The Parkway Bowl Disco Mix


Back in the day, I worked at the Clairemont Library, shelving books and helping patrons. Stimulating work, to be sure. On my lunch break, and occasionally after hours, I'd walk a couple blocks over to the Sunset Bowl to grab a bite to eat, play video games and lay out the plans for Mettrex Recordings. After all, this is where Soul Machine's Essential Funk Files were born. Good times. The general vibe in prevalence was sun-glazed and tropical, which meant of course that it was right up my alley.

There was a DJ booth near the bar that was all done up tiki-style, and I'd always dreamed of spinning disco at the midnight bowling sessions they held on Friday nights. Records like The Incredible Bongo Band's Apache, Freddy Fresh's Roller Rinks & Chicks, Loose Joint's Is It All Over My Face, Paperclip People's Floor and Stereo MC's Rhino. You know, basically the good good. It was a good dream, but alas the place closed down before I had a chance to hold court in the mix. Now, an apartment complex sits where the bowling alley was once comfortably nestled...

The other bowling alley where I spent a lot of time - and did most of my actual bowling - was the Parkway Bowl, down in El Cajon. I most recently hit the lanes again with my brother Brian and cousins Isabel and Joelle a couple weeks ago to discover that the venue hosts something called Cosmic Bowling, held in a backroom with psychedelic lights and dedicated lanes for the renting. Brian commented that it was like something out of Kingpin...

It all brought me back to hours spent at the Sunset Bowl, dreaming up the future, and as is often the case a whole lot of records began to conjure up in my mind. One thing led to another, and I ended up doing a little mix. Within the confines of this two-hour excursion, you'll find dubdisco, new wave, Philly soul, French disco, hip hop, boogie, Italo disco, punk funk, gulf stream and disco-not-disco, all anchored to a bedrock of largely straight up disco in the Chic tradition. It's all of a piece.

No attempt was made to be historically accurate; there's anachronisms all over the shop, because this is a 2018 disco mix - unapologetically so - filled with music that lived well past its era to fuel dancefloor mayhem through the intervening years and still sounds cutting edge some 33 years on.

So without further ado, I give you...

The Paradise Bowl Disco Mix

The Tracks

  1. The Parallax Sound Lab New York City Intro
  2. Welcome to the show, featuring James Woods, master of ceremonies.

  3. The Mike Theodore Orchestra Moon Trek (Westbound)
  4. Kicking off with the orchestral soul of Moon Trek, from arranger Mike Theodore's Cosmic Wind LP. Mike Theodore actually from Detroit - not New York - but the track does seem to conjure up images of the Big Apple. He not only produced Rodriguez's enshrined Cold Fact (alongside frequent collaborator Dennis Coffey), but also a brace of sides for the Detroit Emeralds. In between, he put out two excellent LPs of instrumental disco (of which this is the first) that remain cosmic disco par excellence.

  5. The Clash The Magnificent Seven (CBS)
  6. Which brings back memories of driving to Patrick Henry back in the late 90s. This jam kicked off all manner of C90s during that period, soundtracking the crisp, early-morning drive to school. The album version, from the triple-LP Sandinista! is where it's at, featuring ever more lush production and further discotheque sonics in evidence throughout. The Clash were cool. I've always assumed that this and Radio Clash were their take on the early Sugar Hill hip hop sound.

    Part of what was great about disco is how it ultimately pulled anyone and (nearly) everyone into its orbit, from Marvin Gaye to The Rolling Stones, throwing up all sorts of possibilities and drawing unexpected sounds out of leftfield (making something like Disco Not Disco a necessary intervention, bringing together a whole raft disparate material together under its umbrella). Nowadays, it serves as shorthand for whole swathes of music. Kevin Saunderson later mined this record for Reese's awesome You're Mine, rugged Detroit techno of the highest caliber.

  7. Démis Roussos Midnight Is The Time I Need You (Philips)
  8. Luxuriant sun-glazed disco from Greek balladeer Démis Roussos, who of started out in art-prog band Aphrodite's Child alongside synth ambassador Vangelis before striking out on a long and winding solo career. This from '75 finds Roussos with an early entry in the disco canon, with gruff, soaring vocals holding sway over a lazy mid-tempo groove. Dig those gently psychedelic organs! Far and away the best tune on the Souvenirs album, although I have a hell of a soft spot for the motorik country-western vibes of Tell Me Now. Great sleeve too!

  9. Martin Circus Disco Circus (Prelude)
  10. When the chips are down, my favorite disco record. Laying the blueprint for Daft Punk, Cassius and Motorbass, this is French disco par excellence, with François Kevorkian reworking the fourteen minute album version by erstwhile-psych rock band Martin Circus into a seven minute rapid-fire edit replete with electro-boogie synths, soaring guitar solos, Moroder-esque sequences, group chants, rolling basslines, a second-line horn section and backing scat vocals that sound something like Bing Crosby duetting with Dieter Meier. I think the kitchen sink is in there somewhere.

