Archive for the ‘remixes’ Category

Re-arranged Tecmo Tunes

Wednesday, July 1st, 2020

Yoshihiro Kunimoto
Star Soldier (Arrange Version)
Championship Road Runner (Arrange Version)
Super Star Force (Arrange Version)
Mighty Bomb Jack (Arrange Version)

I stumbled into a riches of vintage game music this week, thanks to a soundtrack sale at HMV, walking away with two rare game music vinyl records.

The first was the single for the theme to Star Soldier, a 1986 schmup by Hudson. This version of the Star Soldier theme is different than the arrange version (Japanese game music English for “remix”) that appeared on the Hudson Game Music LP. The version from that LP was great, this version is RAD AS HELL. It’s so good, seriously it’s so good! It’s great! It’s like the theme music to V meets the theme music to Dallas meets the theme music to Knight Rider meets Tron. It’s bombastic and big, with massive power chords rocking those keyboards 80s style. The drums got that gated reverb to the nines, and whoever was playing them was smacking the everloving shit out of them. And the bassline (SYNTH BASS YES MORE SYNTH BASS) grooves and just keeps the whole thing moving until it builds to a fantastic crescendo that then fades away for that dope as all hell keyboard melody’s encore performance. THOSE DRUMS ARE SO GOOD.

The b-side is another arrange version, this one for Championship Road Runner. It’s very weird. Again, it’s still all synthesizers but the mood is 100% different. It starts out as a music box lullaby. Eventually more sounds are added to it, giving a robust and big sound, but still more low-key and relaxed and the theme to Star Soldier. It reminds me of the underwater music in a Mario stage, kind of ethereal or dreamy. It’s not as much of a HARDCORE BANGER as the Star Soldier music, but it’s a solid take nonetheless.

The other release I picked up was the Tecmo Game Music album, which also came out in 1986. Like the single, it was a GMO release. As I’ve mentioned before, GMO (Game Music Organization) was a sub-label of Alfa Records, set up by members of Yellow Magic Orchestra for the sole purpose of releasing game music albums. Almost all of their early album releases are compilations dedicated to single game companies. There’s Nintendo Game Music, Taito Game Music, Data East Game Music, and so on. Games didn’t get album-length soundtrack releases back then, I assume because no game had enough music to fill an entire LP. It wasn’t until Dragon Quest that we had proper video game soundtracks.

Like most of the GMO releases of the time, most of Tecmo Game Music focuses on straight rips of game audio. Sometimes they even had sound effects put over them, so it was more like you hearing someone actually playing the game than a proper recording of the game’s music. It’s honestly a little annoying.

But two tracks of Tecmo Game Music were arrange versions. The last track on side A is the remix of the music to Super Star Force, a strange-looking shooter that seems to be half Xevious and half The Legend of Zelda. It’s a space-themed game, but instead of going the over-the-top route of the Star Soldier arranged version, this one starts by playing up the “spacey” aspects of the music with more of a Close Encounters vibe. Very mysterious sounding. Then it picks up and goes full-on Giorgio Moroder in Electric Dreams. I dig it. Great keyboard melody.

Of the bunch, the Mighty Bomb Jack arranged version is the most video gamey. It’s very focused on the melody and sound effects from the game, and at times goes too minimal in my opinion, barely sounding like an arranged version at all. But the second half of the track picks things up with some great, light, upbeat synthesizer melodies and its saved. This sounds like the soundtrack to a children’s cartoon or something. It’s so damn happy. I needed that.

All of these remixes were by Yoshihiro Kunimoto, who was GMO’s in-house arranger for most of the mid-80s. I think he did the arrange versions on all their early releases. I wish it was possible for GMO (or whoever owns them now) to do a compilation of all his work, he was really good at this stuff. I assume legal rights to all of the music by all of the companies would make that an impossibility though.

Stay home and stay safe with arranged video game music everyone. And if you have to venture into the horrible, terrible, no-good world, for the love of dog wear a motherfucking mask.

Earth, Wind & Fire for an Earth on Fire

Sunday, June 28th, 2020

Sorry I’ve been a bit absent this month. If you follow me on Twitter, you’ll know that I’d had a bit of a rough one. It’s all Doug TenNapel’s fault (again).

You can read a summary of it on my other blog. And I have a few Twitter threads that continue to elaborate on it. Here, here, and also here. I’ve blocked approximately 100,000 people because of all of this, so if you see any death threats or homophobic content directed my way on Twitter, please report it. Thanks.

In the meantime, how about some fun happy songs for fun happy times, should they ever return again.

I hope all of you America are doing the best you can to stay safe, and ignoring the asshat ignoramuses who aren’t.

Earth, Wind and Fire
Let’s Groove (Restless Soul Inspiration Information Mix By Phil Asher)
Shining Star (DJ Jin Asakusa Samba Remix)
September (FPM Beautiful Latin Mix)
Boogie Wonderland (Inspiration ’83 Mix By Slowsupreme)

Not to bring things down again, but it was recently announced that the fantastic Shibuya Recofan store would be closing down soon.

