Tag: Sugababes

A Beginner’s Guide To WILLIAM ORBIT

10 April 2019 /

William Mark Wainwright got his affectionate nickname Orbit from his friends who considered him to be something of a “space cadet”.

As William Orbit, the Hackney born musician and composer became one of the most revered producers, winning Grammys, Ivor Novellos and several other music industry awards, with 200 million recordings involving him sold worldwide.

Despite being a competent guitarist, Orbit considered himself unable to play keyboards well and admitted that it was the advent computers in music that allowed him to fully realise his creative potential.

His portfolio has ranged from electronic acts like KRAFTWERK, OMD, CAMOUFLAGE, ERASURE, THE HUMAN LEAGUE, NITZER EBB and DEPECHE MODE to rock bands like QUEEN, U2 and BLUR.

However, it was within dance-oriented pop that Orbit made his fortune through productions characterised by his trancey soundscapes, sparing fretwork and understated rhythmic construction. He even had a Top5 hit bearing his own name, albeit with a radically different trance remix by Ferry Corsten of ‘Adagio For Strings’ in 2000.

Brought up in a classical music loving family, Orbit shocked his teacher parents by dropping out of school to pursue his more creative inclinations, having tried a synth for the first time at the age of sixteen.

Things came to came to fruition when a friend wanted to start a recording studio. That venture eventually became Guerilla Studios which has now been based in various locations over the past three and a half decades.

These days, Orbit is a very content man, hosting a classical music show on Scala Radio as well as curating occasional lecture and multimedia art events. Showing little concern for the financial aspects of the music industry, his two most recent albums ‘Orbit Symphonic’ and ‘Strange Cargo 5’ were given away as free downloads on Soundcloud in 2014.

With such a vast and varied career, it would be quite tricky to compile eighteen tracks involving Orbit’s magic touch, but ELECTRICITYCLUB.CO.UK will attempt to do that with the restriction of one track per album project. So presented in chronological order, here is a Beginner’s Guide to William Orbit.

TORCH SONG Prepare To Energise (1983)

Comprising Orbit, Laurie Mayer, Grant Gilbert and latterly Rico Conning who subsequently worked with Martin Gore on the ‘Counterfeit’ collection, TORCH SONG were signed by music entrepreneur by Miles Copeland; the advance allowed for Orbit to build up his Guerilla Studios. ‘Prepare To Energise’ is probably still their best known tune, a pulsating cosmic club favourite with robotic voices and synthesized textures which featured in the film ‘Bachelor Party’ that was maybe ahead of its time.

Originally available on the TORCH SONG ‘Wish Thing’ via IRS Records, currently unavailable

https://www.discogs.com/artist/10950-Torch-Song

THE PARTNERSHIP Sampling The Blast Furnace (1984)

THE PARTNERSHIP was an unrealised side project comprising of Peter Saville cohort and ex-SPOONS member Brett Wickens with Roger Humphreys who together recorded as CERAMIC HELLO. Produced by Orbit and heavily influenced by KRAFTWERK, the uptempo ‘Sampling The Blast Furnace’ featured lead vocals by Andy McCluskey of OMD alongside vocodered voices and chants by Martha Ladly. The slower McCluskey-less demo was a bonus on the reissue of CERAMIC HELLO’s only album.

Not officially released, alternate demo version available on the CERAMIC HELLO album ‘The Absence Of A Canary V1.1’ via Vinyl On Demand

http://www.omd.uk.com/

ERASURE Supernature – William Orbit mix (1989)

Having artists from Mute Records and their dance subsidiary Rhythm King who included S-EXPRESS being remixed at Guerilla Studios gave Daniel Miller first-hand exposure to William Orbit’s capabilities. So who better to ask to house-up ERASURE’s cover version of Cerrone’s electronic disco landmark? The end result was suitably vibrant while still importantly retaining the core of the tune amongst all the fascinating dance rhythms and interplanetary effects.

Available on the ERASURE boxed set ‘Singles – EBX3’ via Mute Records

http://www.erasureinfo.com/

THE HUMAN LEAGUE The Stars Are Going Out (1990)

From THE HUMAN LEAGUE’s final Virgin album, ‘The Stars Are Going Out’ was a good tune from Oakey and Co that was one of four mixed by William Orbit in a bitty collection that also contained two songs produced by Martin Rushent and one by ex-ZTT cohort Bob Kraushaar. Strangely though, there appeared to be little of Orbit’s distinctive magic audible in the end result. It had been an unhappy time, as Orbit preferred to work without any of the band present, something they had not been prepared for.

Available on THE HUMAN LEAGUE album ‘Romantic?’ via Virgin Records

http://www.thehumanleague.co.uk/

BASSOMATIC Fascinating Rhythm (1990)

Combining modern developments in house music and dub with the feel of SOUL II SOUL, Orbit slotted right into the zeitgeist with ‘Fascinating Rhythm’ featuring vocalist Sharon Musgrave and rapper MC Inna One Step with an uplifting club friendly number that had “pulsating action” and was “breaking into heaven”. BASSOMATIC lasted for just two albums but it cemented Orbit’s position as a studio wizard who understood sound as well as the dancefloor.

Available on the BASSOMATIC album ‘Set The Controls For The Heart Of The Bass’ via Virgin Records

https://www.williamorbit.com/

KRAFTWERK Radioactivity – William Orbit 12″ Remix (1991)

‘The Mix’ was actually supervised by KRAFTWERK themselves, with the most significant makeover being ‘Radioactivity’ and its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” for an anti-nuclear message highlighting recent atomic catastrophes. For the single release, remixes were farmed out externally and Orbit’s version offered a more preferable electro enhancement than François Kevorkian’s house laden rework.