    Props to Prelude for licensing the track in the first place, putting François K in the studio to work his magic on the masters. Even as this tune perfectly captures the essence of peak-era disco, you can nevertheless hear the implied presence of the 80s waiting in the wings.

  11. Kurtis Blow The Breaks (Merucry)
  12. How come these early rap tracks all of a sudden sound fresh as a daisy? Twenty years ago this would have seemed like ancient history, quaint even, but in light of everything we've discovered in light of the 21st century disco/post punk resurgence it sounds utterly of-the-moment. See also the Jason Nevins remix of Run-DMC's It's Like That, which now sounds hopelessly dated while the OG sounds as timeless as the Nuggets box set. The Breaks glides along on a nimble funk groove, with rolling percussion, juke-joint piano and Kurtis Blow's off the cuff delivery all coming together to conjure up the moody, half-lit atmosphere of Martin Scorcese's After Hours.

  13. Bruce Johnston Pipeline (Columbia)
  14. Erstwhile-Beach Boy-drummer-on-holiday gets in on some tasty solo dancefloor action, taking his place behind the kit to guide a string section through the cresting waves of the Pacific Ocean. A killer groove, and rawer than you might expect. Check that rude drum beat, sounding like something cooked up on an Akai! Everything goes atmospheric halfway through, when the sounds of the surf wash across the breakdown like high tide on the sea of flesh.

    Incidentally, I've often thought that The Beach Boys conjured up a convincing proto-disco sound on their Sunflower LP, what with all those sun-glazed sounds and burnished edges. Lee Perry too, which is probably why - as great as Pet Sounds is - it remains my go to Beach Boys record.

  15. Odyssey Inside Out (RCA Victor)
  16. In the popular imagination, disco was supposed to have died on July 12, 1979 at Comiskey Park's Disco Demolition Night. Of course, history's rarely quite that simple. Rather than some behemoth slayed in one stroke by arena rock, disco was more like the virus that mutated to turn up again nearly everywhere - from ABC and Duran Duran's new wave to the electro boogie of The Gap Band and Mtume to Madonna and Michael Jackson's chartbusting pop to the gulf stream sounds cooked up at Compass Point and played out at the Paradise Garage, the pandemic seemingly spread all over - outliving the dinosaurs and ultimately defining modern music via the sounds of house, electro, hip hop and techno.

    Of course, in the Big Apple plenty of groups kept on grooving and the dancers kept on dancing to straight up disco. In truth, some of my favorite disco records actually come from well after its supposed expiration date. Take for instance Odyssey's Inside Out, an low-slung slab of passionate modern soul riding a down and dirty gutbucket groove. Should I be embarrassed that I first knew it as a Electribe 101 song? I suspect that I should, but I don't feel it. I'd even go so far as to say that Billie Ray Martin managed to top the original, if by only a whisker.

  17. Montana Sextet Who Needs Enemies (With A Friend Like You) (Philly Sound Works)
  18. Salsoul Orchestra mastermind Vince Montana (who also spent time in Philadelphia International's MFSB) in full swing during roughly the same era with a slab of minimal, slap-bass propelled 4/4 magic in which his vibes take center stage. I once awoke from a dream with this tune still ringing in my ears, and as I gradually worked out where it came from - sometimes you can't quite recall the specifics of these things right away - it hung over the morning like a mist.

  19. Eddy Grant Walking On Sunshine (ICE)
  20. I've always loved the way figures like Eddy Grant, Grace Jones and Billy Ocean brought the idiosyncrasies of their island life to the gulf stream flavor to their music. Indeed, to this day they form a loose triumvirate in my mind. What is Compass Point if not the culmination of this notion, with these three toiling away in the seventies only to become bonafide stars in the decade to follow. Eddy Grant later provided the theme song to the blockbuster film Romancing The Stone, while Billy Ocean did the same for its sequel (Jewel Of The Nile). And of course Grace Jones managed to become a bond girl and trade scenes with Arnold Schwarzenegger in Conan The Destroyer!

    In light of his high profile, I'm particularly fascinated with Eddy Grant's ICE imprint, formed as he built his solo career from the ground up, he nevertheless stuck with it after hitting the big time with Electric Avenue. Of course he'd already made his mark on dance culture some time before, with this tune and Living On The Frontline being staples at the Paradise Garage (see also Time Warp by The Coach House Rhythm Section). Walking On Sunshine is a brilliantly rewired electro-disco jam dominated by top-heavy afrobeat horns and Grant's loosely-delivered falsetto. The song was later covered by Rockers Revenge, yet not by Katrina And The Waves, who's song of the same title is completely different!

  21. Billy Ocean Stay The Night (GTO)
  22. Early Billy Ocean in this whiplash proto-boogie tune from his sophomore set (City Limit), which is propelled by a uniquely raw-edged drum beat that really snaps the track across the tiles of the dancefloor. Like Eddy Grant, Ocean would later top the charts in the mid-eighties with yacht staple Caribbean Queen.

