Podcasts about beat dis

Today's episode of Electronically Yours features maverick songwriter & producer Pascal Gabriel. His career has spanned 30 years so far, from S-Express's number 1 hit ‘Theme from S-Express', Bomb The Bass's landmark album ‘Beat Dis', EMF's multi-platinum ‘Schubert Dip', Dido's ‘Here With Me' and ‘No Angel', to later hits with Kylie, Ladyhawke, Will Young, Goldfrapp, Marina and the Diamonds, Miss Kittin, Little Boots, Emma Louise, The Temper Trap, as well as his solo project Stubbleman. Ladies and gentlemen - meet the great talent of Pascal Gabriel... If you can, please support the Electronically Yours podcast via my Patreon: https://www.patreon.com/electronicallyours

A debut single that shook the dancefloor everywhere,  started a production career, and was played at my family home in the afternoon when my school mates would wait for their busses.Greater Dub - Severed Heads1991Used with the permission of Tom Ellard

Hogyan találkozik a magyar népzene és borongós indie-gitárzene – erről mesél Nóvé Soma, Mordái frontembere a stúdióban. Milyen nehéz időszakot dolgozott fel Ohnody? Milyen az új Gorillaz? Ismeritek a Sun-Rot nevű zenekart? Milyen együtt a Kávészünet és Dánielfy? Új dalt hozott ki Lana Del Rey, jön az új album, sok év után új számmal tért vissza a Beat Dis, és ők is nagylemezre készülnek. Friss zenék ezen a héten is az Intróban.

One of my favourite and most influential albums ever, came from the genius of Tim Simenon aka BOMB THE BASS' debut monster from 1988, INTO THE DRAGON. From the whole feel of the album sounding like it came from a pirate radio station to the ultra funky breakbeats – this album has it all.BPM = 91 – 124TRACKS:SAY A LITTLE PRAYER (album version)SAY A LITTLE PRAYER (get down and pray mix)HEY YOU!MEGABLAST RAP! (feat MC Merlin)BEAT DIS (gangster boogie inc remix)BEAT DIS (u.s. 7” mix)MEGABLAST (hip hop on precinct 13) (7” mix)DON'T MAKE ME WAIT (7” mix)DON'T MAKE ME WAIT (maximum frequency 12” mix)SHAKE ITON THE CUTFor all your mechamix needs go to:THE OFFICIAL WEBSITE:http://mechanism.podomatic.comTHE OFFICIAL FACEBOOK PAGE:https://www.facebook.com/theofficialmechanismpodcastTHE OFFICIAL TWITTER PAGE:https://twitter.com/MechPodTHE OFFICIAL MIXCLOUD PAGE:https://www.mixcloud.com/Mechanism_PodcastTHE OFFICIAL INSTAGRAM PAGE:https://www.instagram.com/mechanism_podcast/GOOGLE PODCASTS:http://bit.ly/GoogleMechamixTUNE IN:http://bit.ly/TuneInMechamixAPPLE PODCASTS:http://bit.ly/AppleMechamixIHEART RADIO PODCAST:http://bit.ly/IheartMechamixYOUTUBE:https://www.youtube.com/c/THEOFFICIALMECHANISMPODCASTREDBUBBLE MERCH STORE:http://Mechanism.redbubble.comTEEPUBLIC MERCH STORE:http://bit.ly/Mechamixmerch#mechamix

Welcome to MixBus - a series of exclusive podcasts featuring the worlds best Producers, Mixers, and engineers talking about their careers and their approach to music.Songwriter & producer Pascal Gabriel’s career has spanned 30 years so far, from S-Express’s number 1 hit ‘Theme from S-Express’, Bomb The Bass’s landmark album ‘Beat Dis’, EMF’s multi-platinum ‘Schubert Dip’, Dido’s mega-selling ‘Here With Me’ and ‘No Angel’, to later hits with Kylie, Ladyhawke, Will Young, Goldfrapp, Marina and the Diamonds, Miss Kittin, Little Boots and more recent releases including Emma Louise‘s second album ‘Supercry’, as well as The Temper Trap‘s latest album ‘Thick As Thieves’.The first album from Pascal’s newest project ‘Stubbleman‘ is an ambient, electronic soundscape that amazes and delights in equal measure. Pascal welcome to MixBus..  The success of this series depends on people hearing it so don’t forget to tell your friends and remember to give it a 5 star rating. Please subscribe on your podcast platform of choice to make sure you don’t miss out on future episodes, special offers and promotions. Find out more at kpmixbus.com and follow us on Facebook.com/kpmixbus and @kpmixbus on Instagram and Twitter. Do join me for the next episode..Hope you enjoy the show.  This episode is brought to you in association with KMR Audio, the UK’s leading independent pro audio retailer and recorded and mixed in Association with Audient and the ID44, Audio Technica and Filepass.com, file sharing built specifically for the audio industry.Theme Music by Justin Canton. Logo by Richard Portman 