Originally available on the KRAFTWERK ‎single ‘Radioactivity’ via EMI Records, currently unavailable

http://www.kraftwerk.com/

WILLIAM ORBIT featuring BETH ORTON Water From A Vine Leaf (1993)

If there was a track that could be considered the root of the recognised Orbit signature sound, it probably has to be ‘Water From A Vine Leaf’, his first collaboration with kooky folktronica maiden Beth Orton. Having met at a party and beginning a relationship shortly after, he asked her to contribute spoken word phrases and singing for the third in his ‘Strange Cargo’ series over some looping rhythms, hypnotic bass and chill-out vibes. Orton went on to have a solo career and work with THE CHEMICAL BROTHERS.

Available on the WILLIAM ORBIT album ‘Strange Cargo III’ via Virgin Records

https://www.bethortonofficial.com/

THE ELECTRIC CHAMBER Fratres (1995)

Orbit’s concept of adapting classical works came about because he wanted to make a chill-out album that had some good tunes. In his first attempt using a pseudonym, one of the key tracks was ‘Fratres’ by 20th Century Estonian composer Arvo Pärt. Comprising of a six-bar theme, Orbit gave his electronic arrangement a sublime haunting stillness that explored the piece’s rich harmonic space via a slow meditative tempo. However, Pärt objected to its copyright infringement and the album was quickly withdrawn.

Originally on THE ELECTRIC CHAMBER album ‘Pieces In A Modern Style’ via N-Gram Recordings, currently unavailable

https://www.arvopart.ee/en/

MADONNA Ray Of Light (1998)

With Orbit having remixed ‘Erotica’ in 1992, Ms Ciccone was keen to work with the Englishmen, spending four and a half months at Larrabee Studios in Hollywood. ‘Ray Of Light’ was an interpolation of a little known 1971 song ‘Sepheryn’ by the British folk duo of Dave Curtiss and Clive Maldoon. Despite its frantic pace, Orbit ensured that the rhythmic elements were subtle in their make up to procure an earthy rave quality that was the antithesis of most dance music of the era.

Available on the MADONNA album ‘Ray Of Light’ via Maverick/WEA

https://www.madonna.com/

WILLIAM ORBIT Triple Concerto (2000)

With his new found fame via MADONNA, Orbit was given the opportunity to reissue ‘Pieces In A Modern Style’ and included several new recordings, one of which was Ludwig Van Beethoven’s lesser known ‘Triple Concerto’. With synthetic bells and glistening pentatonics reminiscent of Ryuichi Sakamoto added for a soothing lullaby effect, use was also made of the metallic percussive loop that had been part of his version of Arvo Pärt’s ‘Cantus’ from the original withdrawn album… waste not, want not!

Available on the WILLIAM ORBIT album ‘Pieces In A Modern Style’ via WEA

https://www.facebook.com/WilliamOrbit/

ALL SAINTS Black Coffee (2000)

Following MADONNA’s success, next in line for the Orbit treatment were London girl group ALL SAINTS. Having scored a No1 with the sublime ‘Pure Shores’ from ‘The Beach’ soundtrack, the combination did it again with ‘Black Coffee’. Orbit’s dreamy electronic aesthetics, spacey effects and minimal textural guitar worked perfectly for the soulful quartet to produce something that was commercial and accessible yet otherworldly and unconventional.

Available on the ALL SAINTS album ‘Saints & Sinners’ via London Records

http://www.allsaintsofficial.co.uk/

U2 Electrical Storm (2002)

With his high-public profile thanks to MADONNA and ALL SAINTS, it was no big surprise when U2 came calling. With a suitably airy beginning and heavy on acoustic guitar for the more esoteric sound that the Dubliners had been peddling since working with Brian Eno and Daniel Lanois, in the end ‘Electrical Storm’ built up to sound just like U2, albeit with occasionally prominent windy electronic textures. There was also a second Orbit produced tune in ‘The Hands That Built America’.

Available on the U2 album ‘The Best Of 1990-2000’ via Island Records

https://www.u2.com/

WILLIAM ORBIT featuring SUGABABES & KENNA Spiral (2006)

Continuing his flirtation with out-and-out pop, Orbit teamed up with the UK pop’s answer to Charlie’s Angels SUGABABES and US/Ethopian artist Kenna on this slice of ambient electro R’n’B. Continuing to collaborate with TORCH SONG bandmates Laurie Mayer and Rico Conning, while the ‘Hello Waveforms’ album continued in the chill-out vein of ‘Pieces In A Modern Style’ and even included ‘The Humming Chorus’ by Puccini, prominent vocals were in the mix as well as real strings and brass.