  23. Ian Dury Spasticus (Autisticus) (Polydor)
  24. The great Ian Dury in Nassau, on leave from The Blockheads and getting in on that Compass Point action. Very much of a piece with the surrounding records here, this was also a staple in Larry Levan's record bag over at the Paradise Garage. Dig this little interview1 with old Ian (who in his youth suffered from polio), talking about the story behind the song.

  25. Grace Jones Pull Up To The Bumper (Island)
  26. Yet more peak-period Compass Point (perhaps the peak, in this case) with Miss Grace Jones in the driver seat. The video2 is excellent too (Neuromancer vibes in full effect). In case you haven't noticed, I'm a huge fan of the whole Compass Point phenomenon. At the moment, I have a feature in the works, which I'm planning to post here sometime around the release of the Parallax Pier sequel in June.

  27. Delegation You And I (Ariola)
  28. Lush masterpiece of bedroom disco from the premiere British soul group. I've heard tell that this isn't even their greatest record, but it's the only one I own. You And I perfectly captures the tipping point between the string-laden groove of peak-era disco and the nascent machine boogie coming just around the bend. Check those aqueous, immersive synths straight out of the deep house playbook. Sublime, in a word, and a gorgeous tune.

  29. The Whispers And The Beat Goes On (Solar)
  30. Chartbusting disco, with a two note organ vamp that stands as one of the great tossed-off hooks of all time. Later propellelling Will Smith's Miami into the charts, it also kicked off Jason Forrest's The Unrelenting Songs Of The 1979 Post Disco Crash record. Of course, none of that can touch the original. The L.A.-based Solar Records would later come to define the eighties electro boogie sound with artists like Shalamar, The Deele and Midnight Star.

  31. My Mine Hypnotic Tango (Progress Record)
  32. Italo disco. Like early Depeche Mode, this is bubblegum synth music with an even greater affinity for the dancefloor. That moody synth sequence was later sampled by both Bandulu and Carl Craig, for Thunderground's Amaranth and 69's Rushed, respectively, which is how I found out about this track in the first place. Sporting a peerless play of dynamics between the moody verses and joyous candy-coated refrain, Hypnotic Tango itself is a computer love masterpiece.

  33. Giorgio Moroder Palm Springs Drive (Polydor)
  34. From Moroder's third score, after Midnight Express and Foxes, for the film American Gigolo. This is probably my favorite of his OSTs. Everyone knows Blondie's Call Me, but this album also boasts the sleek motor-disco of Night Drive and The Apartment's moody paranoia (the latter even sounding like the lost score to The Parallax View). Palm Springs Drive - featured here - is my absolute favorite moment from the soundtrack, fusing Moroder's trademark motor-disco sound with an epic chord progression straight out of the Ennio Morricone playbook.

  35. Ashford & Simpson One More Try (Warner Bros.)
  36. Gloriously lush disco from the dynamic husband and wife songwriting duo of Nickolas Ashford and Valerie Simpson,. Penning some of the great soul songs of the era for other artists, including Ain't No Mountain High Enough, I'm Every Woman and You're All I Need To Get By, they also managed to put out twelve solid albums between the years 1973 and 1984. One More Try - from their third - finds the duo confidently entering the disco arena with a desperate plea for a second chance gliding over tricky dance rhythms, soaring ARP strings and some of the finest guitar soloing to ever grace a disco record.

  37. D-Train You're The One For Me (Prelude)
  38. The D-Train project was collaboration between James "D-Train" Williams and Hubert Eaves (previously responsible for the Esoteric Funk LP and later to play on some records with Mtume). Appropriately, this record lays down the blueprint for eighties electro boogie, with the zig-zagging synths that would come to define the decade's machine funk sound (see also Jam & Lewis), and took its rightful place as an immortal dancefloor classic. Even Liam Howlett couldn't help sampling its synth-squiggle magic for The Prodigy's Girls.

  39. Forrrce Keep On Dubbin' (With No Commercial Interruptions) (West End)
  40. The quintessential dubdisco record, featuring François Kevorkian yet again reworking an original track to a higher plane altogether. West End had a phenomenal run as the 70s gave way to the 80s, putting out loads of great records hovering on the interzone between disco and dub. In fact, this is as close to the Black Ark as disco would ever get. You can practically imagine Lee "Scratch" Perry's trademark ad-libs over the top. Underground disco par excellence.

  41. GQ Disco Nights (Rock Freak) (Arista)
  42. Conversely, this is disco from high street, crashing the charts and the airwaves alike. Studio 54 music. I first heard this on Magic 92.5, way back in it's early years when it was on fire with live DJs and a killer selection of soul/disco/funk/boogie the order of the day. I remember driving home from the Clairemont Library one day, crossing the bridge from Mission Bay onto Friars Rd., when suddenly Disco Nights comes on the radio. I'd already become unknowingly aware of pieces of it - looped by Chicago's Stacy Kidd in a house cut that had come out recently - and the rush of recognition upon hearing the original for the first time hit like a ton of bricks.