This place has a great and diverse selection of LPs, but for me their selling point has always been their jaw-droppingly massive CD section. When we found out that they were closing, my friend and I spent over two hours just browsing their used CDs, and we still weren’t able to get through everything. I’m going to have to make a return trip soon.

They just have everything, both cheap and pricey, mainstream and obscure, import and domestic. You want an SHM-CD paper sleeve re-issue of Manfred Mann’s first album? They got it. Want the budget re-issue in a cracked jewel case for Â¥500? They got that too.

And every time I go there, I end up picking up something that I didn’t even know existed, like this strange Earth, Wind & Fire remix compilation. It’s called Soul Source, and from what I can gather it was only released on CD in Japan and Australia. It’s amazing, and I would have never even known that CD existed if it wasn’t for Recofan. Who knows what amazing, weird, and rare releases I’ll never discover after Recofan shutters for good. I shudder to think.

Oh yeah, this was supposed to be about happy times.

I’m sharing the biggest tracks on the album here. Let’s be real, you buy an Earth, Wind & Fire remix compilation to hear remixes of these four songs, anything else is a bonus. The rest of the album is pretty good, but these mixes blow the others out of the water, mostly because the original versions of these songs are all stone-cold all-time killer dance classics. We were lucky we got to live in a world that had 70s and early 80s Earth, Wind & Fire, I tell you what.

Of these four, my favorite is probably the remix of “Let’s Groove” by Phil Asher. Great acapella opening that transitions to a solid remix, even if it doesn’t change it from the original all that much. Let’s be real, it wasn’t broke, why try to fix it. The mix of “September” is interesting and brave, taking the original track and injecting it with a Latin style. I don’t know how well it fits together, and the original is of course the superior version, but it ain’t bad. “FPM” is Fantastic Plastic Machine, a dope as hell dance act from Japan that’s been making radical dance and club music since the late 90s. I recommend a lot of his work from the late 90s and early 2000s, but avoid all his YMO remixes, they’re atrocious.

I don’t know much about the other two remixers, but their mixes are great too. The “Shining Star” mix really changes the original instrumentation by adding what feels like mountains of percussion, but it doesn’t change the overall structure of the track, which is good. The “Boogie Wonderland” remix is way more electro than the original, with some good squelchy acid sounds put in. I could listen to squelchy acid sounds all day, so I approve.

Again, stay safe out there. If you’re looking for some content to absorb as you hopefully stay home more than usual, I have been updating my other blog, and not just with posts about has-been bigots. I’ve been doing a retrospective of MTV’s Top 100 of 1985. Check out part one here! I up to part four now and hope to get part five done this week!

 

Nostalgia for imagined genres

Monday, May 11th, 2020

Klaxons
As Above, So Below (Justice Remix)
As Above, So Below (French Version)

For the 20th century, looking back at musical trends is easy.

60s – British Invasion, Motown
70s – Disco, Funk, Prog
80s – Hair metal, new wave
90s – Gansta Rap, New Jack Swing, Grunge, bubblegum pop

Of course, that’s a bit reductive and ignores several other trends and movements, but in broad strokes that works well enough. But you just can’t do that with any decade after the 1990s. What was the big musical trend that encompassed the first decade of the 20th century? Krunk? Nu-Metal? Indie rock? It’s really hard to just pin one, or even a few, down. Throughout the 80s and 90s pop culture had begun to get more fragmented, but the 2000s really saw that trend kick up a notch, largely due to the fragmentation of culture as a whole and the internet. The 2000s were the decade where almost no one and nothing became omnipresently popular anymore.

This was doubly true with rock music. The splinters between the “indie” “alternative” and “mainstream” scenes became gulfs, and within those scenes you had your own splits and divisions. You had the mainstream rock fans who dug Linkin Park, the indie kids and their Arcade Fires, and us folks in the middle who lived on The Strokes and The Killers. And of course, things have gotten even more fragmented since. There can never be an “I love the [decade]” show ever again that can talk about music, unless it covers the uber-hits like “Umbrella” and “Uptown Funk.”

But one of the things I loved about the 2000s rock scene was just how fragmented it was. There wasn’t just one scene that was big and a few bubbling under, as was the case in the 80s and 90s. So many styles and sub-genres vying for attention. Post-punk revival, electroclash, neo-psych, synth-pop 2.0, new-rave.

New-whatnow?

Yeah, remember new-rave? No? Yeah, why would you? It was a a genre that the British press made up. But its one band, The Klaxons, were really good. I was always bummed that they were never able to carry the momentum from that first album. Shit, I was bummed their version of electronic-rock didn’t garner more attention. I feel as if this sound had its moment for about 20 seconds, before it was watered down and washed out into the electro-rock sonic wallpaper commercial jingle indie rock sludge we’re subjected to now. Maybe bands like The Klaxons are the Pearl Jam of their era, wholly original and fantastic, but influential in the formation of some of the worst music ever.