Nik Pascal, Magnetic Web, Magnetic Web LVRIN, 696, LVRIN Bomb The Bass, Beat Dis, Beat Dis Bobbie Ejike, Checkin' Out, Checkin' Out Set The Tone, Dance Sucker (Francois K. Remix), Dance Sucker / Let Loose Krush 2, Ghetto Jump (Instrumental), Ghetto Jump Satin Blu, One + One = Us, One + One = Us Bad Boys Blue, You Are Woman, Hot Girls, Bad Boys Spanish Symphonic Orchestra, Computer Game, Energy / Computer Game Pluton and Humanoids, World Invaders, World Invaders Gay Cat Park, Lady Bird ("Yano Pro" rev. 1), Synthetic Woman Bonus Tracks (Cassette B-Side and Demos) First Patrol Featuring Napolean, The Streets of Miami, The Streets Of Miami (Vice Rap) Allen Dee, Inny Miny Miney Moo, Inny Miny Miney Moo Strawberry Switchblade, Little River, Strawberry Switchblade Home Service, Only Men Fall In Love, Only Men Fall In Love El Aviador Dro, Selector De Frecuencias, Alas Sobre El Mundo The Wake, Host, Something Outside Tim Scott, Swear, Just Say Yesterday Fashion, Mutant Dance Move, Love Shadow Happy Mondays, Bob's Yer Uncle, Pills 'N' Thrills And Bellyaches Devo, Plain Truth, Total Devo Electric Power Band, Sugar Daddy, Sugar Daddy Shakatak, Don't Push Me, Day By Day Jorge Ben, Rio Babilônia, Dádiva The Lijadu Sisters, Bayi L'ense, Mother Africa Moon, Sing With Me, Sing With Me / Where She's Gone Michael Bundt & Peter Seiler, Golden Bells, Dreamdancer (Original Motion Picture Soundtrack) aka Carl Ludwig, Der Traumtänzer Chameleon, Sarah's Song, Charade Roger Webb, Los Angeles, Special Edition No. 3 - The Pulse Of The Cities Stanley Myers, Main Theme From Sitting Target, The Original Motion Picture Soundtrack To Douglas Hickox's Sitting Target

1 Don't Lose The Magic by Shawn Christopher 2 Gonna Catch You by Lonnie Gordon 3 Love's About To Change My Heart by Donna Summer 4 Found Love by Double Dee 5 Space Jungle by Adamski 6 Believe The Hype by Snap 7 Work My Body by DSK 8 Pump Up The Jam by Technotronic 9 Deep in My Heart by Clubhouse 10 Touch Me by 49ers 11 Jack to the sound of the underground by Hit house 12 Beat Dis by Bomb The Bass 13 Theme from S-Express by S - Express 14 No Deeper Meaning by Culture Beat 15 Do You Want Me by Lee Marrow Feat Lipstick 16 Dirty Cash by Adventures Of Stevie V

