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Electro back then was electric funk and hiphop music, mainly for break-dancing, bee-bopping, and body-popping. In my opinion, the word ‘Electro’ today has been hijacked in the form of 4/4 dance music and not anywhere near its true roots.

I am providing you with four Electro albums for download. I recorded them directly from vinyl into Protools (Electro-6, 7 & 9 in particular), digitally restored as much as possible, and widened the stereo field, among other quick fixes. Go ahead an compare my mastered versions to the same ones you find elsewhere — mine sound the best.

Streetsounds Recordingstreetsounds 03D
Streetsounds Protools Mastering

Streetsounds History…

Streetsounds was part of the UK Streetwave stable of labels created by Morgan Khan. A Hong Kong-born Indian who grew up in London, Khan had worked in the UK record industry since the mid 1970′s, working for such names as PRT Distribution (a division of Pye Records) and R&B Records, for whom at the time Imagination were the up and coming stars of the day.

Khan founded the independent Streetwave record label during 1981 to specialise in releasing Electro and Hi-NRG releases. Within a year of creation, Streetwave began the Streetsounds series of albums; compilations created from some of the hottest 12″ imports of the day. These releases made available a selection of the most contemporary dance floor hits within the financial reach of those wanting to hear the freshest sounds. In the early 80′s a 12″ single was priced around £2 and you would pay over £4 for an import 12″. The Streetsounds series offered usually 8 to 12 full-length 12″ mixes for under a fiver. Understandably, the Streetsounds series was met with considerable enthusiasm and, some might say, mighty relief.

This series would run for over 6 years and contain over 50 albums. By far the most coveted of the Streetsounds releases were the Electro series. These albums introduced the UK to the developing hip-hop scene from America – a stroke of genius that brought electro and early hip hop from the underground to the UK high street and, one could argue, helped in the creation of the UK’s hip hop scene.

The Electro series ran for a total of 27 albums (and one box set) from 1982 to 1988. The albums were initially labeled “Streetsounds Electro” with the title morphing into “Streetsounds Hip Hop” after release 12 in 1986.

All of the albums were competently mixed by a series of the best remixers of the day – predominately from the UK. A large proportion of the mixes on the early releases were completed by a London-based hip-hop sound system from the early 80s. Headed by “Herbie The Mastermind” (aka Herbie Laidley) the team also featured Kiss FM radio DJ’s Dave VJ and Max LX who were also members of UK electro outfit Hard Rock Soul Movement, responsible for the massive “Double Def Fresh” release.


Mixed by: Herbie (The Mastermind) Laidley
Year: 1985
Restored & remastered by: Hashmoder

Streetsounds Electro-9 (mp3)



Mixed by: Herbie (The Mastermind) Laidley
Year: 1985
Restored & remastered by: Hashmoder

Streetsounds Electro-7 (mp3)



Mixed by: DJ Maurice Assisted by DJ N
Year: 1985
Restored & remastered by: Hashmoder

Streetsounds Electro-6 (mp3)



Mixed by: Herbie (The Mastermind) Laidley
Year: 1983

Streetsounds Electro-2 (mp3)


Track-List of Electro-6, Electro-7 and Electro-9


Video of ReMastering Session of Electro-6|7|9…

hopscotch cover

Just listen to this track NOW!! and then read all this while it’s still playing. HopScotch is one serious bad ass long, epic track that has ever been produced. Just look at the studio line-up: music production Sly & Robbie the dub legends … vocals Gwen Guthrie … and engineering/mixing/remixing Larry Levan. Groovy track ….. instantly grabs you by its hooks and deeply connects within you.  Such an incredible bassline, synth chord stabs, four-to -the-floor kicks, and countless of other musical dub elements floating in and out. Beautifully engineered and mixed-down. Class-A production through and through. This track is TRUTH.

Sly & Robbie, Gwen Guthrie – “HopScotch” (Larry Levan Remix Instrumental)…

Artists: Sly & Robbie, Gwen Guthrie, Larry Levan
Title: HopScotch (Larry Levan Remix Instrumental)
Year: 1983
Source: Track provided by

Sly & Robbie, Gwen Guthrie – “HopScotch” (Larry Levan Remix Instrumental) (mp3)



Larry Levan (R. I. P. 1954 - 1992)

Gwen Guthrie

Gwen Guthrie (R.I.P. 1950 - 1999)


Sly & Robbie

Deep Forest – “Sweet Lullaby” (Extended)


Sweet Lullaby is my favorite ethnic-electronic epic track by Deep Forest. I was lucky to even find a maxi-CD single of this track back in 1994 (more than two year after its release). I just can’t get enough listening to the extended mix of Sweet Lullaby; I used to play it over and over again back in the day … sometimes for months straight. Nowadays I play this track once every month or two. And over the years I must’ve played it track well over a thousand times in total. I’ve lost count.  So, what I love about the extended mix is that the it starts off with a long instrumental passage building-up towards the ethnic vocals which kick-in almost half way through. The vocals then embrace the entire track (with beautiful under/middle/upper harmonic layers) and carry it to the finale. The melodic, punchy bassline is the vertebral column and base-station platform which drives the entire length of the track, keeping all its layers together tightly and protecting them from getting buried in any kind of mud. The melodic synth-chord pads are creamy, rich and significantly deep ….. playing elegantly along with the bassline …… complementing the main bass-melody ….. and taking you to a higher dimension.