    That was one of the great things about branching out from beats, hearing all those records that had fueled the music I grew up with for the first time (and still at such a young age!. The realization that there was this vast continuum stretching back to figures like Curtis Mayfield, Miles Davis and James Brown, rather than everything being these solitary islands of sound, well it was quite a trip. All of this must sound so boring to someone coming in the era of Youtube, where all that information lay at one's fingertips! Well, back in the day, it was a big deal, trust me. And I wouldn't trade it for the world.

  43. Love Committee Just As Long As I Got You (Disco Re-Edit by Dimitri From Paris) (BBE)
  44. If there's a pre-disco sound that was disco's most logical precursor, then it's surely Philly soul. Groups like The Three Degrees, The Intruders and MFSB were dealing in proto-disco way back in '73 with tunes like Dirty Old Man, I'll Always Love My Mama and TSOP, and they all wound up dovetailing naturally into the scene once it was in full force. As if that weren't enough, full-fledged disco groups like Double Exposure, The Trammps and Love Committee all hailed from Philadelphia, starting out under different names earlier in the decade as pure Philly soul. Double Exposure's Ten Percent and Love Committee's Law And Order are both great examples of good LPs in this vein.

    This is Dimitri From Paris' exclusive edit from his (excellent) Disco Forever mix. I remember picking this up in San Juan way back when. My cousin balked at the sleeve (I can't believe you're buying that!). This remix is brilliant, opening up the locked-down original to aircraft-hangar size. Transforming those baritone backing vocals into the lead, echoing lonely from within with that same sense of isolation as Bernard Sumner on the early New Order records. Chopping the horn fanfare into a looped refrain that builds and builds the tension to the breaking point before releasing in a single strummed guitar. Exquisite stuff.

  45. Kano I'm Ready (Emergency)
  46. Good old Kano. Kano were great. They must have the highest volume of classics out of all the italo disco groups (shoot me down, I'm no expert on the stuff). Rather than a Moroder-derived machine pulse, I'm Ready is driven by loose-limbed live drumming (as is its b-side, Holly Dolly, famously the template for the proto-Detroit techno of A Number Of Names' Sharevari). The production on this record is just perfect, it's rubberband rhythm underpins gently trilling synths, vocoders and those delicate lead vocals.

  47. Kebekelektrik War Dance (Les Disques Direction)
  48. This the original version, rather than the Tom Moulton mix. I go back and forth on which one I like more, each of which have their undoubted merits. Moulton's version grooves better, but this really places the synths front-and-center. Part of me thinks I made the wrong decision... like I said, it's a coin toss! This is Moroder-esque motor-disco of the highest caliber, always making me picture some motorcade/caravan cutting through the desert under the blazing sun, synth-lines melting in the heat.

  49. Donna Summer I Feel Love (Casablanca)
  50. The godfather of motor-disco disco tracks, produced by Giorgio Moroder for the prototypical disco diva, Donna Summer. Remember a few years back when everyone was calling themselves a diva? That was pretty silly. Donna Summer is the real deal. When I first heard this track, I assumed it was a recent remix and not the original version from 1977! Despite the utterly brilliant chrome-plated futurism in evidence throughout, Summer still manages to outshine everything else with soaring vocals eight miles high and rising.

  51. Bettye LaVette Doin' The Best That I Can (A Special New Mix by Walter Gibbons) (West End)
  52. Going out with a bang! More West End, this time with Bettye LaVette at the wheel of a steadfast galleon constructed by none other than disco super-producer Walter Gibbons. It's impossible not to be moved by this beautifully rendered tale of getting over somebody one day at a time.
    At the track's midpoint, when that plaintive organ line erupts out of nowhere, well if you're anything like me you're in disbelief. You've never heard anything like this before! Then, the strings cut back in - horns bobbing and weaving over that groove - and the whole thing goes triumphant, proto-acid lines tearing across the soundscape like it's the most natural thing in the world, before the organ returns and a sublime piano line drives the tune to it's natural conclusion. Every element woven into a disco symphony. She's herself again now. I Will Survive, indeed. An impeccable example of the magic that can be wrought from a 12" slab of plastic, and a perfect ending to our disco odyssey. Hope you enjoyed it!

Footnotes

1. Ian Dury interview (check it out @ https://www.youtube.com/watch?v=LSo9OErEmM4).
2. Grace Jones Pull Up To The Bumper music video (check it out @ https://www.youtube.com/watch?v=Tc1IphRx1pk).

