CONCEPT CREATED & MIXED - planetmeech
ARTWORK - HEAVY PC
IF YOU WOULD LIKE TO BE MADE AWARE WHEN FUTURE PROJECTS BECOME AVAILABLE,
THEN PLEASE
NOTE THAT THIS IS NOT A MONEY MAKING EXERCISE
IT HAS BEEN DONE PURELY FOR
THE LOVE OF MUSIC
AND WE ARE HAVING AN ABSOLUTE BLAST
BELOW YOU WILL FIND LINKS TO THE FEATURED ARTISTS ALONG WITH BASIC NOTES EXPLAINING MUSICAL CHOICES AND INSPIRATIONS
I remember this being used at the beginning of The Hunger and thought at the time that it was used really well as an intro/opening. So when I came across this recently completely at random I knew that I had to use it as the opener to start things off slightly differently.
When I first heard this I thought it was a Tin Machine track that I hadn’t heard before and still think the same now whenever I listen to it even though I know otherwise? The accident on the intro also worked out near perfectly (something I would struggle to recreate).
I’m looking for a signature background theme for my intros in the vein of my earlier compilations (Depeche Mode and 9 Lazy 9). However, I’m still undecided on the final theme going forward. I think it works on this occasion but may not be quite as suitable in the future…….
I originally used this song on EVEN BETTER - GLASTONBURY '92, an early compilation that was put together for the trip to the festival, but it was performed by Red Hot Chilli Peppers. I still really like the track and this seemed like the perfect opportunity to pay tribute to the originator.
Originally planned as the second track to follow on with the slightly different feel of the opening, but later moved to flow better with the next track and felt that both reflected the feel of U.S. dance music from that era?
As mentioned above and this had been my favourite Madonna track for many years.
DAYTONA 500 - GHOSTFACE KILLAH
I’ve loved this ever since watching the Anime inspired music video constantly about twenty+ years ago, so was ultra happy to finally get to use this on a compilation at last. The title and the pressing feel also lend very well to a journey companion.
I’m kicking myself now because I’m unable to use anything from this album on the space themed project, but its a worthwhile sacrifice because I’m extremely happy with the crossover between this and the next track and the way it fits with everything else as a whole.
Aware that I needed to bring things up to date, I purposefully looked for something current that would not jar with the feel I was going for. As soon as I heard this, I knew that it was going in the mix - the way the two vocals have been overlaid and the retro synth feel remind me very much of a premium Prince track that I am yet to hear - winner!
I came across Amp Fiddler completely by accident. Ever since my listening habits had been revolutionised by the introduction of the iPod many years ago, I became obsessed with filling the capacity of each subsequent model. This encouraged my appreciation of World Music and Afrobeat in particular. Therefore, I jumped at the chance to see Tony Allen at the Jazz Cafe in September who was performing with Amp Fiddler. The latter ended up taking over the whole show and I was deprived of listening to any Afrobeat at all! However, what we did experience was some very SMOOTH keyboard based funk and this track stuck in my head. It also follows on perfectly from the track before.
PUNK'S NOT DEAD - THE EXPLOITED
The spoken intro works really well both as an abrupt end to the smooth feel of the last few tracks and an introduction to my Punk Suite. Not initially intended as the first Exploited track that I would use but the title does achieve the desired effect.
The first time I saw Slaves performing on the television, I was bowled over by the noise and energy that was being created by just two people. When I had the idea to showcase different eras of punk then this proved to be pivotal.
I’m not sure how this popped up in my play next list, maybe one of the sinister algorithms that the conspiracy theorists bemoan. Well, in this instance, I fully embrace the future, Ai, Big Brother and the rise of the machines - not in a bad Terminator 3 way though.
THE HORSELL BRIDGE - planetmeech
Could I claim this as an original track? Others have made careers out of putting together loops and samples, albeit, with a more radio friendly approach? I created this as a way to close the gap that remained at the end of the first ‘side’ and to link between the two styles of music. To say that I’m pleased with the result is an understatement!
You still get the divide between the two sides but at the same time the whole set can run together as one listen.
HORSELL COMMON AND THE HEAT RAY - JEFF WAYNE & RICHARD BURTON
This section of the Jeff Wayne rock opera has always been the standout for me ever since my junior days and was cut from NO LEGS fairly late on as I simply ran out of sides.
I remember first hearing this and it instantly conjured thoughts of the devastation left behind by the Martian invasion from War Of The Worlds. An obvious follow on from the track before and another tune not to make the final cut of the previous mix.
Bizarrely, another track that I associate with extra terrestrial activity, maybe due to the effects used on the backing vocal, and it is placed perfectly within the project.
Take that!
CONCRETE JUNGLE DUB - BOB MARLEY & THE WAILERS
Those sinister algorithms have been at work again……
This time from my TV??
I immediately thought it was King Tubby on my first listen but later identified it on Shazam as I knew I would probably end up using it at some stage.
It seemed only right that I include something from The Orb as they have contributed quite heavily to the soundtrack of my life. This track is also bang up to date and helps the flow between Jamaican Dub and UK Drum & Bass.
First identified as a possible track for a future ‘playlist’ many years before on my daily commute to the lower tip of the Midlands. Again, fits quite well and manages to pull off the transition between different sub genres of electronic music.
Andrew Weatherall needs to be considered among the finest DJ/Producers that has ever existed and together with Keith Tenniswood, deliver electronic music at the higher end of listening quality. This track in its original form was an early casualty of the first edit, but after some cuts and adjustments to other tracks, fitted in rather well.
I chose to use this in the same way I closed off the previous mix, with something inspired by my experience of attending club nights in my previous life.
I remember this being used right at the end of an evening or closing of a set, so thought I could reflect my earlier musical tastes and round things off in the same way.
ALTERNATIVELY, FOLLOW THE LINK BELOW FOR THE 60 MINUTE
APPLE MUSIC 'SOFT EDIT'
DIRE STRAITS R YANKS - 60 MINUTE APPLE MUSIC 'SOFT EDIT'