Although now that I think about it, for 20th century bands, that dubious distinction probably should be bestowed upon The Killers. I love The Killers, but I feel its safe to say that we wouldn’t have Imagine Dragons without The Killers first leading the way. If The Killers are the Pearl Jam of early-200s rock, then I guess The Klaxons are…lemme think…The Toadies? Sponge? In as much as they had one moderately successful album but failed to capitalize off of it despite the fact that the follow-ups were just as good?

Is that too much of a stretch?

These tracks are from a clear 12″ single that I think only came out in France. Beats me how it ended up in a bargain bin at a Tokyo record store, but that’s where I found it. The Justice remix is dope, speaking of acts that vanished without a trace after one great record. I guess the world got sick of Daft Punk impersonators when the real thing returned.

Super Madonna (remixes) to the rescue!

Monday, April 27th, 2020

I’m not going to lie to you, being unable to go to any record stores for over a month has actually dealt a pretty serious toll to my psyche. I know it sounds rather pathetic, and yes, I completely understand that there are millions of people all over the world in far worse situations than mine (as that’s true literally everyday). But for me, record stores have always been therapy. Even when I don’t buy anything (which, admittedly, is quite rare) just the act of surrounding myself with music and music lovers can often cheer me up and and put me in a better headspace. And, of course, the dopamine rush of discovering a rare, strange, or out-of-print record does wonders for my mental state as well.

Shopping online just isn’t the same. There’s no thrill of the hunt, and it’s harder to discover new things. Discogs is great, and I use it all the time, but it’s only good for buying music that I already knew I wanted. One of the biggest joys of shopping in a record store is browsing the racks and stumbling across something that you didn’t even know existed, whether it be a rare release from one of your favorite artists, or an interesting looking record by an artist that you’ve either never heard of or know little about.

An overwhelming majority of the bands and artists that I love I discovered because I bought their albums on a whim at a record store. Erasure, Depeche Mode, New Order, Gong, Yellow Magic Orchestra, Tangerine Dream, Osamu Shoji, even Madonna, all of them are acts that I either discovered outright because of a random purchase at a record store, or I gained a new appreciation of them because of albums or singles I bought used. This is largely impossible when shopping online.

I’ve been trying though, and not only because I’m jonesing new records. I also want to support my local stores during these shitty times. I bought a ton of oddball releases from Coconuts Records’ website (which I might feature here in the future) and I also went to Disk Union’s website to pick up a few things from them as well. Online shopping in a foreign language sure as hell isn’t easy, but I was able to snag a few choice items. Sure, it wasn’t the same. But I shouldn’t focus on that right now. That’s not a healthy headspace. Instead I’ll just be happy that I did something that made me happy and now I have happy music that I can share with you, and that makes me happy too.

Madonna
La Isla Bonita (Extended Remix)
Open Your Heart (Extended Version)
Gambler
La Isla Bonita (Instrumental)
“La Isla Bonita” was first issued as a single in 1987, with a few different variations being widely available. There was the 12″ single, which included both an extended remix and an instrumental version of the track, and a 7″ single with shorter edits of both. A CD version wasn’t released until the mid-90s, and it was just a copy of the 12″ single with the two tracks and nothing more added on.

However, Japanese fans were given an entirely different single that wasn’t a single at all, one full of so many remixes and bonus cuts that most people call it an EP instead. Released under the title La Isla Bonita – Super Mix, it includes five tracks in total. The two remixes from the standard 12″ single are there, but it also tacks on the amazing 10 minute remix of “Open Your Heart,” as well as “Crazy For You” and “Gambler,” both from the soundtrack to the motion picture Vision Quest.

Also, unlike the other versions of the “La Isla Bonita” single, the Super Mix edition got an immediate release on CD. This means it was the earliest CD release to feature all of these remixes, and the only Madonna CD to date that features “Gambler.” It’s never been included on any other CD singles and it never saw the light of day on a proper Madonna album. It was included on the soundtrack to Vision Quest, and that’s it.

Over 30 years later, and CD or digital versions for many of these tracks are still hard to come by. While La Isla Bonita – Super Mix was given an international release last year for Record Store Day, that didn’t include a CD release nor a download code. The last time that Super Mix was released on CD was in 1997, again in Japan only (it also got a release in Australia at one point, as most Australian Madonna singles used the same tracklistings as their Japanese counterparts). The only track on this single that is easily available on other releases is “Crazy For You.”

Of course, “La Isla Bonita” is a great track, but that’s not why I bought this CD. I bought it for “Gambler.”

Just kidding, I bought it for the ten-minute remix of “Open Your Heart.”

Someone, maybe Roger Ebert, said once that a good movie is never too long and a terrible movie can’t end soon enough. Whoever said it, they were right. Last night the boyfriend and I watched the Ralph Bashki film Fire and Ice and while that sucker is barely over 80 minutes long, it feels like an eternity. Conversely, I could watch a 10-hour version of Cabaret or Dreamgirls and not get bore. This goes ditto for “Open Your Heart.” Ten minutes might seem excessive, but “Open Your Heart” is just a goddamn perfect song. Perfect vocals delivered perfectly atop a perfect melody and perfect 80s synthesizers and perfect drum machines. All perfect. The only reason why I hesitate calling it Madonna’s best single is simply because making a declaration like that is nigh-impossible.

