This is the other side of the tape from week 15 (which was the week after this) and comprises a mix I did of 45 minutes which is all I have of this show. There may have been more but the cassette ran out. This is still billed as Openmind but Matt Black refers to me as ‘Strictly Kev on the mix’ at one point so this is somewhere midway to coming to the Solid Steel / Ninja fold and becoming a part of DJ Food.
Trip hop and electro is in full flow on this one with the first release on Clear – The Jedi Knights’ ‘May The Funk Be With You’, Afrika Bambaataa and an early Andrea Parker / David Morley production for the Apollo label under the name Two Sandwiches Short of a Lunchbox.

Jon More‘s (then) secret weapon – Forrest J. Ackerman’s ‘Music For Robots’ is deployed for spoken word effect (just wait until we got to Japan in a few years time…) and coincidentally (or maybe on purpose) the Yoshinori Sunahara track that opens the set is titled ‘Music For Robot For Music’.

After that the Art of Noise gets molested by Rick Rubin’s uber slow, ultra heavy ‘Dust Cloud’ from the Tommy Boy ‘Masters of the Beat’ compilation, it doesn’t always work but you can hear what I was trying to do. An early David Holmes mix for Justin Warfield and the Future Sound of London in their Far Out Son of Lung guise both dip their toes in psyched out trip hop with long, tripped out distorted beats and FX, this was the stuff I really loved (and still do) – weird, heavy, psychedelic beats and samples.

I think most people are hip to Justin’s LP debut LP by now, ‘My Field Trip To Planet 9’ – a trip hop classic before the term was even coined, if you’ve not heard it then check it out. The only other things like it at the time coming from the US were bits of Beastie Boys’ circa Check Your Head, some Divine Styler and maybe a bit of the DJ Muggs stable. UK remixes by Holmes, Ashley Beedle and The Dust Brothers (UK version, pre-name change). In a weird twist of fate Justin would soon feature on Bomb The Bass’ ‘Bug Powder Dust’ single which would also sample DJ Food’s ‘Dark Lady’. Sadly he largely left hip hop for more rock-based bands for about 20 years after this although he made another rap album 20 years later and made this astute observation: “The only caveat being I didn’t know what to talk about, and since hip-hop is at it’s best a vehicle for an artist with something he or she has to say, a point of view given voice over beats, and that if you had nothing to say, well…then better to not say anything at all. (A point lost on some modern rappers, and more importantly, the ever-growing audience that gobbles it up).

Track list:

Coldcut – Solid Steel intro jingle
Yoshinori Sunahara – M.F.R.F.M. (Armed)
Boymerang – The Don
Forrest J. Ackerman – Music For Robots
Art of Noise – Moments In Love
Rick Rubin – Dust Cloud
The Jedi Knights – May The Funk Be With You
Afrika Bambaataa & The Soul Sonic Force – Looking For The Perfect Beat (Bonus Beats)
DJ Food – A Little Samba
Afrika Bambaataa & The Soul Sonic Force – Looking For The Perfect Beat (instrumental)
Two Sandwiches Short of a Lunchbox – Too Good To Be Strange
Justin Warfield – Live From The Opium Den (David Holmes Dub)
Future Sound of London – Far Out Son of Lung & The Ramblings of a Madman
Bandulu – Run Run

As we conclude our field trip with Mr Geets Romo and the hopelessly out of his depth square narrator, played by Del Close and John Brent on their ‘How To Speak Hip‘ album we continue down the electronic jazz path of the late 90s. The Death track came on a silver 12” with no labels but a skull sticker listing the components used to make it and I regularly used it as a rhythmic bridge between styles when DJing. Looking it up now I see that it was the only release under this name by Thomas P. Heckman who started making all manner of electronic records in the 90s including starting the Trope label which this is on. It’s great having the internet and Discogs now to look this stuff up, back in the 90s, although we had email and a vague version of the web, it was hard to find out about some of the more obscure releases that turned up in record shops unless they came with a press release or were featured in a magazine.

The Tortoise remix here is by Bundy K. Brown who I was keeping close tabs on after we’d met in Chicago on our first tour of the US and pledged to work together. I love his remixes, there’s something about the way he puts things together with both a musician and engineer’s mind that brings out unique results. I love the way he draws things out here, the groove and mood gently unfolding with minute changes. Also, this one is LONG, so much so that I play the whole of the next record over it and barely get time to mix another track in before that’s ended.