Mixed By: Flynn & DJ Slye.
Special Edits: Do'shonne & Slye.
Samples: Fifty Foot Hose Opus 11, The Beach Boys Let's Go Away For Awhile, James Woods in Against All Odds, Nastassja Kinski in Paris Texas.
Vibes: Gil Scott-Heron & Brian Jackson, FSOL ISDN, Sudden Impact, Moodymann, assorted El Cajon dive bars and nightclubs, Disco Godfather, David Bowie's Station To Station, Patrick Cowley, Jefferson Airplane, Atari 2600 and those endless exquisite gradient skies, ARP Solina String, Palm Desert, Jedi Knights, Dee Dee Bridgewater, Club Stratus, Summer Of Sam, The Mizell Brothers, Arthur Russell, Bobby Konders, swimming in A.G., Morgan Geist's Moves, Hohner Clavinet, Herbie Hancock, Eddie Russ, Battle For The Planet Of The Apes, Jack Kirby, Paul's Boutique, Lakeside discotheques, Lil' Louis & The World, Beck Hansen, Harlem River Drive, Night Moves, Scott Weiland, Wild Style, Terranova, The Parallax View, Innerzone Orchestra, Spoonie Gee, Radio Mettrex, Steely Dan, Fender Rhodes, The Op-art Hall Of Fame, Calypsoul 70, Opinionated Diner, Kirk DeGiorgio, Sly Stone, Sam Mangwana, The Isley Brothers, Glenn Underground, BBE, Parliament/Funkadelic, Ubiquity, Gram Parsons, The Honey Bee Hive, G-Street, East Village, Warren Zevon's Night Time In The Switching Yard, and of course Woebot.
...
Disco is dead.
Long live disco.

Garden Grooves 003

With Spring beginning to take flight, it was high time for the crew to get involved in some horticultural escapades at the Parallax Gardens. Consequently, here is the third edition of Garden Grooves (aka the music we played). Spanning a casual week of afternoon work, here's the selection as it played out:

Toyan - How The West Was Won

(Greensleeves: 1981)

Kicking off the whole affair was this bass-heavy deejay record, Toyan's proto-dancehall tour de force. What sleeves these records have! Ranking Toyan does his thing over crisp, dubtastic riddims laid by the Roots Radics and mixed by Scientist. A Henry "Junjo" Lawes production.

Grace Jones - Living My Life

(Island: 1982)

My second favorite Grace Jones LP by a country mile. Unlike my #1 pick (Nightclubbing) it's comprised almost completely of Grace-penned originals (the one exception is Melvin Van Peebles' The Apple Stretching). Boasting killer tune after killer tune - My Jamaican Guy, Nipple To The Bottle) and the descending neuromantic boogie of Unlimited Capacity For Love (choice) - Living My Life rounds out Miss Jones' Island trilogy with aplomb.

Jah Wobble And The Invaders Of The Heart - Invaders Of The Heart

(Lago: 1983)

Discovered this record only recently over the course of formulating the whole Terminal Vibration. This rounds out another trilogy alongside Full Circle and the Snake Charmer mini-LP, featuring Wobble in collaborative mode (this time with The Invaders Of The Heart, who he'd hit full stride with in the 90s). Hauntingly exotic post punk/post-disco moves inna My Life In The Bush Of Ghosts stylee.

IndianOcean - School Bell/Treehouse

(Sleeping Bag: 1986)

Arthur Russell's abstract disco freakout, knocked out with rolling percussion and seemingly improvised vocals. You hear these Arthur Russell records and they really opens up the whole idea of 80s music, straining at the confines of the predictable collective memory of the era to inhabit similar climes to Hindustani music, cosmic jazz and krautrock. Much like King Sunny Adé's Ma Jaiye Oni, my favorite part is when the keyboards take the reins about 2/3 of the way through.

Tom Tom Club - The Man With The 4-Way Hips

(Island: 1983)

Sumptuously three-dimensional new wave disco from the Tom Toms' second album Close To The Bone, the 12" gives the groove room to breath with those sublimely detailed synths and tactile percussion. The flipside's dub version is a real treat, and like Wally Badarou's Chief Inspector plays like a proto-house instrumental (once again, those synths!). Clearly, there was something in the water down at Compass Point.

Maximum Joy - Station M.X.J.Y.

(Y: 1982)

Shiny post punk funk on the Y imprint and featuring prior members of the Pop Group and the Glaxo Babies. I always want to give this, along with The Slits' Cut and Come Away With ESG to every 15 year old I know. Coming on like a left-footed, untamed English Beat circa Special Beat Service, its brilliant skanking rhythms square the circle between new pop and punk funk better than anyone else. Shame that it isn't more easily available...

...and with the closing bars of All Wrapped Up!, we put away the tools and kicked back for the evening. The following day found the clouds rolling in, and the overcast skies had a decided impact on the playlist as it unfolded...

Liquid Liquid - Optimo

(99: 1983)

New York crew get down and dirty with storied 4-track EP, wringing magic from the whole affair only to get ripped off by Grandmaster ź Melle Mel's White Lines (Don't Don't Do It). As much as I love White Lines, the original loping groove in Cavern is where its at. Plus, you've got Optimo's Central Park conga jam and the rolling clockwork downbeat groove of the post rock-predictive Out. A true gem of a record. And non-stop props to Señor Lavelle for putting out the Liquid Liquid comp on Mo Wax back in the mid-nineties.