I can definitely say that it was my first favorite Madonna song though. I have a vivid memory of hating “Like A Virgin” when it first came out (still not a huge fan) and hating the video for “Material Girl” when I was a kid too. But something about “Open Your Heart” clicked with little seven-year-old me. I think I even danced along with the video when it was on the Top 20 Countdown.

And people were surprised when I came out of the closet.

 

Not keeping it together, no matter how many times Madonna tells me to

Tuesday, April 7th, 2020

No need to comment on the current events. Things are bad and they’re about to get worse. Short post tonight too. I wanted to write a bit more but every time I try to my chest starts to feel like it’s about to cave it. Panic attacks are fun.

Anyways, here’s more Madonna. Sorry it’s not better Madonna. That’ll come soon.

Madonna
Keep It Together (Single Remix)
Keep It Together (12″ Remix)
Keep It Together (12″ Mix)
Keep It Together (12″ Extended Mix)
Keep It Together [Instrumental]
Hanky Panky (Bare Bones Single Mix)
Hanky Panky (Bare Bottom 12″ Mix)

“Keep It Together” is my least-favorite single from Like A Prayer. Let’s be real, it just can’t compete with that album’s title track, “Express Yourself,” or “Cherish.” And I might be in the minority here, but I even prefer the tragic “Oh Father” and the charming “Dear Jessie” (an underrated tune) to the bassy, 90s deep funk vibe of “Keep It Together,” a sound that has not aged very well for me, perhaps because I wasn’t a very big fan of it in the first place aside from some of the stuff that Janet Jackson was doing at the time.

That’s not to say it’s a bad song. Low-tier late-80s Madonna is still high-tier pop music, it’s just not my go to jam. Good remixes though. And if, unlike me, you dig the heavy bass sound of this track then I got good news for you, because these are hella bassy. In quarantine? Crank up your apartment’s woofer and drive your fellow isolating neighbors bonkers.

Now, for “Hanky Panky”….boy, this song, huh? It’s always weird when swing jazz makes its way to the pop charts. Feels like a fluke. It’s certainly a move that only an established artist can ever get away with. And let’s be clear, Madonna really didn’t get away with it here. Sure, the song did okay on the charts but when you compare it to other singles from this time, including “Vogue,” it didn’t make the same splash and it certainly didn’t have the same kind of staying power. Still, as songs about getting your ass slapped go, it’s good enough. I’m certainly happy that she went with a retro-jazz vibe for the tune and not an overly seriously, heavy R&B vibe that she would embrace with Erotica. “Hanky Panky” is a song about a fetish, albeit a rather tame one, but it’s certainly not a sexy song. It’s a goofy song. Because singing about how you get off on getting your behind beat is inherently goofy. Trying to make it sexy would just make you sound like Meghan Trainor or something.

Enjoy the spanking song. Just remember to wash your hands before (and after) you smack it.

Madonna for snowy isolation

Sunday, March 29th, 2020

I wrote half a post earlier this week, but things are changing so fast in Tokyo that it all became instantly irrelevant so I had to start over today. Teach me for procrastinating.

I had no reason for putting off that post, I just didn’t have the motivation I guess. Self-isolation, even with someone (my boyfriend is at my place, riding this out with me) can be draining. I moved to Tokyo because it seemed like a city with endless things to do. Each day brought upon it a new adventure, exploring the various nooks and crannies to find new and exciting places (that hopefully had good record stores). But in the course of the past two weeks, I’ve left my apartment three times. One was for a late night walk alone in a relatively deserted place, another was for an emergency grocery store run with my boyfriend. The third was a short trip across the street to a vending machine, panic buying a mountain of Coca-cola and Dr. Pepper. I try not to drink that much soda, but with everything going on, one unhealthy habit had to resurface, so I chose that one. At least I’m still able to workout at home thanks to my Ring Fit. I don’t know what I would be doing without that – probably getting mad fat. I’m used to walking about 13,000 steps a day. I don’t even want to look at my phone’s pedometer now. My steps are probably in the double digits. My world has shrank to an area about a quarter of the size of a city block. Apartment, supermarket, vending machine. That’s it.

I think this wouldn’t feel so emotionally draining if I thought that I wasn’t in it alone, but the people of Tokyo really haven’t seemed to grasp the severity of the impending situation, and the indescribable importance of isolating oneself. As of this writing, there are less than 250 reported cases in Tokyo. Now, Japan is still not doing the level of testing that is recommended by the WHO, but it’s still apparent that the virus has not really taken hold in this city yet. There just aren’t that many people who are obviously ill, and hospitals seem to be managing the ones who are just fine. That is all the more reason why isolation is important now. Before things get bad, before there is a spike in cases, people need to stay the fuck home so the virus can’t spread among those who appear to be healthy, but are harboring the virus without showing any symptoms.