Available on the WILLIAM ORBIT album ‘Hello Waveforms’ via Sanctuary Records

https://en.wikipedia.org/wiki/Sugababes

ROBBIE WILLIAMS Louise (2006)

By the mid-noughties, Robbie Williams was the biggest popstar in the world but strange things were happening in the wake of his split with hit collaborator Guy Chambers. Finding a new collaborator in Stephen ‘Tin Tin’ Duffy, he belatedly went electroclash with their first fruit of labour ‘Radio’. He then went all Synth Britannia on ‘Rudebox’, working with PET SHOP BOYS but also covering his new writing partner’s ‘Kiss Me’ and THE HUMAN LEAGUE’s ‘Louise’ which Orbit produced…

Available on the ROBBIE WILLIAMS album ‘Rudebox’ via EMI Records

https://www.robbiewilliams.com/

WILLIAM ORBIT featuring SARAH BLACKWOOD White Night (2010)

During the CLIENT hiatus, Sarah Blackwood took time out to work on ‘White Night’, a Rico Conning penned track for Orbit’s ‘My Oracle Lives Uptown’ album which dated back to their TORCH SONG days. Although her version did not appear on the final tracklisting, her take was offered as a free download. More accessible than some of CLIENT’s offerings but more purely electronic than DUBSTAR, this was a priceless pop gem which lyrically expressed her pain during that period.

Originally available as a free download, currently unavailable

http://dubstarofficial.com/

WILLIAM ORBIT Carmen (2010)

Producing a long awaited follow-up to his original electronic classical collection, ‘Pieces In A Modern Style 2’ continued where its predecessor left off, offering another predominantly chill-out album that had some good tunes. But one of the bonuses was an unexpected novelty in a sparkling technopop version of Georges Bizet’s opera standard ‘Carmen’, complete with stabbing synths and dramatic percussive passages to portray the seductive title character as a kind of Barbarella.

Available on the WILLIAM ORBIT deluxe album ‘Pieces In A Modern Style 2’ via Decca Records

https://www.instagram.com/therealwilliamorbit/

BRITNEY SPEARS Alien (2013)

A co-write with the one-time princess of pop, ‘Alien’ highlighted Britney’s feelings of loneliness. However, a vocal warm-up recording without her characteristic electronic treatment was leaked onto the internet, prompting Orbit to say in defence of the starlet: “Whomever put this on the internet must have done so in a spirit of unkindness, but it can in no way detract from the fact that Britney is and always will be beyond stellar! She is magnificent! And that’s that.”

Available on the BRITNEY SPEARS album ‘Britney Jean’ via RCA Records

https://www.britneyspears.com/

TRIANA TERRY Did It For Love (2013)

Orbit had discussed how becoming a superstar producer had made him unhappy and how he was pleased to have blown his fortune as all he had done was spend it on first class travel and equipment he never used. So when he recorded ‘Did It For Love’ with actress, artist and performer Triana Terry, the sentiment couldn’t have been more poignant in a feisty oddball mixture of electronic, pop and rock dynamics. Together, Orbit and Terry have presented a number of exhibitions combining paintings and music.

Not officially released, only available on YouTube

http://trianaterry.com/

Text by Chi Ming Lai with thanks to Simon Helm
Photos by Simon Helm
13th April 2019

A Beginner’s Guide To RICHARD X

7 May 2018 /

Photo by Miles Aldridge

Producer and remixer Richard Philips, better known as Richard X, began his musical career creating bootlegs or mash-ups.

This was an illegal creative practice of combining two existing and often incongruous records to make an entirely new track. The fusion of disparate elements, where often the vocals of one recording from a particular genre were placed over the instrumental backing from another.

This became a fashionable practice in clubs; Belgium’s 2 Many DJs were among one of the more notable exponents alongside Richard X. Influenced by THE HUMAN LEAGUE and KRAFTWERK in particular, Richard X’s first notable mash-up under the name GIRLS ON TOP was ‘I Wanna Dance With Numbers’ in 2001; it dropped Whitney Houston over KRAFTWERK and inspired by the apparent elitism of the electronica scene at the start of the 21st Century.

But it was when he placed ‘Freak Like Me’ by R ‘n’ B artist Adina Howard over TUBEWAY ARMY’s ‘Are Friends Electric?’ for a bootleg entitled ‘We Don’t Give A Damn About Our Friends’ that figures within the music business realised Richard X’s Frankenstein vision might have commercial potential. Ironically, one person who didn’t was Adina Howard herself who refused permission for her vocal to be used on an officially sanctioned release. Instead, the British female pop trio SUGABABES recorded a cover version of the mash-up produced by Richard X and the rest is history.

Since then, Richard X has been approached to work with many artists, but remains selective, declining most of what he is offered and often only working on individual tracks, thanks to his own artistic assertion that “I’ve always been about singles…”

Richard X created his own production umbrella Black Melody to oversee his work and even released a collection of demos by THE HUMAN LEAGUE as ‘The Golden Hour Of The Future’ which had been shelved by Virgin Records back in 1981. Meanwhile as well as ERASURE, NINE INCH NAILS, GOLDFRAPP, MIRRORS, SAY LOU LOU and NEW ORDER, his productions and remixes have encompassed artists such varied as Will Young, Roísín Murphy, Rachel Stevens, Sam Sparro, Tiga, Jarvis Cocker and Lana Del Rey.

As a result of often working on just singular tracks with artists, Richard X has a large and diverse portfolio; ELECTRICITYCLUB.CO.UK lists eighteen of his most notable tracks, with a limit of one track per artist and presented in chronological and then alphabetical order…

SUGABABES Freak Like Me (2002)

When Richard X dropped ‘Freak Like Me’ over ‘Are Friends Electric?’, a crossover hit was just waiting to be unleashed… enter SUGABABES, modern pop’s equivalent of ‘Charlie’s Angels’. This was a period when Gary Numan was being sampled left, right and centre by the likes of BASEMENT JAXX and DJ Armand Van Helden, so this Diabolus In Musica urban hybrid helped bring him to a curious new audience.