Ian Dury & The Blockheads - Do It Yourself

(Stiff: 1979)

Sophomore full-length outing from old Ian and co., this is often classed as a disappointment but have you heard it lately? Sounds to me like a worthwhile follow up to New Boots And Panties!! and the slew of ace 7"s The Blockheads spat out over the course of the late seventies, with a heavy emphasis on post-disco rhythms, a couple quasi-reggae tunes and even shades of Lodger. Something like Sink My Boats is utterly original, definitively seventies - like watching six hours of The Rockford Files and then falling asleep to a fever dream where Peter Wyngarde wanders into The Last Of Sheila - and somehow manages to sound unlike anything else around.

Various Artists - Babylon: The Original Soundtrack

(Island: 1980)

Rock hard reggae soundtrack from the 1980 film starring Aswad's Brinsley Ford. Scored by the great Dennis Bovell, it also features Aswad's Warrior Charge (a Parallax staple). Great cloudy day reggae (see also Horace Andy's Dance Hall Style) this was the perfect way to wrap up the second day, with darkness settling in on the Eastern horizon.

Forrrce - Keep On Dancin'

(West End: 1982)

Forrrce's slap-bass odyssey kicked off the third day, the proto-raps unfolding over dubdisco production as we cleared our way into the herb garden and the various banana groves scattered about the premises. The awesome Keep On Dubbin' (With No Commercial Interruptions) takes matters even deeper into leftfield with François Kevorkian dub-inflected hall of mirrors approach in full swing. At this point, the sun was hanging heavy in the sky and the 4/4 pulse was in full effect.

Lino Squares - The Role Of Linoleum

(Humboldt County: 1997)

Moody minimalism from Andrew Weatherall and Keith Tenniswood on temporary holiday from their Two Lone Swordsmen project, at this point gaining full steam. Neuphrique is like a dress rehearsal for No Red Stopping and is very much in the 2LS deep house vein. A quintessential '97 record, you could take this, Moodymann's Silentintroduction and Primal Scream's Echo Dek and have a decent thumbnail sketch of where I was at the time. Blue Pole Dancer always reminds me of 44's Groove Station, even if it came out a couple years earlier.

William Onyeabor - Anything You Sow

(Wilfilms: 1985)

Sparkling guttertronics from Nigerian synth wizard William Onyeabor (his final record in fact). This is very much in the chipper bubblegum Kraftwerk vein of Speak & Spell (or latterly Hot Chip's latest record), but shot through with a distinct highlife flavor. I picked this up seven years ago (at Amoeba in San Francisco) on my honeymoon.

His records were extremely hard to come by at the time, and I absolutely adored Onyeabor's Better Change Your Mind (as featured on the Nigeria '70 compilation) and the Body And Soul 12" with the Scientist remix (which I did have). I couldn't believe my luck at finding this ace reissue and upon returning home and dropping it on the turntable instantly fell in love with the sounds contain therein. Fast-forward a few years and Luaka Bop releases the lavish Onyeabor box set (containing his entire discography), and the world rejoiced.

Hot Chip - Why Make Sense?

(Domino: 2015)

As if to drive the point home, here's that latest Hot Chip LP. I quite like this sound they've arrived at, perched midway between Cowley/Moroder synth-disco pulse and twinkling bubblegum electropop. There's even room for the odd surprise, like White Wine And Fried Chicken's slow-motion country ballad. Good stuff.

Patrick Cowley - Menergy: The Album

(Fusion: 1981)

The conventional wisdom on Patrick Cowley seems to have always been that his album ventures like Megatron Man and Mind warp were disappointing and that his productions (Sylvester's Your Make Me Feel (Mighty Real)) and remixes (Cowley's psychedelic Mega Mix of Donna Summer's I Feel Love) were where it's at.

Well, sure it's hard to top those highs, but I quite enjoy these full-length electro-disco excursions (think Cerrone and Moroder). What with the recent reissues of his cosmic synth music (School Daze and Muscle Up) and abstract post punk (Catholic), he seems almost like a West Cost, mechanoid Arthur Russell.

Andrew Weatherall - Qualia

(Höga Nord: 2017)

Last year's Weatherall solo shot plys a sort of instrumental electro-inflected krautrock. This very much reminds me of Death In Vegas' Satan's Circus, in that it plows a similar furrow with live drumming and spiral sequences that conjure up a sound that strikes me as ever familiar and yet I'm unable to place it. Mr. Weatherall's been on a roll this decade, with four solo LPs, The Asphodells' cosmic disco extravaganza and The Woodleigh Research Facility record, all of which I've enjoyed immensely.

Holger Czukay - On The Way To The Peak Of Normal

(Welt-Rekord: 1981)

With the sun setting and parties split off to procure dinner from The Tako Factory, Czukay's hauting solo endeavor seemed a natural choice. Ode To Perfume is quite simply a masterpiece, eighteen minutes of low-slung imaginary soundtrack music that rides a loping rhythm as guitars tears into the mix sounding like some distant cousin of Can's Deadlock. Czukay even works in his beloved French horn.