A mandatory, one-to-two-week lockdown would do so much to flatten the curve and save lives. But for whatever reason, both the Tokyo government and Prime Minister Abe refuse to take that step. Instead, both issued what they called strong recommendations for people to stay home. That was it. No other action was taken. Some shops did follow the advice and have shuttered their doors this weekend, but others remained open. And while some of the most popular cherry blossom viewing spots were closed to the public, Twitter and Instagram were still full of new pics by idiots eager to take photos of the blossoms, rushing to them like moths to the flame.

Even the national news was contributing to the problem, showing a forecast of the cherry blossoms and explaining that this weekend, the weekend of the “strongly recommended” stay-at-home request, was the absolute best time to see them. NHK is owned by the government. The fact that they can’t stay on message is a travesty.

It did snow today, a lot. And it wasn’t a fun light snow that makes the cherry blossoms all the more beautiful, it was some straight-out-of-Ohio nightmare slush shit. That probably did more to keep people indoors than any government request. However, that’s only one day, and the government request was only for the weekend. Starting tomorrow, businesses will be open as usual, people will be going to work. Nothing will change. A weekend is not enough, it was a futile gesture. It’s hard now to look at the terrifying news coming out of New York City and not imagine that Tokyo will be under similar conditions in just two weeks time.

The company I teach for remains open. I am refusing to go in because the danger in doing so is apparent. It’s a private school with one-to-one lessons in confined spaces. It’s the absolute worst place to be right now. But they keep trying to justify it, to rationalize it. They say it’s safe. They’re providing masks and hand sanitizer. They’re making sure students who don’t feel well have to go home. Whatever. It’s not enough. I’m just waiting for the inevitable notice that my school will be forced to shutdown due to an instructor (or 20) getting sick. And my company will say that it was entirely unpreventable. And that will be a lie.

Sorry if all of that was redundant of my last few posts and/or depressing. It’s just where I am right now.

Sigh. Let’s listen to some Madonna.

 

Madonna
Bedtime Story (Junior’s Wet Dream Mix)
Bedtime Story (Junior’s Dreamy Drum Dub)
Bedtime Story (Orbital Mix)
Bedtime Story (Junior’s Sound Factory Mix)
Bedtime Story (Junior’s Single Mix)

Madonna save us in this time of great duress.

All of these are taken from a CD single, part of my massive haul from a few days back. Again, I think I posted these eons ago, but they were vinyl rips and these sound better.

“Bedtime Story” has aged very well, it has that 90s trip-hop alternative-dance thing going on, but in all the right ways, especially when compared to some other tracks on that album. This single also has “Survival,” and that’s some hella generic 90s white girl RnB. This has a vibe to it that was unique at the time and remains unique still. If you’re reading this blog, then you probably know this already, but this song was co-written by Björk, and it still totally sounds like it. I wish mid-90s Björk and mid-90s Madonna would’ve collaborated more. Hell, I wish both of them would’ve collaborated more with other artists at the time. I also wish that Madonna and Orbital did more work together. Their mix here is the real standout, even better than the excellent Junior Vasquez ones. When Madonna hooked up with William Orbit, she chose the wrong Orb-monikered dance act. She should’ve stuck with Orbital, or gone with The Orb (man that would’ve been rad).

Anyways, drown yourself in music, whiskey, video games, or whatever the hell is getting you through this latest chapter in our stupid apocalypse. Hope that it gets better for those in need, and worse for the bastards in charge.

And here’s hoping Abe and Trump are forced to lick Boris Johnson’s infected eyeballs.

Anxiety, anger and Aaliyah

Saturday, March 21st, 2020

Two posts in two days is what happens when you’re trying to stay (sane) inside your home. Remember when this blog was just as much me ranting and raving about random shit that pissed me off as it was dance remixes of popular music from the 80s and 90s? Well hey, consider this post retro.

Not much has changed since yesterday, at least as far as the public knows and/or cares. There were fifty new confirmed cases in Japan, I don’t know how many in Tokyo. Fifty is a big jump, the biggest in a few days. It just goes to show that Japan has not dodged any bullet and that we are still teetering on the edge of a full-blown outbreak.

You would not know that if you went outside today though.

Hanami (cherry blossom viewing) was in full effect today. The government asked people not to go out. Some of the major viewing spots were partially closed so people could not set up picnics. Neither of these things seemed be much of a deterrent. While crowds were smaller than usual, they were still large and packed enough to make any kind of efficient social distancing impossible. Masses of people everywhere.

Many travel sites and twitter accounts were tweeting out photos of cherry blossoms as well as guides to the best (and most crowded) places. One such account is Japan Travel Advice.

Yes, this person may live in a safe, rural area, but most people in Japan do not. It is irresponsible for them to tweet out guides on cherry blossom viewing without mentioning the virus or that people should maybe just sit this year’s hanami out. I countered their advice with my own.

 

They blocked me.

It’s also worth mentioning that on their website they say the following.