Available on the SUGABABES album ‘Overloaded: The Singles Collection’ via Universal Music

http://sugababesmusic.com

RICHARD X vs LIBERTY X Being Nobody (2003)

A huge fan of THE HUMAN LEAGUE, Richard X continued his mash-up magic, albeit in a more reproductive manner. When the appropriately monikered LIBERTY X came knocking, he took inspiration from the various versions of ‘Being Boiled’ and put RUFUS & CHAKA KHAN’s funk classic ‘Ain’t Nobody’ over the top, helped by the fact that both tunes ran at a very similar BPM of 103/104.

Available on the LIBERTY X album ‘Being Somebody’ via V2 Records

https://www.facebook.com/libertyxofficial/

RICHARD X in collaboration with DEBORAH STRICKLAND-EVANS Lemon / Lime (2003)

Deborah Evans-Strickland was best known for her deadpan vocal on THE FLYING LIZARDS’ very unusual cover of ‘Money’. Richard X dragged her out of retirement for a bizarre reinterpretation of ‘Walk On By’ as well as the Trans-Commuter Express job spec art piece ‘Lemon / Lime’. Stern but strangely alluring in her posh Essex accent, she came over like the scary HR Manager who everyone is secretly attracted to.

Available on the RICHARD X album ‘Presents His X Factor Vol1’ via Virgin Records

http://blackmelody.com

RACHEL STEVENS Some Girls (2004)

Co-written with Hannah Robinson and based on real-life music industry anecdotes, Richard X’s GOLDFRAPP-styled production on ‘Some Girls’ saw Rachel Stevens playing a wannabe on pop’s casting couch. Driven by having his GOLDFRAPP remixes rejected, it was ‘Some Girls’ that first put the icy glam electro sound into the mainstream consciousness before GOLDFRAPP themselves.

Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records

http://www.rachelstevensofficial.com

NINE INCH NAILS Only – Richard X Remix (2005)

“There is no you, there is only ME!” exclaimed an angry and provocative Trent Reznor on ‘Only’, but Richard X brought forward the chorus and took it down the discotheque, albeit a dark gothic one! With a frantic marimba line added and an increased dance tempo, this was one of Richard X’s best crossover reworkings that still retained the original’s heavy spirit of Reznor’s battle with alcoholism and substance abuse.

Available on the NINE INCH NAILS EP ‘Everyday Is Exactly The Same’ via Nothing Records

http://www.nin.com

LUKE HAINES Off My Rocker At The Art School Bop – Richard X Mix (2006)

Once referred to as the Adolf Hitler of Britpop, Luke Haines’ memoir ‘Bad Vibes: Britpop & My Part In Its Downfall’ declared that Damon Alban deserved that title! An installation of danceable pop terrorism by THE AUTEURS and BLACK BOX RECORDER leader with a full fat electro mix by Richard X, this gleefully satirised the Shoreditch club scene with a bitter attack on its array of poseurs.

Available on the LUKE HAINES album ‘Off My Rocker At The Art School Bop’ via Fantastic Plastic

http://www.lukehaines.co.uk

PET SHOP BOYS Fugitive – Richard X Extended Mix (2006)

Although the ‘Fundamental’ album was produced by Trevor Horn, Richard X powerfully extended ‘Fugitive’ as a limited edition exclusive for the fittingly titled ‘Fundamentalism’ bonus album. PET SHOP BOYS’ own post-9/11 song, Neil Tennant recently revealed in the reissued booklet notes:“It’s about a terrorist, a terrorist whose ideology is that he believes that by killing the enemy he’s going to go to heaven”.

Available on the PET SHOP BOYS album ‘Fundamental: Further Listening 2005 – 2007’ via EMI Records

http://petshopboys.co.uk

ANNIE Songs Remind Me Of You (2009)

Richard X has worked on-and off with Anne Lilia Berge Strand since 2004; ‘Songs Remind Me Of You’ was another fabulous tune from the X / Hannah Robinson songbook. Filled with high octane electronic dance flavours, “How does it feel…to hear your songs on the radio?” asked the Norwegian songstress wispily with an exquisite devenir a gris lilt over a classic chord structure inside a spiky synthesized mix.

Available on the ANNIE album ‘Don’t Stop’ via Smalltown Supersound

https://www.facebook.com/anniemelodymusic/

ANTHONIO Annie (2009)

As a jokey publicity stunt for the Italo disco flavoured ANNIE single ‘Anthonio’, Richard X used its backing track and a new lyric by Hannah Robinson to create a brilliant tongue-in-cheek response to her tale of broken holiday romance. As a modern exponent of Italo, HEARTBREAK’s charismatic vocalist Sebastian Muravchik amiably played the role of the disimpassioned Latin lover.

Available on the ANTHONIO single ‘Annie’ via Pleasure Masters

http://lexprojects.com/sebastian-is-anthonio/

SAINT ETIENNE Method Of Modern Love (2009)

With some slight structural similarities to Kylie Minogue’s ‘The One’, ‘Method Of Modern Love’ was again written by Richard X with Hannah Robinson alongside Matt Prime. A long-time fan of the SAINT ETIENNE, it had only been intended for Richard X to remix the track ‘This Is Tomorrow’, but he ended up producing them as they opted for ‘Method Of Modern Love’ as a new single after hearing the demo.