Sweet Lullaby is one hell of an original, beautiful and emotional french masterpiece. Timeless!

Deep Forest – “Sweet Lullaby” (Extended)…

Artist: Deep Forrest
Title: Sweet Lullaby (Extended)
Year: 1992
Media Source: Maxi-CD single

Deep Forrest – “Sweet Lullaby” (Extended) (mp3)


Deep Forrest Guys

Michel Sanchez and Eric Mouquet



Deep Forest is a musical group consisting of two French musicians, Michel Sanchez and Eric Mouquet. They compose a new kind of world music, sometimes called ethnic electronica, mixing ethnic with electronic sounds and dance beats or chillout beats. Their sound has been described as an “ethno-introspective ambient world music.” They were nominated for a Grammy Award in 1993 for Best World Music Album[2], and in 1996 they won the Award for the album Boheme. The group also became World Music Awards Winner – French group with the highest 1995 world sales. Their albums have sold over 10 million copies.

Interview with Deep Forent…


Transcription: DEEP FOREST:  Clear Cutting
Aired on the radio program Echoes on March 22, 1998, Sunday evening.

Host: John Diliberto
Reporter: Kimberly Haas


(Tres Maria begins playing)

John Diliberto: Your hearing Echoes and this is John Diliberto. When Michel Sanchez and Eric Mouquet cleared a digital path of a forest of central Africa seven years ago, they opened up a world of music and controversy. Although they had never met a Pygmy, or let alone been to Africa, they adapted the chants of the Pygmy tribes there to their own dance beats and electronic orchestrations. Seven years later their debut album, Deep Forest, with its Sweet Lullaby song, remained popular and influencial. Now Deep Forest has a new album called Comparsa, that takes them to Latin America. Kimberly Haas does some “clear cutting” with Deep Forest.

(Sweet Lullaby is now playing)

Kimberly Haas: Deep Forest rode out of the jungle on the backs of Pygmies when their 1992 debut became a world-wide hit. Ironically, the best known song on the album, Sweet Lullaby, had little to do with Pygmies.

Eric Mouquet: The lead melody is coming from Solomon Islands which is not in Africa, it is in the north… in small islands north of Austalia. In the backround you have these water drums with the Pygmy youdles – and we always said that from the beginning but people are focused on the Pygmy (laughs).

Kimberly Haas: That’s Eric Mouquet, one half of the Deep Forest team that brought central African pygmies and Solomon island singers to the world. Their Deep Forest debut was a craftfully conceived and slyly constructed album that traded on dance beats, new age atmospheres, and world music exotica. And they’ve continued the trend on their latest album Comparsa. (Noonday Sun is playing in the backround.) Despite coming from one of the richest cultural trends in the world, Michel Sanchez says that they are more inspired looking outside of France.

Michel Sanchez: It’s true that we need to listen to some things which sound exotic for us, so if other people ask us to do something with French traditions, it’s really interesting but we know all of those things about French tradition so it’s not sufficiantly amazing for us.

Kimberly Haas: The music of Deep Forest is a jiggsaw puzzle, only the pieces come out of different boxes.

Michel Sanchez: Now we like to mix different cultures in the same song, but we have to find common points, and this is really the biggest part of the work because for Madagascar for example, we had 25 different cassettes and each time we want to do another song we have to listen to everything to find something which could fit with another culture.

(Forest Power is now playing)

Kimberly Haas: Orders can become blurred in the Deep Forest stew, and casual listeners will be forgiven if they hear Pygmies on tracks like Green & Blue.

Eric Mouquet: No…it’s not pygmies, it’s voices from Madagascar, and there’s children singing with youdles. This is one of the common points we can find in a different country. In Switzerland, for example, they are doing that, in the rain forest of the Pygmy and in Madagascar and sometimes in the Cranberries (laughs).

Michel Sanchez: We find some common points between Cuba and Madagascar too. That’s why we decided to focus on these chain of countries, and it’s very interesting to see that very opposite countries could have the same kind of cultures, you know.

Kimberly Haas: On the original Deep Forest album all of the voices were sampled from records and CDs. With Comparsa Michel Sanchez and Eric Mouquet have actually traveled throughout Latin America recording singers. But this is just the beginning for Deep Forest who cut and slice the songs to their own musical ends. For them the meaning of a language isn’t important, just the musical quality of its sound.

Eric Mouquet: For us, it’s so easy to not take care in a way to the meaning of the lyrics because we consider it more like a musical sense, like melody only, not words. And that means that it would be more heart felt host, because in French we know exactly what the words mean, and we know that you cannot put this word after this one, so it’s kind of a bizzare thing but with another language it’s so easy to do if you consider that it’s only music.