Fucking irresponsible assholes. Is it safe to travel to Japan? ABSOLUTELY NOT. NO. NOT AT ALL. And even if it was (and it’s not) it wouldn’t be safe for the people of Japan for someone from another infected country to come visit them on a damn vacation. There is absolutely zero reason for anyone to come to Japan right now. And there is zero reason for anyone to go out for hanami.

Tomorrow is Sunday. The weather will be perfect. The cherry blossoms of death will be in near full bloom. I expect an entire other group of selfish pricks to go out on picnics in large groups, share drinks, share food, and share a crowded train home with hundreds of others who will do the same.

It’s too bad the people who they’re helping kill aren’t themselves.

Aaliyah
The One I Gave My Heart To (Soul Solution Club Mix)
The One I Gave My Heart To (Soul Solution Dub)
The One I Gave My Heart To (Bonus Beats)
One In A Million (Nitebreed Mongolodic Mix)
One In A Million (Armand’s Drum ‘n’ Bass Mix)
One In A Million (Geoffrey’s House Mix)
One In A Million (Wolf-D’s Big Bass Mix)

Long time back, I would always check the US iTunes store before I shared something here. I try to stick pretty hard to my “nothing in print” rule. I’ve only purposely broken it a handful of times. More recently though, I’ve also gotten in the habit of checking streaming services, since that’s how most people consume music in the year of our apocalypse, 2020.

It turns out that there’s not much of any Aaliyah on Spotify, or any streaming service, or even the US iTunes store for that matter. You can get Age Ain’t Nothing But A Number (ew) but not much else. Wonder why that is? Is there some clusterfuck regarding Aaliyah’s estate that I’m not aware of? Is this R. Kelly’s fault? Can we just blame R. Kelly regardless?

I’ll be real and say that I wasn’t a big of Aaliyah when she first burst on the scene. I was never into R. Kelly’s production style, even as a teenager. Although as a white boy teenage grunge fan in the suburbs, I really wasn’t their target audience.

I did, however, get more into her music once she split from pissface and started working with Missy and Timbaland. “One In a Million” is an classic of the era. No doubt. And it has aged very well, just like a lot of the prime R&B from that era has. While the unfortunately named “Nitebreed Mongolodic” mix of the track ain’t all that hot, “Armand’s Drum ‘n’ Bass Mix” is rad. I like it more than the original. I’m not always big on Armand Van Helden’s work, but he really nailed it out of the park here. Other mixes are tight too.

While I’ve always dug “One In A Million,” I was definitely not a fan of “The One I Gave My Heart To” when it came out. It sounds like wannabe Whitney Houston to me. I looked it up today and found out that it was written by Diane Warren because of course it was. The original version of this track screams “should be on the soundtrack to a forgettable romantic comedy.” It’s so bland.

The “Soul Solution Club Mix” fixes all the problems of the original. It opens with a fade in of Aaliyah howling, it lets you know right up front that she’s in actual, physical pain over her break-up. It takes the original version three minutes to get to that point. I’m sure the intent was to have a build-up, but by then it’s too late. The overarching blandness of the production has created a vacuum of suck that make any sort of build-up impossible.

The beat of the remix fixes this problem. Gone is the literally identical to every other mid-tempo easy-listening ballad beat that was on the radio in the mid-90s. In its place is a standard, yet effective, high-energy beat that makes the song more urgent and emotional. And yeah, the house piano chords aren’t exactly breaking new ground, even for 1998, but they certainly create a better sense of desperation and heartache than the click track beat of the original version.

And the remix has a hell of a build-up and drop that just annihilates the original. Damn.

Good remixes for bad times, enjoy.

Madonna in the time of coronavirus

Friday, March 20th, 2020

Hi. How you doing.

Yup.

I thought I would use this space to write a bit about what life is like in Tokyo right now, because with the utterly disastrous situations unfolding across most of Europe, America, and, well, pretty much the rest of the world, news about Japan has fallen a bit to the wayside.

Shit here is just weird.

There’s been no massive outbreak here, no pandemic conditions. Very little panic. About a month ago they closed all the schools and theme parks, postponed all the concerts and delayed all the major sporting events. Masks have been very hard to come by, as has toilet paper (Japan was the first country to start that unnecessary bit of hoarding, always the trendsetters). As an English instructor at a major English conversation school, I haven’t been at work all month. Thankfully, I’m still getting paid, and even if I wasn’t, I’m very fortunate financially so I don’t have that issue to really worry about.

But other than that, nothing changed. Stores are all still open. A few have cut down their hours, but most haven’t. Most people still aren’t telecommuting, so the trains are all packed. Restaurants and bars are always crowded. The streets are only less crowded because of the lack of tourists. Life is just going on as normal, seemingly oblivious to the massive human tragedy and economic depression that is gripping what feels like every other person and every other country on the planet.