Available on the SAINT ETIENNE album ‘London Conversations: The Best Of’ via Heavenly Records

http://www.saintetienne.com

ROÍSÍN MURPHY Parallel Lives (2009)

‘Overpowered’ was the second solo album from one-time MOLOKO frontwoman Roísín Murphy and a superb collection of soulful 21st century electronic disco. The Richard X helmed ‘Parallel Lives’ penetrated with some deep sub-bass, providing a nice bonus to an album where Murphy had gloriously sounded not unlike Lisa Stansfield fronting PET SHOP BOYS on songs such as ‘Primitive’ and Cry Baby’.

Available on the ROÍSÍN MURPHY album ‘Overpowered’ via EMI Records

https://www.roisinmurphyofficial.com

DRAGONETTE Pick Up The Phone – Richard X Remix (2010)

While ‘Pick Up The Phone’ from Canadian popsters DRAGONETTE was a summery upbeat tune, their usual Euro-leaning sound took a breather with electric guitars subbing for the usual synths. But this made things perfect for a superior Richard X remix to stick back in all the electronic dance elements that the band were actually best known for.

Available on the DRAGONETTE album ‘Mixin To Thrill’ via Dragonette Inc

http://www.dragonetteonline.com

GOLDFRAPP Alive (2010)

From ‘Head First’, the poppiest album in the GOLDFRAPP catalogue, the Richard X assisted ‘Alive’ allowed Alison Goldfrapp to explore her Olivia Newton-John fixation with a tune that recalled ‘I’m Alive’, the latter’s collaboration with ELECTRIC LIGHT ORCHESTRA for the film ‘Xanadu’. The synth solo was big and fat with power chords plus a great middle eight to boot.

Available on the GOLDFRAPP album ‘Head First’ via Mute Records

https://www.goldfrapp.com

THE HUNDRED IN THE HANDS Young Aren’t Young (2010)

Hailing from Brooklyn, THE HUNDRED IN THE HANDS possessed a sultry new wave fusion with occasional gothic overtones. Despite having aspirations to be more like Warp Records label mates BROADCAST, Richard X produced a number of key songs on their self-titled debut. ‘Young Aren’t Young’ was a dreamy NEW ORDER influenced number layered with Bernard Sumner styled frenetic guitar playing.

Available on THE HUNDRED IN THE HANDS album ‘The Hundred In The Hands’ via Warp Records

https://www.facebook.com/thehundredinthehands/

SOPHIE ELLIS-BEXTOR Starlight (2011)

Sophie Ellis-Bextor once fronted an indie rock band called THEAUDIENCE. Yet another Richard X and Hannah Robinson co-composition, the glitterball sparkle of ‘Starlight’ utilised a Linn Drum led rhythm section and sweeping synth strings for a dreamy electronic pop concoction. Alluringly finding “heaven in the dark”, it was one of those catchy Kylie-esque summer holiday disco anthems.

Available on SOPHIE ELLIS-BEXTOR album ‘Make A Scene’ via EBGB’s

http://sophieellisbextor.net

MIRRORS Into The Heart – Richard X Radio Mix (2011)

With a determined art for art’s sake concept for their ‘Lights & Offerings’ long player, the original sessions with Richard X were abandoned when MIRRORS chose to produce themselves, although he did contribute a Radio Mix for the reissued single ‘Into The Heart’; less claustrophobic than the album version, the majestic singalong proved that Synth Britannia influences were nothing to be scared of.

Available on the MIRRORS single ‘Into the Heart’ via Skint Records

https://www.facebook.com/theworldofmirrors/

THE SOUND OF ARROWS Lost City (2011)

THE SOUND OF ARROWS are Stefan Storm and Oskar Gullstrand, a Swedish duo described by one observer as “Disney meets Brokeback Mountain”. Like PET SHOP BOYS fed with Fox’s Glacier Mints, the Richard X produced widescreen instrumental ‘Lost City’ was fittingly dramatic, although its main melodic theme may have been a bit too ‘Top Gun’ with synths for some listeners…

Available on THE SOUND OF ARROWS album ‘Voyage’ via Skies Above

http://www.thesoundofarrows.com

ERASURE Sacred (2014)

Produced by Richard X, ‘The Violet Flame’ saw ERASURE return to form with their fourteenth album and express an infectious zest for the future with songs seeded via Vince Clarke’s pre-recorded dance grooves. With ‘Sacred’, this was another classic ERASURE pop tune, although the bizarre phrasal spectre of ‘Sweet Child O Mine’ by GUNS N ROSES could be found in the verse of Andy Bell’s vocal topline!

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

http://www.erasureinfo.com

NEW ORDER Plastic (2015)

For the Mancunians’ first album of new material without estranged founder member Peter Hook, Bernard Sumner promised a return to electronic music. ‘Plastic’ was a full-on throbbing Moroder-esque electro number, solidly mixed by Richard X with blippy echoes of NEW ORDER’s own ‘Mr Disco’. Dealing with the issue of superficiality in relationships, it declared “you’re like plastic, you’re artificial…”

Available on the NEW ORDER album ‘Music Complete’ via Mute Artists

http://www.neworder.com

NINA Beyond Memory (2016)

Produced by Richard X and Sunglasses Kid, a nocturnal warmth exuded from ‘Beyond Memory’, demonstrating how German songstress NINA’s pulsating electronic pop acted as a bridge between the sub-genres of synthwave and synthpop. With her vocals deliciously slicing the moonlit atmosphere with a superbly breathy chorus, ‘Beyond Memory’ reflected on the lifelong impact of past relationships.

