roland D-50 synthesizer demonstration of its sounds/presets…

E-mu Emulator-II demonstration of its sounds/presets…

Mantronix - “Simple Simon”…

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