It’s Friday… which means it’s time for the Graeme Park Radio Show!

Heading out this Friday? The latest instalment of the Graeme Park Radio Show is here to get you ready for the weekend!

This week’s two hour mix features Mark Funk, DJ James Ingram, Todd Terry, Seamus Haji, Kevin McKay, Angelo Ferreri, Joe T Vanelli, Harry Romero, ATFC, Riva Starr and more.

Hour 1:
Hour 2: 

Turn it up… loud!

Tracklisting, 25 May 2018: [Title (Mix), Artist]

The Learning Process, T. Williams & James Jacob
Pleasure Project (Seamus Haji Re-Loved Edit), C. Da Afro
Superlovin’ (Original Mix), Mark Funk & Danny Cruz
House Biscuits (Original Mix), DJ James Ingram
Something Goin’ On (Sonny Wharton Remix), Todd Terry feat. Jocelyn Brown, Martha Wash & Roland Clark
Dimensions (I’m Happy) (Richard Earnshaw Revibe Radio Edit), Seamus Haji presents Mekkah
Sweetest Pain (John Morales M+M Vocal Mix), S.E.L. & Gary Hudgins
Run & Hide (Original Mix), Kevin McKay
Just A Little Bit (Sean McCabe Moody Remix), Detroit Rising
Love On My Mind (Original Mix), Kevin McKay & CASSIMM
Live Ur Life (Escalade Radio Edit), Ant La Rock & Michael Moog
See You Soon, Angelo Ferreri & Tete De La Course
Sweetest Day Of May, Joe T Vanelli Project feat. Harambee
Walking On Sunshine, Rockers Revenge
Jackie’s Groove, Shane D
Back, Harry Romero feat. Robert Owens
Something Going On, Todd Terry feat. Jocelyn Brown, Martha wash & Roland Clark
I Feel The Earth Move, ATFC
In Arms, Ferrick Dawn & Robosonic
Schoolyard Daze, Kevin McKay
All That Dancin’, Danny Howard & Guz
I Feel Love, MYNC & Rhythm Masters
Housepital, Riva Star & Dajae
Keep On Jumpin’, Todd Terry feat. Martha Wash & Jocelyn Brown


THROWBACK THURSDAY: Carl Craig – At Les [1997]

Given that this week marked techno legend Carl Craig’s 49th birthday – happy belated tidings Carl! – this week’s Throwback Thursday highlights one of the jewels in the maestro’s back catalogue.

Nestled midway through his 1997 album, More Songs About Food And Revolutionary Art, released on Planet E, At Les is classic Detroit: mellow, melodic synths weave and sway over a raw 909 beat.

One of the undisputed highlights of the so-called ‘second wave‘ of Detroit techno.

In a 2017 interview with XLR8R, Carl explained why At Les continues to retain its allure, more than 20 years after its initial release.

“At Les is a track that has been able to live for a long time because it is easy to cover it,” he explained.

“There is a musical aspect of it, there is the sound, and there is a sonic characteristic that comes not only from the recordings but how it is arranged. It just emotes a feeling that, at least in versions that I have been involved in, has transpired through the music.”

Here at 909originals, we’re inclined to agree.

[Kudos to JC Frequency for the YouTube upload]

Reporting on the early 90s US rave scene… [November 1992]

While the European dance scene of the early 90s can be said to have influenced popular culture as we know it today, the same cannot be said in the US, where the rave scene remained largely underground right up until the end of the decade… barring the occasional appearance of the ‘Club Kids’ on daytime chat shows.

In November 1992, the Associated Press published a report on the emerging scene, where kids from various States across the country gathered week-in, week-out to lose themselves to the music.

“Every week, we’ll travel to Baltimore, Rhode Island, DC, Long Island; anywhere there’s a rave,” one 19 year old is quoted as saying. “It’s the best place to meet great people who are into the same thing you are: music and positive energy It’s like we’re part of the Travelling Techno Rainbow Family.”

There’s an adorable innocence about the article, too, as if the generation of 90s ravers are simply ploughing the same furrow as their parents did, back in the 60s.

“Raves are an escape, it’s an adrenaline rush,” says an interviewee. “My mom was a hippie, a Deadhead. I figure this is the equivalent of what she was doing. Mini Woodstocks.”

[Article taken from Daily News, November 25, 1992, archived by Google]

Castlemorton: How a field in rural Worcestershire changed the free party scene forever… [May 1992]

On Friday 22 May 1992, 26 years ago today, the Castlemorton Common Festival kicked off, running pretty much non-stop for six days before eventually being shut down.

It also gave rise to this somewhat amusing interview for ITN Central News:

The gathering, the biggest the UK had seen at the time, welcomed soundsystems from crews including Spiral Tribe, Bedlam, DiY, Adrenalin and Circus Warp, for an event that arguably changed the face of the free party scene – within months, legislation prohibiting similar parties was drawn up and inserted into the Criminal Justice Bill, which was introduced in 1994.