1. Beat Dis - Bomb The Bass 2. Hello (Honky Tonk Mix) - The Beloved 3. Say It (Disco Citizen Mix) - ABC 4. Good Life (Indulgence Mix) - Inner City 5. Left To My Own Devices (New Toy Mix) - Pet Shop Boys 6. World (World In Action Mix) - New Order 7. Heart - Pet Shop Boys 8. That Way Again - Seven Red Seven 9. World In My Eyes (Sensoria Mix) - Depeche Mode 10. Don't Let My Love - T42 11. Oh L'amour (The Funky Sisters Remix) - Erasure 12. Pleasure Boys (Razormaid! Mix) - Visage 13. Images Of Heaven (Razormaid! Mix) - Peter Godwin 14. In Blue ... DJ (Razormaid! Mix) - Data 15. New Gold Dream (Razormaid! Mix) - Simple Minds Notes and other random things: First, apologies to Kon Kan fans. I had fully intended to include a remix of "I Beg Your Pardon" in this episode. But I didn't. Why? Well, I've found that early Sunday mornings are about the most opportune time for me to record podcasts now - really early. And in my half-awake, half-asleep state I cued up the wrong tune. In all my years of DJ-ing/podcasting, I can't ever recall cuing up a song I had no intention of using. It's funny, but I couldn't for the life of me figure out why the beats wouldn't match and it wasn't until 3 or so minutes later that I realized I was cuing up the wrong tune. At that point, I didn't have enough time to switch to a different song, so I just went with it. So, for all you Pet Shop Boys fans out there, you get two PSB tunes in this podcast with only a single song separating them. It works, I suppose, but I generally prefer to use only one song per artist in each 'cast. I guess there's a first time for everything, right? Speaking of a first time for everything, after 45 episodes, Bomb The Bass finally appears in song form and not in a production or remix vein. I alluded to "Beat Dis" in episode #41 as CRC featured the Bomb The Bass Mix of Depeche Mode's song "Strangelove" as the lead-off track. One of the early dance tracks to incorporate sampling into the mix, "Beat Dis" was the first single from Bomb The Bass (aka Tim Simenon) and had upwards of 72 samples contained within. Along with ground-breaking tracks, "Pump Up the Volume" by MARRS and "Theme from S'Express" by S'Express, "Beat Dis" heralded the arrival of sampling as a viable artform. The track was huge in Europe, reaching #2 on the UK Singles Chart. It also peaked at #1 on the Billboard Hot Dance Club Play Chart for one solitary week, marking the only charted hit for Bomb The Bass in the United States. I have a real soft spot for the track I'd like to mention next. The band is T42 and the track is "Don't Let My Love". These guys were on the upswing and on the cusp of breaking out in a big way from the Dallas-Ft.Worth market during my time there in the early 90s. Orignally a duo consisting of Jay Gillian and Jimron Goff, vocalist Will Loconto supplanted Goff as the lead singer in 1989. After the release of a cassette EP (remember those?) called Hot On Top, they gained steady airplay on 94.5 The Edge radio station, which was home to all the great alternative bands back in the day. One of my many record store haunts back then, Oak Lawn Records picked up the band for a 12" single of "Don't Let My Love", which did well enough to attract the attention of Columbia Records, who signed the group. They released the full-length album, Intruder, in 1992, which was produced by Paul Robb from Information Society. It's hard not to hear the similarities to Information Society on "Don't Let My Love" and other songs on the album as well. In an ironic twist, Loconto quit the band in 1993, setting out to work with Information Society. While Gillian brought in other musicians to keep the T42 fires burning, the band's star faded and the group melted wistfully into the retro ether. Still, they left behind some tasty pop sugar for our consumption, even doing a very respectable cover of "Let Me Go" by Heaven 17. If you're into upbeat electro-pop, Intruder is definitely worth a listen. And if you're from the DFW area, the album and this song should be a reminder of an excellent time when the DFW local music scene was king. Taken from his 1982 album of the same name, Peter Godwin's "Images In Heaven" resembles more of a cult classic than a bonafide mega-hit. Formerly a member of the short-lived glam rock band Metro, along with Duncan Browne and Sean Lyons, Godwin is probably best remembered for his solo effort, "Images In Heaven", though you'd be hard-pressed to find anyone outside of devout new wave lovers who are very familiar with the song. David Bowie may argue the "best-remembered" point, as Metro's song "Criminal World" made enough of an impression on Mr. Stardust to induce a cover tune. Still, outside of 1983's Correspondence album and a Best Of compilation released in 1998 on Oglio Records, Godwin's scant musical output has always left new wave junkies wishing for something more. Something more ... also the sentiment I feel about Seven Red Seven. Chicago natives and band mates, Mitchell Adrian and David Michael, formed the group in the early 90s and had only a couple of releases issued to minor success before going on to production work for other musicians. However, their time together as a band produced one of the more under-rated and under-appreciated synth-pop albums in Shelter, which was released on Speed Records in 1991. The album included the song here, "That Way Again" and "Thinking Of You" (which appeared in remix form in CRC episode #34). Both were issued as singles. However, the rest of the album, much like Intruder by T42, is a synth-pop delight and a must-have for any synth-pop completist, especially for fans of Red Flag, Cause & Effect, Anything Box, Cetu Javu and others. The group would record just one more album, Bass State Coma, in 1994, and an interesting cover of "Superstition" by Stevie Wonder before moving into the production field. Truly a shame their total musical output was not much, much greater. P.S. Go buy Shelter! The last band I'd like to mention in this episode is the band Data. Fronted by Georg Kajanus, who made waves in the 70s with his band Sailor, Kajanus left Sailor in 1978 to dabble in electronic music. From this, Data was born. The track here, In Blue ... DJ, is a hybrid mix by Razormaid! Records of a couple of tracks from Data's third and final album, Elegant Machinery. Their other releases include 1983's 2-Time and 1981's Opera Electronica. In 1995, Eternity Records released a compilation album called Accumulator containing the second and third albums in their entirety plus the track "Fallout" from the Opera Electronica album. That's it for this episode. I'll be back soon with another new episode. Thanks for listening!