And the calm here might be completely unfounded! The government still has not ramped up testing to a degree that most experts find satisfactory. No one knows how many people are really sick. As of this writing, there have been only 1,670 confirmed cases of the coronavirus here in Japan, and over 700 of them were from that damn cruise ship. That sound great, and it is when compared to other countries. But only 14,000 people (at most) have been tested since the beginning of February! So who the hell knows how many people have actually gotten sick. Now, a lack of testing can’t hide dead bodies, so Japan obviously isn’t covering up an exceptionally dire situation, but how can anyone know what appropriate actions should be taken when we can’t get a clear number regarding how many people are sick?

Like I said, I haven’t been working for the entirety of March. In the beginning of the month, I treated it mostly as a vacation. There were very few cases in Japan, and the situation in most other countries wasn’t bad either. I went record shopping, had friends over for pizza and movies, drank a lot of whiskey, and so on. But since the explosion of cases in America and Europe, I feel that it’s best to practice everyone’s new favorite pastime of 2020, social distancing. I’m not going to crowded areas. I’m avoiding the train. I even stopped going to record stores.

I. Stopped. Going. To. Record. Stores.

If that doesn’t help explain to you the seriousness in which I am taking this, nothing will.

But while I’ve radically changed my behavior in hopes of keeping myself and others healthy in the ever increasing odds of a full-on explosion of cases here, I seem to be the only one. Again, stores have not closed. People are not telecommuting. Restaurants are still open. We’re in the middle of a three-day weekend now, and it’s also cherry blossom viewing season. While the government has prohibited picnics at several of the most high-profile spots. People can visit those places. And they are. En masse. And there are several other, huge, parks that don’t have any restrictions at all. Over the next two weeks, tens of thousands of people will congregate in these places and spend long periods of time together in close spaces, sharing drinks and food.

And now my employer has said that I’m supposed to return to work next week. Despite the fact that cases have yet to peak, despite the fact social distancing is the best way to reduce outbreaks, despite the fact that the threat is very far from over, they decided that it’s time for me to go back to work. Their messaging has been atrocious every step of the way and they have done nothing to make me feel like my workplace is a safe environment. As an immigrant, I don’t know my options here. I don’t know what happens to my visa if I quit. I don’t know if they can fire me. It’s equally confusing and terrifying.

I don’t have to return right away. In a strange coincidence, I got sick in an entirely unique way. While everyone else is afraid of a potentially deadly viral infection, my body decided by all hipster about it and give me a life-threatening bacterial infection. About a week ago I noticed a lump in my armpit, a few days later it swelled up to the size of a golf ball and hurt like hell, followed by red streaks on my arm. Somehow my lymph node got a bacterial infection. The doctors were so concerned about it when they saw it that they immediately injected me with a round of antibiotics, and had me come back for a second injected dosage before giving me an additional week of pills. That gives me a legit excuse to avoid work, but only for a week at most. I have no idea what I’ll do after that.

As to be expected, this is all giving me quite a bit of anxiety. And, as it should go without saying, I’m also being kept up at night with thoughts of my friends and family back in other countries, where the odds of infection are much higher. I say this should go without saying, but whenever I mention that I actually have worries and concerns about other human beings, a lot people seemed shocked at that. People are selfish sociopaths it seems.

So yeah, I got my own health problems, the possibility of becoming infected with a potentially deadly virus, thoughts of the economic impact of the pandemic, the uncertainty of the future of my job and visa, and the safety of my friends and family all running through my mind. I’m freaking out. I don’t know what to do. I’m losing my mind.

But, hey, before shit really hit the fan I managed to buy 33 Madonna CD singles and some 7″ singles too. So…yay?

Madonna
Angel (7″ Version)
Angel (Dance Remix)
Angel (Dance Remix Edit)

I’m trying to avoid using the trains right now because, well, duh. But as I said before, before things really started to get real, I was still going out a bit. I was just walking. It wasn’t that big a change for me actually, I try to walk about 13,000 steps a day. One day I decided to trek up to Coconuts Disk in Ekoda. It’s one of my top five record stores in Tokyo. Every time I go there I end up buying some weird prog LP, an awesome Japanese pop record on CD, and even the occasional tape. This trip was no different, in addition to snagging that rad Star Trek cover I shared a while back, I also managed to find the Japanese 7″ single for “Angel.”

While I’ve been an avid Madonna collector for nearly 20 years now (hi I’m gay), I only recently starting diving into 7″ collecting. They don’t always interest me, to be honest. I mostly collect singles for the remixes. That’s why I’m so into 12″ singles, they almost always have the most and best remixes, with CD singles often a close runner-up. Seven inch singles usually don’t have anything all that different aside from the radio remix, which, let’s be real, usually aren’t that different. But for those of you who really dig 7″ remixes, here you go. Enjoy the minute differences!

But the 7″ for “Angel” does have one rarity of note, an edit of the dance remix. While the full-length dance remix made its way to a few different formats over the years, I think that the 7″ edit of said remix was exclusive to the 7″ single. I could be wrong. I’m wrong a lot.

I know that the proper full-length dance remix was on CDs because the rip I’m sharing right now is from one of those CDs. If you got the dance remix from my blog eons ago, redownload it now. The CD rip sounds better, as CD rips are want to do. I found this CD at Recofan in Shibuya, another amazing store. When I saw on Twitter that they were having a sale on Madonna CD singles, I made the decision to walk all the way there and back, nearly 20,000 steps. Not gonna let something like social distancing stop my gay ass from getting my Madonna, motherfuckers.