Not that the rave scene was finished, of course. As The Face’s Sheryl Garratt put it in her 1998 book, Adventures in Wonderland, “The tabloids portrayed the Castlemorton flare-up as a problem caused by dirty, dole-scrounging travellers, rather than clubbers up for a party.

“In the summer of 1992, The Sun, in its new incarnation as the ravers’ best friend, covered a Fantazia rave for well over 25,000 people in glowingly positive terms.”

[Kudos to Spiff Monk and discodelinquent for the YouTube uploads, and also to the Free Party People blog for their excellent write up here]

Olivier Abbeloos’ ‘New Beat’ series of mixes are essential listening for anyone into early house and techno…

The ‘New Beat’ genre, which emerged out of the EBM and New Wave scene in the mid- to late-80s is arguably one of the most important, yet under-appreciated, in the history of electronic music.

While Chicago and Detroit clearly played an important role in shaping the future of dance music, New Beat was a distinctly darker, slower tempo hybrid of industrial beats and pulsing synth lines, mainly produced between 1986 and 1989, which earned a new legion of fans with the emergence of electroclash a decade later.

A few months ago, Belgian producer Olivier Abbeloos, of T99 and Quadrophonia fame, produced a series of six hour-long mixes, exploring this genre in more detail, which are getting repeated airplay at 909originals HQ.

As Abbeloos explains on his Soundcloud page, New Beat “started with rare instrumental B-sides and album tracks of electro, EBM and new wave in the 80’s . Because of the attention it got in some famous Belgian clubs producers started to transform it. They created instrumental tracks based around hypnotic jams with less vocals.”

These productions would then get airings on less popular nights, such as Sundays, or early in the morning.

“There was no theory involved,” Abbeloos says. “All was created around jams with the atmospheres for those clubs. Mostly [built around a] minor or diminished scale: ‘the dark factor’. The press gave it the tittle ‘New Beat’ when the commercial acts came at the end of this scene.”

Once you start listening, like us, you’ll be hooked.

A Brief History Of The New Beat Culture Part 01 (87 – 89)

Yello – Live At The Roxy N.Y. Dec 83 (1984)
Arbeid Adelt! – Death Disco (Todd Terje Edit) (1983)
Dirty Harry – D’Bop (1988)
Shakti – The Awakening (1988)
Spiritual Sky – Sky My House Band (1989)
La Rolls – Sure Is (24 Tracks Mix) (1988)
Neon – Voices (1988)
Erotic Dissidents – Move Your Ass And Feel The Beat (1988)
The Maxx – Cocaine (1988)
Fad Gadget – Lady Shave (1981)
A Split Second – Rigor Mortis (1987)
Space Opera – Mandate My Ass (1988)
In-D – Virgin In D-Sky’s (1988)
Acts Of Madmen – The Dream (1987)
16 Bit – Where Are You (1986)
Major Problem – Acid Queen (1988)
Taste Of Sugar – Hmm, Hmm (1988)
HNo3 – Doughnut Dollies (1988)
N.0.i.A. – Stranger In A Strange Land (1983)
Public Relations – Eighty Eight (1988)
A Split Second – The Colosseum Crash (1989)
Snowy Red – Euroshima (War Dance) (1982)
Moments Of Ecstasy – You And Me (1988)
Spectrum – Total Recall (1988)

A Brief History Of The New Beat Culture Part 02 (87 – 89)

Fred Brown – Roman Days (1987)
Spectrum – Total Recall (1988)
Real Man – Fashion Victims (1988)
Rhythm Kings – A La Recherche Du Temps Perdue (1989)
Westbam – Back To The Future (1989)
Sister Movie – Hold Me (1989)
Reject 707 – Brainkiller (1988)
Signal Aout 42 – Carnaval (Plastic Acid Mix) (1988)
Miss Nicky Trax – Acid In The House (1988)
Shriekback – Mistah Linn He Dead (1984)
Front 242 – Commando Mix (1984)
Zsa Zsa La Boum – Something Scary (1988)
Boy Toy – Touch My Body (1989)
The Caravan – The World Beat (1987)
B.A.D. – In Full Effect (1989)
101 – Saigon Nightmare (1988)
Klangwerk – Klangwerk (1989)
Bazz – The Drop Deal (1988)
Major Problem – I Stll Have A Dream (1989)
Traxx – Malfunction (1989)
808 State – Narcossa (1988)

A Brief History Of The New Beat Culture Part 03 (87 – 89)