1. Strangelove (Bomb The Bass) - Depeche Mode 2. Keep On (Razormaid! Mix) - Cabaret Voltaire 3. World In Motion (The B-Side) - England New Order 4. Suicide Blonde (Milk Mix) - INXS 5. Don't Talk To Me About Love (12" Mix) - Altered Images 6. Quiet Life (12" Mix) - Japan 7. Memorabilia (12" Mix) - Soft Cell 8. Left To My Own Devices (New Toy Mix) - Pet Shop Boys 9. Your Love Takes Me Higher (The Pod Went Pop Mix) - Beloved 10. You Spin Me Round (Murder Mix) - Dead Or Alive 11. Take Me Now (Razormaid! Mix) - Vicious Pink 12. Sex (I'm A ... ) (Extended Version) - Berlin 13. Girls On Film (Night Version) - Duran Duran 14. Dance With Me (Long Version) - Alphaville 15. It's Called A Heart (Extended) - Depeche Mode Notes and other random things: I hope this time around I will get to do some notes on some of the tracks in this episode. I'm guessing most would rather hear the music than read a bunch of ramblings from a guy stuck in the 80s, but I'll do my best to keep the total package intact. I do want to quickly point out to readers/listeners that this episode did manage to earn an "Explicit" tag due to some thematic issues in a couple of the songs. While the language is generally fine, there is one "slut" outburst in the Berlin tune and some sketchy noises in a couple of the songs typically associated with carnal activities. Just wanted any parents out there to be aware should you feel like playing this mix in the car or somewhere where inquisitve and/or impressionable kids might be within earshot. Berlin and Beloved are the problematic songs, so just fast-forward through those if you're concerned. On to the songs ... Leading off things is a Bomb The Bass remix of the DM classic, "Strangelove". It's an appropriate first track, I suppose, as the song was the first single off the Music for the Masses album, which was released in 1987. While eminently successful at that point in their career, it's probably the album that nudged DM toward super-stardom, an interesting turn of events considering the band chose the album name as a lark, a snide dismissal of the suggestion that they create more commercially successful music. While the compositions on the album were more sparsely arranged than previous albums and darker in tonality, the album was a critical and commercial success, effectively making DM a musical fixture among the masses, something they jokingly embraced in selecting the title. As for the song itself, it was originally a high-energy pop song, but Mute founder and producer Daniel Miller thought the overall feel of the track wasn't a good fit for the album. Miller's remixed version is the one that shows up on Music for the Masses. Bomb The Bass, by the way, is the one-man audio production team, Tim Simenon. Simenon found early success in the mid-80s as a musician creating drum tracks and basslines, then "bombing" them with a variety of samples and noises. His first single, "Beat Dis", which contained 72 samples including bits and pieces from Public Enemy to Ennio Morricone to anything in between, was one of the first tracks to introduce sampling into the musical vernacular. "World in Motion" was a song written by New Order in support of England's 1990 FIFA World Cup campaign. Believe it or not, the tune still stands as New Order's only #1 hit on the UK singles charts, holding the top spot for 2 consecutive weeks. The song is credited to ENGLAND New Order, most likely because members of that era's football (soccer) team, including left-winger and future hall-of-famer, John Barnes, contributed vocals and rapping to the song. Last year, a blog entry in NME magazine celebrated the 25th anniversary of perhaps the greatest sports-themed anthem of all time with a look at ten "geeky" facts about the song. I've reposted them below. 1. New Order drummer Steve Morris claims the band's manager, Tony Wilson, tricked the FA and the band into working with each other. "Knowing Tony, he probably sold them the idea of us doing a song and then told us the FA had come up with the brilliant idea." 2. In fact, he and instrumentalist Gillian Gilbert initially thought the offer of making the song was a joke. They had another offer of work on the table – with director Michael Powell – but eventually chose to delay that until the following year. Later, on the day they started recording 'World in Motion', they received a phone call saying Powell had died. "We made the right decision," they said. "We'd have looked like proper charlies working with a dead director." 3. Gilbert and Morris were actually pretty crucial to the song – the track was adapted from one of their compositions as The Other Two, which was originally written for BBC's 'Reportage'. 4. At the time, when NME asked footballer John Barnes how excited he was to be collaborating on a football song, he responded: "If I thought it was going to be the same as the usual crap, why bother? But this is alright." Barnes' rap was written by the man himself and performed - legend has it - in one take. 5. When the FA heard "love's got the world in motion", they asked the band to replace "love's" with "we've". The band refused. "It's an anti-hooligan song", they said. Too right. 6. Morris, in a crisis of ambiguity, called coming up with the lyrics a "nightmare", because he wanted to avoid any association with football violence while being cheeky enough that "if it all went pear-shaped, at least we could say it was a joke." He later said, "I couldn't imagine it being anything other than 'World Cup Willy', but Keith Allen got involved and made it funny." 7. Keith Allen, who co-wrote 'World In Motion', wanted it to be called 'E for England', with lyrics that ran: "E is for England, England starts with E / We'll all be smiling when we're in Italy." The FA vetoed the decision. Looking back at it in 1993, he was diplomatic: "I think at the time there were certain drug-related overtones that didn't appeal to either Top of the Pops or the record company." Allen was later involved in 1998 unofficial England song 'Vindaloo'. 