Can - Saw Delight

(Harvest: 1977)

Back in the mix with late-period Can - we're pulling Winter weeds, turning the Northside lawn into a putting green - whose liquid rhythms pour over the morning dew-covered grass and out into the palms. For me, this record is in the upper echelon with Ege Bamyasi and Future Days, it finds the band spooling out that Moonshake sound across an entire record. If I've said it before, I've said it a hundred times: if this were by some new band called Jar or Receptacle, and not coming in after Monster Movie and Tago Mago, we'd all mention it in the same breath as the Talking Heads' Remain In Light and the Meat Puppets' Up On The Sun. Exquisite.

J.J. Cale - 5

(Shelter: 1979)

Mr. Cale's music is one of the great understated treasures to spring from the 1970s. This the fifth of his LPs from the decade, and you'll want all of them. His rhythm box is still fading in and out of the mix - perfectly integrated with the live instrumentation, like in a Moodymann record - with some tasteful synth licks creeping in here for good measure. Like the four records to come before, the production is otherworldly, exquisite. Alongside Randy Newman and Harry Nilsson, one of the great songwriters of the era.

Prince Far I - Under Heavy Manners

(Joe Gibbs: 1977)

Prince Far I's classic platter found us back on the Southeast Terrace to work some landscaping magic. This is one of the deejay records (alongside things like Dr. Alimantado's Best Dressed Chicken In Town and Dillinger's CB 200), with Prince Far I's stentorian delivery front and center over peak-period Joe Gibbs backing. A stone cold classic, this record.

Incidentally, I got turned onto Prince Far I via the instrumental Cry Tuff Dub Encounter Chapter 1 dub outing (mixed by Adrian Sherwood), owing to Long Life's featuring in a Rockers Hi-Fi mix.

Various Artists - Calypsoul 70: Caribbean Soul & Calypso Crossover 1969-1979

(Strut: 2008)

This compilation of (put crudely) Caribbean funk and disco is an unmissable romp, put out by compilation heavyweights Strut. Highlights include Amral's Trinidad Cavaliers Steel Orchestra's instrumental version of Gwen Guthrie's 90% Of Me Is You and Cedric Im Brooks' Blackness Of Darkness. There's even a cover of Barrabas' Woman!

Some tracks veer quite close to afrobeat territory, nevertheless I suspect that this contains the germ of the Compass Point/Parallax Pier sound. It's all quite evocative to me of time spent on the island back in the day, especially the way influences will run to and fro between the islands and the mainland. It's all very cosmopolitan in a casual way. Upon reflection, I suspect that some of these sounds were still hanging around when I first visited Puerto Rico, such is their familiarity.

Sweet Talks - Hollywood Highlife Party

(Philips: 1978)

The Sweet Talks were a Ghanaian highlife band that sprung up in the mid-seventies and developed something of a profile, touring the world and ultimately winding up in L.A. and recording this little album, full of sparkling guitars and driving 4/4 rhythms. It's nearly impossible to overlook this music's compatibility with contemporary disco. I wonder if - like Manu Dibango's Soul Makossa - it made it's way onto any of the era's disco dancefloors?

The Beginning Of The End - Funky Nassau

(Alston: 1971)

Crack band from the Bahamas cut killer funk LP, on par with James Brown and Cymande. This very nearly made the Golden 200. Funky Nassau is one of those great 7" singles, and you get the whole thing right here at the record's opening. Interesting to think that this band were doing their thing in Nassau about a decade before the Compass Point All Stars coalesced into an institution.

Osibisa - Getting Hot

(Chic: 1987)

Discovered this only recently thanks to the Singles As Bs & 12 Inches box set put out by Repertoire (check out the excellent Roger Dean sleeve). I have the Black Ant and a handful of their LPs, so this anthology filled out the gaps quite nicely. I had no idea about the band's 80s output, and this record clearly stood out as something special and I tracked a copy down accordingly.

Featuring BIG production, like ABC's How To Be A Zillionaire! (in fact, that very well could have been the next record played - if this hadn't been the last), it could slot right into a contemporary soundtrack during some montage scene. It's all about the Bush-Fire-Mix. I was momentarily certain that the getting hot, getting hot chorus showed up in Ice Cube's No Vaseline, but it was just a (sample) mirage.

Appropriately, this provided the grand finale as we wrapped up work on the Parallax Gardens, the assorted terraces and groves now properly prepared for summer just around the bend.


Under the palms.

Colourbox – Baby I Love You So

Colourbox - Baby I Love You So (featuring Lorita Grahame)

(4AD: 1986)

When I think of records that came out of nowhere as a complete bolt for the blue, any number of iconoclastic tiles spring to mind; records like Model 500's NIght Drive, 4 Hero's Combat Dancin', Tricky's Aftermath, and so on and so on. Yet if there's one (largely unsung) record that belongs in the same league as those future-pre-empting classics, then it's this bad slab of wax from Colourbox. Lodged in between the burnout end of post punk and the dawn of Britain's post-hip hop blues in the shape of Soul II Soul, Neneh Cherry, Bomb The Bass, The Wild Bunch and Smith & Mighty (the sound that would come to be called trip hop), this 12" seems to presage Bristol's sound of the nineties in its dubwise, post-disco grooves.