I’m very stressed and recently bought a boatload of Madonna. Listening to Madonna makes me feel better. Expect more Madonna next week.

Stay safe out here. If your boss wants you to go to work in a pandemic kick them in the groin.

Blue Monday ’95 for 2020

Monday, February 24th, 2020

In news that will upset nearly no one, here’s another quick and dirty New Order post.

New Order
Blue Monday (Hardfloor Remix)
Blue Monday (Manuella mix)
Blue Monday (Andrea mix)
Blue Monday (Plutone mix)

The original 12″ version of “Blue Monday” is a perfect song and no attempts to remix, remake, rework, or re-imagine it will ever come close to even matching the original. I feel that this is not a bold statement. There are plenty of New Order tracks that have benefited from remixes or re-workings. “Temptation” comes to mind, as does “Fine Time” and even “Touched By The Hand of God.” Hell, the entirety of Music Complete was remixed with extended versions and I prefer all of those to the originals. And some of the mixes to “Tutti Frutti” were just rad as hell.

But you can’t fuck with “Blue Monday.” Shit’s perfect. Still, New Order sure has tried. There was the ’88 remix, which achieved some degree of success, and these ’95 remixes, which did not. Most of them aren’t bad mixes, save for the “Andrea Mix” which reworks the song in a reggae dub track (yikes). But as soon as I’m done listening to them, all I want to do is listen to the original version once more. It ain’t broke.

Still, there’s a lot of good to be had here. While none are my first choice, I do return to a few of them. I dig the “Hardfloor” mix quite a lot. It has a hint of an acid vibe to it. Not too much, just enough to give it that edge. And the “Plutone” mix is great too. It has this high, almost ringing, synth line through it that gives it an urgent feeling that I really get into. If my knees still let me jog, I would slam this sucker on a jogging mix right away.

Maybe more New Order next week? I don’t know. I got some weird shit I want to share, but like I’ve said multiple times over, the weird shit posts take time. And since so few people actually seem to like them, sometimes motivation is hard. But if I don’t upload obscure late-70s Japanese experimental electronic music, who will?!

The Return Of New Order (to this blog)

Tuesday, February 11th, 2020

I haven’t posted a New Order track in nearly five years. What the fuck happened to me, man? I used to be cool.

New Order
True Faith-94
True Faith-94 (Radio Edit)
True Faith-94 (Perfecto Mix)
True Faith-94 (Perfecto Radio Edit)
True Faith-94 (The TWA Grim Up North Mix)

I bought 23 new wave and synth-pop CD singles this weekend.

There was a sale. I’m a weak man.

Sadly, much of what I purchased cannot be shared here because its all shockingly in print now. It amazes me still how much obscure and formerly hard-to-find stuff is being re-released now compared to when I started this blog 14 goddamn years ago. Remember how I could just go to a record store, snag a shitload of Depeche Mode 12″ singles (on the cheap) and end up posting a dozen or so remixes that had all fallen out-of-print? Those days are long gone. I bought several Depeche Mode singles at that sale. I have to double-check to be sure, but it would appear that all of the remixes on all of them are now easy to find on iTunes, special edition re-issues, and even on streaming services. The same goes for the Erasure stuff I picked up. I grabbed the first four EBX singles collections that the band put out several years back. Now all of those are available for listening online, as well as several digital-only sequels to the series (Boo to digital only!).

But you know what prominent new wave/synth-pop band continues to fuck up their legacy by keeping a large swath of their 12″ singles and CD single exclusive tracks out-of-print? That’s right, New Order. They’ve certainly gotten better. Pretty much all the remixes from their past few albums are online now, as are prominent remixes for more popular tracks like “Bizarre Love Triangle” and “Confusion.” But songs like these, the 1994 remixes “True Faith” are still MIA (the main ’94 remix was included on The Best Of New Order but that album is now out-of-print in most territories). For some reason, most of the remixes to “World In Motion” are online though, so who the hell knows why which tracks make it online and which don’t, its certainly not an issue of quality.

And these are really good remixes! Of a really good track! None of them are too drastic, they’re not pure dancefloor mixes that take away the vocals or hooks. They’re all really recognizable as remixes of “True Faith,” an all-time banger of a track if you ask me. I could get that hook stuck in my head for days and I wouldn’t complain. If I had anything negative to say about these cuts, it’s that they don’t do enough to deviate from the source material. But hey, I guess if it ain’t broke, why fix it?

I wonder how many discs it would take to properly re-release every New Order remix. How big would that box set be? It would have to be dozens of discs, right? I guess that’s why it’ll never happen. They’re far happier dishing this shit out piecemeal (with plenty of overlap so we end up buying a lot of the same music multiple times over). Oh well, a guy can dream.

Probably more New Order next week. Or a batshit stupid synthesizer album. I guess it depends on my mood that day.