8. At the time the song was released, lead singer Bernard Sumner told NME, "This should be the last straw for Joy Division fans." Make of that what you will. 9. Reflecting on the song years later, Morris said that it may have changed football. "It did come at a bit of a turning point for football. Until that point it was all very laddish. After 'World in Motion' everybody got a bit loved-up with it." 10. Barnes recently revealed that he had to do a rap-off with Paul Gascoigne, Steve McMahon, Peter Beardsley and Des Walker before he was picked to perform the rap. The question is - did Gazza cry when he lost out that time too? By the way, the song that would knock "World in Motion" from it's lofty perch at #1? "Sacrifice" by Elton John. For shame! Produced by the great Trevor Horn and appearing on the album Introspective, as well as being one of the longest tracks in their musical repertoire, "Left to My Own Devices" by the Pet Shop Boys was intended to be an "experiment in seeing how mundane a pop song could be, before setting it against extravagant music," according to lead singer Neil Tennant. No doubt, the song adds touches of classical music, specifically orchestral phrases culled from Claude Debussy's "Prélude à l'après-midi d'un faune" ("Prelude to the Afternoon of a Faun"), to the proceedings. However, this mundane song is rife with supposedly biographical or semi-biographical information from Tennant's youth that he ambiguously puts on display topped off with an idiomatic title. Whether lyrics about "roundheads" (a reference to Pro-Parliamentary forces in the English civil war) the sun and brochures and Che Guevara are self-referential terms about the Boys' "alternative" lifestyles is a matter of conjecture and I'll leave it to smarter people than myself to pour over the details. Frankly, I don't care what the meaning. I prefer just to listen and enjoy. In a previous episode, I mentioned the numerous contributions of Nick Rhodes to the success of Duran Duran. Perhaps his biggest was that of a visionary as he quickly seized on the potential of the music video. He was the one who pushed the band toward more elaborate productions, a somewhat questionable decision at the dawn of the 80s as the phenomenon that would come to be known as MTV was still months away from its eventual August 1, 1981 launch date. Not to mention, at that time, nobody could have actually predicted the overwhelming success of the network and the lasting impact it would have on the music industry. Released in July of 1981, "Girls On Film" was the third single from Double D's self-titled album. Interestingly, it was the band that chose the song to be their third single after a dismal showing by the second single, "Careless Memories", a song that had been selected by their label, EMI. Though "Careless Memories" reached #37 in the UK, it was perceived as a failure because the first single, "Planet Earth", had been a Top 20 hit. "Careless Memories" was also the song chosen to herald the soon-to-be released full-length album. That the band chose "Girls On Film", a staple at live performances, as the group's third single was fortuitous. It helped album sales overseas, though it did not initially chart in the US. After the follow-up success of the Rio album in 1982, their first album was re-issued in the states in 1983 and became certified platinum in 1985. While the song is no doubt a great one, it was the video, which was originally filmed in 1981 a few weeks prior to the launch of MTV, that made serious waves and caused serious consternation among parents and network censors. The uncut version circulated regularly on the Playboy Channel as it was deemed too pornographic for MTV. It was also banned on the BBC. A heavily-edited "day" version was created for regular airplay and is the one with which most of us are familiar. And though the song had already achieved chart success, it was that video, directed by Godley & Creme, that kept people talking and kept the band firmly in the public eye. Simon Le Bon would later lament that the scandalous nature of the video obscured the message of the song, which was about the exploitation of models in the fashion industry. To end this episode, I figured I'd include the most reviled song in the Depeche Mode catalog. Okay, that's a bit of an exaggeration, but both Martin Gore and Alan Wilder have, on numerous occasions, described "It's Called A Heart" as their least favorite single ever recorded by DM. Wilder admitted he was "anti even recording, let alone releasing it". So, why the high level of disdain for the song? Seems the band, especially Wilder, thought that the b-side, "Fly On The Windscreen" was a stronger song and should have been released as the band's next single at the time. Apparently, the record label didn't like the fact the first word of the song was "death". Yet Wilder argues: "I fought tooth-and-nail on behalf of the B-side Fly on the Windscreen which was far superior. To me, the whole thing was a serious backward step. I felt we'd worked diligently to build up recognition for a harder sound, with more depth and maturity, and here was this ultra poppy number that did nothing for our reputation." When asked in an interview if he could turn back time and do something over again, Wilder responded: "I don't think I'd change much, apart from some of the hair styles and those daft boots I wore in 101. Oh, and I'd also make sure that I missed my wake-up call on the day we made the video for It's Called a Heart." Wilder says of the video concept, "Quite how [Peter Care, the director] equated 'calling something a heart' with twirling cameras around on the end of a string in a field of corn in Reading dressed in a skirt, I'll never be able to tell you." Wilder hated the song so much that he answered the question "In your opinion, what makes up a true DM fan?" with "Anyone who still gives us the time of day after having heard It's Called a Heart". Remixes didn't fare much better in Wilder's eyes. He once commented on the "Slow Mix" version of the song, "...you do need to be particularly devout to endure it - slowing it down to half speed made it twice as long - probably not a very good idea - twice the agony." Okay, so Alan Wilder doesn't particularly care for the song, but I LOVE IT! And since I'm curating this podcast, I included all 7+ minutes of the Extended Mix for your listening enjoyment. That's it for this episode. I've got another podcast all figured out and I'll post it as soon I can find time to record it. Thanks for tuning in/listening/reading!