Apocalypse Now – Even The Jungle Wanted Him Dead
Body Count – Trax (1987)
Public Relations – Wakhif (1988)
La Strada – L.S. Beat (1988)
JC Project – Andromedia (1989)
Nasty Thoughts – Acid Sex (Acid Version) (1988)
BX 8017 – Take An Acid (1988)
Liaisons Dangereuses – Los Ninos Del Parque (1981)
Signal Aout 42 – Pleasure And Crime (Instr.) (1988)
Zerocks – You Too (1988)
Pericles – Fly Woman (1989)
Blind Vision – Bestialic Beat (1989)
Depeche Mode – Shout (Rio Edit) (1981)
Chico Crew – Acid Pages (Church Mix) (1988)
Off – Electrica Salsa (Dub) (1986)
Ac Fax – Eventide (1989)
Edwards & Armani – Up Your Bum (1988)
Bozz – Hot Traxx (Master Mix) (1988)
Robotiko Rejekto – Rejekto (Perfekto Mix) (1987)
Double I.D. – Communicate (New Beat Night Mix) (1989)
Phantasia – Welcome To My Acid House (1988)
Sound Squad – Access Denied (1988)

A Brief History Of The New Beat Culture Part 04 (87 – 89)

Edwards & Armani – Acid Drill (1989)
In-D – Bastion In-D Stress (1988)
Zsa Zsa La Boum – Tu Veux Ou Tu Veux Pas (1989)
Front 242 – Welcome To Paradise (1988)
The Beat Club – Security (1988)
White House White – Ouverture (1988)
Laibach – Panorama (1984)
Micro X – Red Velvet (1989)
Klangwerk – Wollt Ihr (1989)
Bazz – Rrrock It ! (1988)
Frankie Bones – Call It Techno (1989)
Liaisons D – Future FJP (1989)
Pulse 8 – Radio Morocco (Youth Remix) (1989)
Mohamed – Ham Safar (808 state Remix) (1988)
Two D.J.’s – The Creation (1989)
Lhasa – Acetatechno V 2.3 (1989)
The Concrete Beat – It’s Not The Way To Do It (1989)

An Early History Of The New Beat Culture Part 05

Fadela – N’sel Fik (1987)
The Caravan – Somewhere In Arabia (1987)
Zazou Bikaye – Dju Ya Feza (Simon Boswell Remix) (1984)
Explorers Of The Nile – We Are All Egyptians (1988)
Chairmen Of The Board – Life & Death (1974)
T.O.D. – Badabou (1987)
Ei Mori – Vetettem Violat (Razormaid Mix) (1988)
Chayell – Beach (1987)
Logic System – Unit (1981)
Neon Judgement – Please, Release Me, Let Me Go-Go (1985)
Takenoko – Trans Amor Express (Dub Mix) (1988)
Will Powers – Adventures In Success (Dub Mix) (1983)
Chris & Cosey – He’s An Arabian (1985)
Brian Eno & David Byrne – Regiment (1981)
Shriekback – Into Method (Planet Mix) (1983)
KMFDM – Zip (1986)
Simple Minds – This Fear of Gods (1980)
The Smiths – How Soon Is Now (1985)
The Normal – Warm Leatherette (1978)
Liaisons Dangereuses – Etre Assis Ou Danser (1981)
Saga – Take A Chance (Dub Mix) (1985)

An Early History Of The New Beat Culture Part 06

Code 61 – Drop The Deal (1988)
Alan Rankine – Rumours Of War (1986)
Severed Heads – The Ant Can See Legs (1985)
Vicious pink – The Spaceship is Over There (1986)
Escape from New York – Fire in My Heart (Instrumental Dub) (1984)
Telex – The Voice (1988)
Max Berlin – Elle Et Moi (1978)
Stereo Crew – She’s A Skag (instr.) (1986)
Sly Fox – Let’s Go All The Way (Diamond Dub Mix) (1986)
Nitzer Ebb – Let Your Body Learn (1987)
Boytronic – Brilliant (1986)
Rhythm From Zaire – Afrikan Dream (1987)
Renegade Soundwave – cocaine sex (sub aqua overdrive dub) (1987)
Flesh & Fell – The Wind (1985)
The Human League – being boiled (fast version) (1978)
Sly & Robbie – Boops (Here To Go) (1987)
Carlos Peron – Nothing Is True, Everything Is Permitted (1984)
Fad Gadget – Back To Nature (1979)
Material – Don’t Lose Control (1982)
Serge Gainsbourg – Requiem Pour Un Con (1968)
Devo – (I Can’t Get No) Satisfaction (1977)

Artificial Life Begins At 40: Why Kraftwerk’s The Man-Machine is more relevant now than ever… [May 1978]

“We’re charging our battery, and now we’re full of energy. We are the robots.”

Kraftwerk’s The Man-Machine was released 40 years ago this week (May 19, 1978), and while the group’s earlier works such as Autobahn and Trans-Europe Express set the template for the Düsseldorf-based band’s ‘sound’, their fourth studio album was arguably their most accessible, indicating that as well as symphonic arrangements, the self-styled ‘robots’ could also do pop.