Available on the NINA album ‘Sleepwalking’ via Aztec Records

http://www.ninamusic.co.uk/

Text by Chi Ming Lai
7th May 2018

25 FAVOURITE USES OF CLASSIC SYNTH SAMPLES

12 July 2017 /

While acts like THE ART OF NOISE and DEPECHE MODE pioneered the use of sampling found sounds to use as new virtual instrumentation, eventual improvements in the technology meant whole recognisable phrases could be cut, manipulated and looped to create new compositions and arrangements.

For those on a budget, some of the samples would have been replayed as a way of saving money and not having to pay mechanical royalties to the original artist.

Previously incongruous genre blends were now more straightforward for producers and DJs as easy listening and AOR would end up sitting on top of house tracks while significantly, a number of acts who made their name during Synth Britannia would feature in R’n’B and hip-hop.

So ELECTRICITYCLUB.CO.UK has put aside some of its snobbery to seek out 25 of the most inventive, and some would say, sacrilegious uses of classic synth samples in popular music. However in a wider context, this diverse selection of tracks acts as a popular culture record of Synth Britannia’s influence in particular, especially when the Musicians Union attempted to ban the synthesizer from studio work and live performance in 1982.

Presented in chronological and then alphabetical order with a limit of one track per artist moniker, here are the names that have gone on the list…

NEW ORDER Blue Monday (1983)

Once you delve into the background behind NEW ORDER’s ‘Blue Monday’, you will see that it is a real Frankenstein’s monster of a track including a sample of the neo-robotic Vako Orchestron choir sound from ‘Uranium’ by KRAFTWERK. And although not sampled, ‘Blue Monday’ took direct influence from a variety of sources including ENNIO MORRICONE, SYLVESTER, DONNA SUMMER and KLEIN + MBO.

Available on the NEW ORDER album ‘Singles’ via WEA Records

http://www.neworder.com/

THOMAS DOLBY Puppet Theatre (1984)

Mirroring the way in which KRAFTWERK had entered the urban community’s consciousness via Electro and Breakdancing, THOMAS DOLBY helped write and produced the single ‘Magic’s Wand’ for the Brooklyn hip-hop duo WHODINI. Centering around a superb synth riff and vocodered vocals, the track stood out from some of its contemporaries due its electronic production and TMDR himself ended up reworking elements of the song for himself on his own track ‘Puppet Theatre’.

Available on the THOMAS DOLBY album ‘The Flat Earth’ via EMI Music

http://www.thomasdolby.com/

ERASURE Blue Savannah – Der Deutsche Mix I (1990)

One of ERASURE’s best known songs, ‘Blue Savannah’ had originally been inspired by ROY ORBISION and for its single release, Mute Records commissioned a plethora of remixes. ‘Der Deutsche Mix I’ by Gareth Jones and leftfield house trio FISCHERMAN’S FRIEND took the novel step of using KRAFTWERK samples from ‘Computer World’ and ’Tour De France’ but in a more obvious fashion, as opposed to a few blips as THE KLF had done on ‘What Time Is Love?’.

Available on the ERASURE boxed set ‘3’ via Mute Records

http://www.erasureinfo.com/

BOMB THE BASS Winter In July (1991)

BOMB THE BASS mainman Tim Simenon loved the Synth Britannia era, later working with JOHN FOXX and DEPECHE MODE. ‘Winter In July’ featured a sample of the atmospheric Roland System 700 synth FX used in the intro to ‘Ghosts’ by JAPAN, while the rhythmic backbone of the track also owed a lot to the drum pattern from ‘Visions of China’. The song caught the eye of SARAH BRIGHTMAN, who did her own cover for the ‘La Luna’ album in 2000.

Available on the BOMB THE BASS album ‘Beat Dis: The Very Best Of’ via Camden Records

https://www.facebook.com/Bomb-The-Bass-19785322140/

USURA Open Your Mind (1992)

USURA’s ‘Open Your Mind’ centred around the opening polysynth part of SIMPLE MINDS ‘New Gold Dream’, and took its title from a dialogue sample used in the Arnold Schwarzenegger film ‘Total Recall’. The Italian dance trio responsible for the frantic club track also used elements from ASHFORD & SIMPSON’s ‘Solid’ in the piece too.

Available on the USURA single ‘Open Your Mind’ via Deconstruction Records

https://www.discogs.com/artist/66256-USURA

UTAH SAINTS Believe In Me (1993)

UTAH SAINTS were serial samplers and ‘Believe In Me’ took significant chunks from THE HUMAN LEAGUE’s ‘Love Action’ as well as SYLVESTER’s ‘Do You Wanna Funk?’ and CROWN HEIGHTS AFFAIR’s ‘You Gave Me Love’. Central to the track was Phil Oakey’s mid-song chant which helped propel this immensely catchy club stomper to number 8 in the UK charts in 1993.

Available on the UTAH SAINTS album ‘Utah Saints’ via FFRR Records

http://www.utahsaints.com/

THE CHEMICAL BROTHERS Leave Home (1995)

Pivotal in pioneering the Big Beat genre, THE CHEMICAL BROTHERS looped a short section from the vocodered intro to KRAFTWERK’s ‘Ohm Sweet Ohm’ track for ‘Leave Home’. Aside from the beginning of the piece, the sample doesn’t appear elsewhere and the track relies more on the “Brothers gonna work it out” vocal by American singer / songwriter Willie Hutch and a live bass part played by John ‘Segs’ Jennings of the punk band THE RUTS.