Those records being Jamie Hodge’s Born Under a Rhyming Planet alias and Kingsuk Biswas’ Bedouin Ascent with their takes on electronic, abstract jazz. Both were prolific in the mid 90s and then went quiet as the 00’s appear, neither having released any music for over a decade now. Kingsuk especially I thought could have been as big as Aphex or label mate Luke Vibert, his complex angular rhythms were like no one else’s. Following this we have a track from the rare MASK 400 12” from Gescom’s Skam label, which sees Grace Jones’ ‘Private Life’ remixed by Post which may have been an alias for Mike Williamson. We get another (very out of tune, mix wise) track from Papa Blue’s ‘En Velo’ 12” (remember, cheap over on Discogs) and ‘Proxima Session’ was from a 12” entitled Jazz Roux by Uriel who followed a similar pattern to others here by being super active in the mid to late 90s and then disappearing.

Track List:
Del Close & John Brent – Field trip no.3
Death – Electronic Realisations 2
Tortoise – Find The One (Wait , Abstraction No.3)
Born Under A Rhyming Planet – Spasm Band
Bedouin Ascent – Internal Bleeding
Grace Jones – Private Life (Post remix)
Papa Blue – Luna en la Pampa
Uriel – Proxima Session

‘Come with us now…’ Having finally secured a copy of Del Close and John Brent‘s ‘How To Speak Hip’ LP after coveting it from the pages of the Incredibly Strange Music books I was keen to put its extensive spoken word passages to good use. Thus the Jazz Beatnik Hipster sessions were born, three half hour mixes that all aired on Solid Steel on 25/10/1998 (the 18th date on the inlay was when they were recorded). Using dialogue from the album to punctuate the sets and give them some continuity, I mined the album for nuggets before plundering it even further for ‘The Riff’ on Kaleidoscope. I always recall the end of the 90s as an odd time for music, after a decade of incredible dance music that seemed to mutate and spew forth a new genre each year, things seemed to be slowing down a bit. People started looking back for new things and the easy listening/moog scene was a notable example, the soundtrack reissue/bootleg market seemed to be booming and compilations of library music started cropping up for the first time.

Big Beat had taken over in the clubs and, after the initial excitement of The Dust/Chemical Brothers and Fatboy Slim‘s early singles, become seemingly wedded to lad culture and followed a formula that saw it get old pretty fast. Ninja and Mo Wax were now firmly established and no longer the hot new thing, both had broadened their palette with two of their more ambient/electronic signings featured here in Andrea Parker and The Irresistible Force whose ‘The Lie-In King’ is a bit of a lost classic. Another is an early Fink offering here, the same but very different sounding Fink who is now a world famous acoustic singer songwriter, but who started out on Ninja sub-label, Ntone. I remember touring with him in the late 90’s and he once casually mentioned that he wanted to win a Mercury Prize one day, we all looked at him as if he was mad but he’s not far off these days having worked with John Legend and Amy Winehouse over the years.

NT were a Scottish group who promised much with their first two singles but seemed to falter somewhere along the line and although an album exists as a CD promo I don’t think it came out properly, not sure what happened there. Independant hip hop labels like Rawkus and Fondle ‘Em where putting out the most interesting rap at this point in the US with Company Flow and MF Doom making their debuts. The Arsonists made some great 12″ singles too with this low slung track in 3/4 time. A Get Carter theme ensues for the end of the mix with UNKLE‘s sample sound-a-like and a track from Roy Budd‘s soundtrack followed by Stereolab‘s cover version of the main theme. The ‘Lab were in their golden period at this point, one of the coolest groups in the business, hopped up on Krautrock references, hook ups with Tortoise in the US and having people like Autechre, Luke Vibert and UNKLE remix them.

Part 2 follows next week…

Track list:
Del Close & John Brent – Field Trip no.1
Andrea Parker – After Dark
The Irresistible Force – The Lie-in King
Fink – The Fink vs DJ Ali-Cat
NT – Distances Dub
The Arsonists – Geembo’s Theme
UNKLE – Rabbit in Your Headlights (instr)
Roy Budd – Getting Nowhere in a Hurry
Stereolab – Get Carter

More space age shenanigans with part 2 of the Dark Star set with an odd mix of (then) current electronica and old moog-y bits plus a trio of Stereolab side-project cuts from the Turn On album sitting somewhere in the middle. This was the period where the band were really getting interesting, leaving their indie guitar roots behind and embracing krautrock and electronica more and I was hoovering up everything they touched. They appear again in a remix capacity on the Microstoria track and early Air crops up (the French version). Another track from George Harrison’s Electronic Sound LP appears and there’s a huge chunk of the bomb scene from Dark Star to finish.

Part 2 – The Bomb
Turn On – Ru Tenone
The Electronic Concept Orchestra – Rock Me
Mr Mahoney – Harmonica Storm
Microstoria – Microlab: Endless Summer (Stereolab remix)
Air – Le Soleil est Pres de Moi
Lalo Schifrin – Commando Opus
Turn On – Delimiting
Turn On – Glangerous
Autechre – Krib
George Harrison – Under The Mersey Wall
excerpt from Dark star – Bomb Speech
Dick Hyman – Moon Gas