Tracks: Dr MEaker & Ramajam, Styler Reviva, Ramajam. Tom Forester - Feel Good DJ Dan remix, InStereo. Drunken Masters - Bang Bang, Techno changed my life. Substantial Error – Sunshine, Patrick Hagenaar Mix. Wow And Flute - This Goes Out, Housepital. WhiteNoize – Shake and Bake, InStereo. Real El Canario - Pegale, Beat Dis.

Eric B. and Rakim "I Know You Got Soul" Queen Latifah ft Monie Love "Ladies First" Jungle Brothers "What U Waitin' 4? De La Soul "Say No Go" Snap! "The Power" Richie Rich "Turn It Up" (Inst) Rob Base & D.J. E-Z Rock "It Takes Two" (Inst) M.A.R.R.S. "Pump Up The Volume" Bomb The Bass "Beat Dis" Simon Harris "Bass (How Low Can You Go)" Simon Harris "Here Comes That Sound" Hardhouse by Todd Terry "Check This Out" Afrika Bambaataa & Soulsonic Force "Looking For The Perfect Beat" Casanova's Revenge "Let's Work" Rob Base & D.J. E-Z Rock "Get On The Dance Floor" Jack E. Makossa "The Opera House" Inner City "Ain't Nobody Better" Royal House ft Ian Star "A Better Way" EP42 "1980s Hip Hop, Electro-Funk & House" Recorded from vinyl 06.04.11 Time 51:45