(Tres Maria is now playing)

Kimberly Haas: Deep Forest has some powerful musicians joining them on Comparsa, including mexican shemanic performer Jorge Reyes and jazz keyboardist Joe Zawinul. Long time fans of Zawinul’s group Weather Report, Deep Forest say they met him after they heard him use one of their recordings to open his own concert.

Eric Mouquet: At the beginning of the show, when the lights go down, it played Bulgarian Melody from Boheme, the Deep Forest album. I was very surprised, and he came on stage and played synthesizer at the end of the song just to link the song with it at the beginning of the show. So I was very impressed and at the end I said we should go back stage to say “Hello” and “Thank you for doing that, it was very nice of you”. And he said something very strange, he said “You know you inspired me for my last album and my people”, and we said “No Joe, it’s just the opposite. You’ve inspired us for a long time!” (laughs).

(Deep Weather is playing)

Kimberly Haas: Deep Forest have been criticized for pillaging music of the world. But Eric Mouquet says they are following a tradition that goes back at least to Brahms.

Eric Mouquet: Brahms, for example, he was not inviting Gypsies to play, he was just picking melodies and putting it in his composition. So, it was sampling of course, but it isn’t like this. I really think that the sampler is a new tool, that it didn’t exist before, but now it exist so we like to use it.

(Media Luna is playing)

Kimberly Haas: You can hear Deep Forest’s latest global aquisitons on their new album Comparsa from 550 music. For Echoes, I’m Kimberly Haas.

(Media Luna ends)

John Diliberto: From their album Comparsa here’s Deep Forest with an interlude called La lune se bat avec les etoiles …

Brian Pfirrman – “Summer 2009″

Brian Pfirrman

Name: Brian Pfirrman
Location: Phoenix, Arizona
Set: Summer 2009
Download: Brian Pfirrman – “Summer 2009″ (mp3)

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I don’t know much about the artist of this track; there’s hardly any information about C. M. Dance out there. I’ve had this 12-inch record since 1986. I remember walking into Starsound record store in Toronto and seeing Sepe (one of the two Persian owners of the store) opening a new box of records.  He pulled out this record (the very one I bought, the very one you see in the picture), gave it to me and asked me to play it on the store’s turntable system. I decided to play the dub version first. The track kick-started bang on the money: orchestra stabs, delayed/echoed claps which pan left/right, killer kicks thumps, bitch-slapping snare hits, and bassline-pad with thick bottom lava and slight flare-buzz on top.

C. M. Dance – “Off The Hook” (Dub)…

Artist: C. M. Dance
Title: Off The Hook (Dub)
Year: 1986
Media Source: Recorded straight from 12-inch record to digital.

C. M. Dance – “Off The Hook” (Dub) (mp3)


C. M. Dance – “Off The Hook” (Vocal)…

Artist: C. M. Dance
Title: Off The Hook (Vocal)
Year: 1986
Media Source: Recorded straight from 12-inch record to digital.

C. M. Dance – “Off The Hook” (Vocal) (mp3)



I am so happy for having bought this rare 12-inch (45 rpm) single in London back in 1988.  When the original (album) version of Talkin All That Jazz was released internationally, it was an instant hit worldwide.  There was an extended version released on 12-inch, but having lived in UK half my life and knowing how that country is big on several kinds of remixes/versions of the same single, this particular remix of Talkin All That Jazz (Dominoes Mix) was the best one.  I remember hearing Dominoes Mix for the first time at Hippodrome nightclub (Picadilly Circus, London) in Fall-1988 …. oh man its bassline shook the roof, especially on that last note sustaining in the hook completing the measure (before the bassline lick repeats again on the one). Dominoes Mix is just steadier with a driving groove that is not as busy as the drums/bass in the original version, making it flow and kick more intensely.

Since Talkin All That Jazz is about sampling, it is worth noting that its bassline sample is taken a 1975 track “Dominoes (Falling Like)” by Donald Byrd which is a nice jazzy, funky fusion. This original track was provided by (thank you guys!).

Stetsasonic – “Talkin All That Jazz” (Dominoes Mix)…

Artist: Stetsasonic
Title: Talkin All That Jazz (Dominoes Mix)
Year: 1988
Media Source: Recorded straight from 12-inch record to digital.

Stetsasonic – “Talkin All That Jazz” (Dominoes Mix) (mp3)



Hashmoder's "STABBING BASSLINE" Stamp Of AprovalAlthough Talk To Me is almost note-for-note rip off of Janet Jackson’s What Have You Done For Me Lately, but it does so much more, making Janet’s track sound thinner and lame. This track’s bassline is huge, punchy and stabby which drives the groove from start to finish. The kick/snare also compliment the bassline.

Chico DeBarge – “Talk To Me” (Extended)…

Artist: Chico DeBarge
Title: Talk To Me (Extended)
Year: 1986
Media Source: Recorded straight from 12-inch record to digital.

Chico DeBarge – “Talk To Me” (Extended) (mp3)


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