On the face of it, Colourbox were an unlikely proposition: brothers Martin and Steven Young set out in 1982 with a dark, claustrophobic sound reminiscent of the less skronky side of Rip Rig & Panic (just as that crew were winding down with their Attitude LP, in fact). The new pop sounds of ABC and The Human League had swooped in to become the sound of the moment, and the glitz and glamour of MTV and Nick Rhodes were in full swing. Shiny was in, darkness was out, and many of the latter day post punk bands suddenly seemed to be out of step with the zeitgeist. Even in Simon Reynold's epic Rip It Up And Start Again, many of groups of this era merit only footnote status...

And yet... and yet, this Indian Summer of post punk features considerable treasures hidden in its shadows. Much like the contemporary output of Compass Point Studios, these records as often as not served to provide a metaphorical link between Metal Box and Newbuild, that is the post punk past and the electronic future. I'm talking about records like 23 Skidoo's The Gospel Comes To New Guinea, 400 Blows' Declaration Of Intent, Mark Stewart's Learning To Cope With Cowardice, Fats Comet's Don't Forget That Beat, Section 23's From The Hip, but above all Colourbox's Baby I Love You So - the March 2018 record of the month and a dubbed-out post-disco, proto-trip hop 12" masterpiece.

Cloaked in evocative crimson artwork (provided by 23 Envelope) that springs from the clearly-defined 4AD design aesthetic, it nevertheless maintains a rude, street-level edge that seems to whisper nineties. From the sleeve on downward, this record screams trip hop so clearly that if it were strewn out alongside Maxinquaye, Dummy and Blue Lines one might assume they were all from the moment. After putting the record on the turntable and starting it a spinning, you quickly find out that the sonics are just as forward-thinking.

The record's a-side is a Baby I Love You So, a cover version of Jacob Miller's epochal reggae classic, famously produced by Augustus Pablo (who in turn dubbed it out into King Tubbys Meets Rockers Uptown, easily one of the top five dub traxx of all time). On the face of it, one might think it folly to attempt to version one of the great front-to-back 7" singles of all time, but from the opening bars it quickly becomes clear that you're dealing with something special.

With metallic percussion along the lines of Adrian Sherwood's On-U Sound productions, the beat tumbles forward at a downbeat pace as the bassline throbs with metronomic precision. Then, a searing guitar figure cuts through the track like a knife, following Augustus Pablo's melodica line from the Jacob Miller original note for note. Lorita Grahame bluesy vocals anchor the track in the soil, while her cooing backup vocals seem to drift gently toward the clouds. Grahame's whole approach is actually the linchpin here, betraying the track's entire m.o.: this is lover's rock rendered as a torch song (sound familiar?). The whole thing simply had the misfortune of coming out about a decade before it's time... in 1995 this record would have fit right in. 1986? Forget about it! It couldn't have been more anachronistic if it featured a Neptunes remix.

Like Mark Stewart's self-titled 1987 LP, the hard edges of this record's digidub percussion and spectral atmosphere seem to outline what would become the roots-n-future mashup of the Bristol sound. With the Burt Bacharach covers of Smith & Mighty and The Wild Bunch and Massive Attack's moody cover of Chaka Khan's Any Love waiting in the wings, the whole thing comes on like an unlikely blueprint for the Bristol blues. Augmenting the record's almost cyberpunk-by-default tone are film samples from John Carpenter's Escape From New York sprinkled liberally throughout the track. If it all sounds too good to be true, then yeah... we're on the same page.

Of course, the b-side's even better. Looks Like We're Shy One Horse/Shootout makes literal the connection between Augustus Pablo's man-from-the-East melodica stylings and Ennio Morricone's spaghetti western OSTs with what amounts to a dubbed-out discomix cover of the theme to One Upon A Time In The West (with samples from the film - along with Duck, You Sucker - once again sprinkled liberally throughout). That same searing guitar is back, this time sawing out the theme's refrain as whistling synths soar through the ether, horns punching in ever so often. Picture the midpoint between Joe Gibbs & The Professionals' African Dub All-Mighty records and Bandulu's Antimatters/Cornerstone/Redemption trilogy and you wouldn't be too far off. Once again, simply stunning.

At about five minutes in, the groove cuts out and you're left with droning atmosphere for a spell before the whistling synths return - this time pitched down a couple octaves - in such a way that wouldn't sound out of place scoring Ridley Scott's Black Rain. This is billed as the Shootout portion of the track. Then, a downbeat-the-dub-ruler beat kicks in and Repo Man-esque choirs fill the sky, as the track creeps toward its denouement with clockwork inevitability. This is Deckard in a trench coat, staggering through rain-soaked streets music. Cyberpunk, once again, on both sides.1

I can't imagine what it must have been like, hearing this back when it first came out...


1. If someone ever gets around to making that Neuromancer movie, would they please hire me on to be the musical supervisor? Thanks!