Available on THE CHEMICAL BROTHERS album ‘Exit Planet Dust’ via Virgin Records

http://www.thechemicalbrothers.com/

LEFTFIELD Snakeblood (1998)

This big beat duo of Paul Daley and Neil Barnes were said to have been one of the loudest live acts ever. At Brixton Academy in 1996, the sound system caused dust and plaster to fall from the roof. For ‘The Beach’ soundtrack, LEFTFIELD contributed a thumping instrumental track for the beginning of the film. However, on closer scrutiny, the basis of ‘Snakeblood’ appeared to be the melody line from OMD’s ‘Almost’! When challenged, the duo fessed up amicably.

Available on the LEFTFIELD album ‘A Final Hit’ via Sony Music

http://www.leftfieldmusic.com/

ARMAND VAN HELDEN Koochy (2000)

Using a repetitive scratched one bar loop from GARY NUMAN’s ‘Cars’, ‘Koochy’ was one of several tracks around this period which sought influence from the synth icon. Also featuring a robotic KRAFTWERK-inspired vocal and 808 cowbells, the track went Top 5 in UK national charts, despite it frankly being a bit of a mess and unfufilled in its potential. Along with a couple of tracks on this list, it started to prompt the slow, but steady rebirth of the former Gary Webb.

Available on the ARMAND VAN HELDEN album ‘Killing Puritans’ via Southern Fried Records

https://www.facebook.com/armandvanhelden/

BASEMENT JAXX Where’s Your Head At? (2001)

Along with ‘Koochy’, ‘Where’s Your Head At?’ certainly did no harm in helping to rehabilitate the faltering career of GARY NUMAN; using the sped up central Minimoog bass riff of ‘M.E.’, the song also cleverly incorporated elements of ‘This Wreckage’ too. With a brilliant video to match, the song showed that it was possible to create a synth-oriented dance track that wasn’t cheesy and almost had a punk aesthetic to it.

Available on the BASEMENT JAXX album ‘Rooty’ via XL Records

http://basementjaxx.com/

FELIX DA HOUSECAT featuring MELISTAR Harlot (2001)

Blatantly sampling the rhythmic elements of THE HUMAN LEAGUE’s ‘The Sound Of The Crowd’ without acknowledgement, nonchalant vocalist MELISTAR joined Felix Stallings Junior to ironically wax lyrical about the joys of using feminine charms to get by in life! With some great analogue riffage on this bridge linking past, present and future with an icy detachment, Stallings was very forward thinking and knew she was a feline… the European female’s here!

Available on the FELIX DA HOUSECAT album ‘Kittenz & Thee Glitz’ via Emperor Norton

http://www.theefelixdahousecat.com/

JENNIFER LOPEZ I’m Real (2001)

YELLOW MAGIC ORCHESTRA’s hit cover of ‘Firecracker’ forms a significant element of this single by the actress / singer /dancer /model from The Block. Interestingly MARIAH CAREY made an enquiry to use the sample first for her song ‘Loverboy’, but as a result of involvement from her ex-husband and Sony label boss Tommy Mottola, the riff ended up with Lopez instead, prompting a war of words between the two parties.

Available on the JENNIFER LOPEZ album ‘J.Lo’ via Sony Music

http://www.jenniferlopez.com/

GEORGE MICHAEL Shoot The Dog (2002)

‘Shoot the Dog’ was the late Georgios Kyriacos Panayiotou’s protest song directed at the so-called special relationship between George W Bush and Tony Blair. Appearing a few years before PET SHOP BOYS’ ‘I’m With Stupid’, the more veiled ‘Shoot The Dog’ used the middle eight section of ‘Love Action’ by THE HUMAN LEAGUE including Phil Oakey’s vocal, while also borrowing from ABC’s ‘Be Near Me’ and his own ‘Fast Love’

Available on the GEORGE MICHAEL album ‘Twenty Five’ via Sony Music

http://www.georgemichael.com/

SUGABABES Freak Like Me (2002)

GIRLS ON TOP mash-up merchant and producer Richard X dropped ADINA HOWARD’s R’n’B number over ‘Are Friends Electric?’ by TUBEWAY ARMY as a bootleg. A crossover hit was waiting to be unleashed but Howard refused permission for her vocal to be used; enter SUGABABES, modern pop’s equivalent of ‘Charlie’s Angels’. This was a period when GARY NUMAN was being sampled left, right and centre and this Diabolus In Musica urban hybrid helped bring him to a curious new young audience.

Available on the SUGABABES album ‘Overloaded: The Singles Collection’ via Universal Music

https://www.discogs.com/artist/21994-Sugababes

JUNIOR JACK feat ROBERT SMITH Da Hype (2003)

Belgian domiciled Italian DJ Vito Lucente dabbled in house and Eurodisco. But his best known recording borrowed from the HI-NRG scene in New York, sampling ‘I’m So Hot For You’ by BOBBY O that had borrowed its riff from THE HUMAN LEAGUE’s ‘Don’t You Want Me’, which itself was inspired by ABBA’s ‘Eagle’. In amongst all this, he somehow persuaded THE CURE’s mainman to contribute some of his afflicted gothique to proceedings.

Available on the JUNIOR JACK album ‘Trust It’ via Defected Records

http://www.junior-jack.com/

RICHARD X featuring KELIS Finest Dreams (2003)

No stranger to delving into the mine of THE HUMAN LEAGUE, RICHARD X started his career in the underground club scene creating mash-ups. ‘Finest Dreams’ with KELIS was a reworking of ‘The Finest’ written by Jimmy Jam and Terry Lewis which was made famous by THE SOS BAND. Using a similar trick to ‘Freak Like Me’, the musical structure was based around ‘The Things That Dreams Are Made Of’ and the catchy single became a Top 10 hit in the UK.

Available on the RICHARD X album ‘Presents His X Factor Vol. 1’ via Virgin Records

http://blackmelody.com/

SOUL MEKANIK Basement City (2005)

SOUL MEKANIK are the duo of Kelvin Andrews and Danny Spencer. Probably best known for co-writing ROBBIE WILLIAMS’ ‘Rock DJ’, the pair took most of the instrumental elements of ‘Visions of China’ by JAPAN and used it as a soundbed for a new female vocal and some added portamento synths. Surprisingly successful in its conception, it was a shame this effectively well-worked track didn’t reach a wider audience.

Available on the SOUL MEKANIK album ‘Eighty One’ via Rip Records

https://www.facebook.com/SoulMekanik/

RIHANNA S.O.S. (2006)

Using a sample from SOFT CELL’s iconic cover of the Northern Soul favourite by GLORIA JONES, ‘S.O.S.’ co-writer JR Rotem said “I heard ‘Tainted Love’ and wanted to take the bass line and update it with a new swing”. Utilising pitch shifted vocals worked with compression software to increase the tonal spectrum, ‘S.O.S’ was effectively a musical cry for help that was to become the Barbadian singer’s first big hit. Swathed in synth riffs and machine beats, she was to use a similar template for ‘Umbrella’.

Available on the RIHANNA album ‘A Girl Like Me’ via Def Jam

http://www.rihannanow.com/

NICOLE SCHERZINGER Steam (2006)

As if in a tit-for tat response to JENNIFER LOPEZ’s YMO-sampling ‘I’m Real’, NICOLE SCHERZINGER’s ‘Steam’ sampled the central riff from KRAFTWERK’s ‘Numbers’. Sounding rather out of place, after the first four singles from the planned ‘Her Name Is Nicole’ album flopped, Scherzinger shelved the project and the track did not actually see the light of day.

Never officially released

http://nicolescherzinger.com/

HILARY DUFF featuring THE PROPHET Reach Out (2008)

There was a period when DEPECHE MODE’s ‘Personal Jesus’ was either being covered by artists as diverse as JOHNNY CASH and MARILYN MANSON or sampled for pop tunes by R’n’B starlets like JAMELIA. Built around the voice samples, synth fuzzes and guitar riff from the original track, ‘Reach Out’ saw the one-time ‘Lizzie McGuire’ star attempt to sex up her previously goody two shoes image with an innuendo-laden Schaffel romp that included an obligatory rap as well!

Available on the HILARY DUFF album ‘Best Of’ via Hollywood Records

http://hilaryduff.com/

GZA featuring RZA & IRFANE KHAN-ACITO Life Is A Movie (2008)

Track number four in this listing that features a GARY NUMAN sample. This time WU-TANG CLAN member GZA takes elements from ‘Films’ off ‘The Pleasure Principle’ album and reworks it into a dark hip-hop track. And it works largely thanks to the late Ced Sharpley’s live but solid drum breaks from the original, while Numan also makes a cameo appearance.

Available on the GZA/GENIUS album ‘Pro Tools’ via Babygrande

https://www.facebook.com/theGZA/

RECOIL Allelujah (2008)

Former DEPECHE MODE member Alan Wilder occasionally relied on esoteric samples for his RECOIL project and on ‘Allelujah’, he paid homage to TANGERINE DREAM by using the hypnotic Moog sequencer pattern and electric piano part from ‘Rubycon’ for the second half of the nine minute track. Originally appearing on the ‘subHuman’ album, ‘Allelujah’ also featured as the B-side to the CD single release of ‘Prey’.

Available on the RECOIL album ‘subHuman’ via Mute Records

http://www.recoil.co.uk/

RED BLOODED WOMEN Colour Me Dirty (2008)

There was a brief period when the template for a modern girl group was to utilise a YAZOO inspired backing track. RED BLOODED WOMEN took that literally with a little help from cult electronic trio TRADEMARK on this feisty interpolation of ‘Don’t Go’, sounding literally like GIRLS ALOUD produced by Daniel Miller!

Available on the RED BLOODED WOMEN promo CD EP ‘4 Track Sampler’, never officially released

https://www.discogs.com/artist/1202070-Red-Blooded-Women

REX THE DOG Bubblicious (2008)

REX THE DOG AKA Jake Williams AKA JX made his name with some superb remixes for artists such as ROBYN, DEPECHE MODE and THE PRODIGY. ‘Bubblicious’ saw him recycling a whole chunk of ‘Midnight’ from the debut YAZOO album ‘Upstairs At Eric’s’ and taking what was originally an sensitive synthetic torch song and turning it an uptempo electro banger.

Available on the album ‘The Rex The Dog Show’ via Hundehaus Records

http://www.rexthedog.net/

THE SATURDAYS If This Is Love (2008)

At a time when the YAZOO songbook was being ripped left, right and centre, one pop act that became particularly joined at the hip with Vince Clarke were THE SATURDAYS. As well as lifting the synth riff off ‘Situation’ for their first single ‘If This Is Love’, Clarke remixed their third single ‘Issues’. And to cap it all, ‘Just Can’t Get Enough’ was covered for Comic Relief as their fourth single release in 2009!

Available on the album ‘Chasing Lights’ via Polydor Records

http://www.thesaturdays.co.uk/

Text by Paul Boddy and Chi Ming Lai
12th July 2017

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