While The Model would go on to be the group’s most-recognisable track (released as a single in September of that year in Germany, it wouldn’t see a single release in Ireland and the UK until 1981), the album skirts between space exploration (Spacelab), city nightlife (Neon Lights) and, of course, robotics, via The Robots and The Man Machine, which bookend the album.

Reviews at the time of release were positive, however many critics didn’t know where to place it – according to Wikipedia, the NME said that The Man-Machine stands as “one of the pinnacles of 1970s rock music,” adding that “the sparsity of the lyrics leaves the emphasis squarely on those robot rhythms, chilling tones and exquisite melodies.”

It’s also, arguably, the band’s most prescient work.

While forty years ago, the idea of ‘Singularity’, that moment when machines become cognisant and are able to think for themselves, seemed like science fiction, Ralf, Florian and the boys appeared to be all too aware of what was coming.

The Man-Machine has often been viewed as a ‘concept’ album, and in many ways this is true – the robots that are ‘born’ at the start of Side A experience the trappings of everyday life before evolving into ‘man machines’ by the album’s close.

And we’re starting to see this creep into everyday life.

Just a couple of weeks ago, Google launched its new ‘Duplex’ AI technology, as part of its Assistant platform, which is able to book appointments and arrange meetings over the phone on behalf of its ‘owner’, with the person on the other end of the line completely unaware that they are speaking to a robot.

Reading about this, my mind was instantly drawn to the eerie spoken word snippet that features in The Robots, spoken in Russian.

“Я твой слуга, Я твой работник”, or “I am your slave, I am your worker”.

If and when Singularity happens, The Man-Machine could be a watershed moment.

[Kudos to fritz51341 and Jeffrey Grubb for the YouTube upload]

The latest edition of the Graeme Park Radio Show is here… turn it up loud!

Something for the weekend? The latest instalment of the weekly Graeme Park Radio Show  has just landed and it’s a good un…

This week’s two hour mix features Klein & MBO, Charlotte Gainsbourg, Maze, Joe T Vannelli, Sister Sledge, Blondie, Stevie Wonder, Janet Jackson, Jamiroquai and much more.

Hour 1:
Hour 2: 

Turn it up… loud!

Tracklisting, 18 May 2018: [Title (Mix), Artist]

Dirty Talk (European Connection), Klein & MBO
Les Oxalis (Alan Braxe Remix), Charlotte Gainsbourg
Dimensions (I’m Happy) (Richard Earnshaw Revibe), Seamus Haji presents Mekkah
Cascade, Tatham, Mensah, Lord & Ranks
Dust (Dimitri From Paris vs Cotonete Discomix), Gizelle Smith
Twilight (The Sybarites New Dawn Remix), Maze
Dreamcatcher, Dario D’Attis & Definition feat. Jinadu
Live Ur Life (Escalade Edit), Ant La Rock & Michael Moog
Uncontrollable (Stolen Soul Remix), Andy Lakey, John Steel & Ian Campbell
Sweetest Day Of May (Neapolitan Soul Phunky Mix Remastered 2018), Joe T Vannelli Project feat. Harambee
He’s The Greatest Dancer (Changbang Edit), Sister Sledge
Heart Of Glass, Blondie
Superstition (Nolan Rehash), Stevie Wonder
What Have You Done For Me Lately?, Janet Jackson
Lost In Music (Special 1984 Nile Rogers Remix), Sister Sledge
Encore (Extended Vocal Mix), Cheryl Lynn
Space Cowboy (Morales Classic Club Mix), Jamiroquai
Make The World Go ‘Round (Deep Dish Round The World Mix), Sandy B
Do You Want It Right Now? (King Street Mix), Degrees Of Motion feat. Biti
Groove Is In The Heart (Original Mix), Deee-Lite
Know How (Soulboy Edit), Young MC
Rich In Paradise (Original Mix), FPI Project
U Sure Do (Guest List Mix), Strike

THROWBACK THURSDAY: The Prodigy – No Good (Start The Dance) (CJ Bolland’s Museum Mix) [May 1994]

The second single from The Prodigy’s Music For The Jilted Generation, No Good (Start The Dance), was released 24 years ago this week (16 May 1994 to be exact), and while most of the praise was rightly heaped on the A-side, the flip features a slice of acid gold from Belgian producer CJ Bolland.

Coming a few months on from the single release of the Carmargue Remixes, Bolland was a producer in demand at the time, and the level to which he reworked The Prodigy’s track is evident right from the off, as the Kelly Charles vocal undergoes a robotic reworking, on top of a pulsing techno shuffle.

The highlight comes at around the 1:45 mark, when rave stabs permeate the gurgling acid bassline – no wonder Bolland dubbed this the ‘Museum mix’, such is its lasting allure.

A few months later, Bolland was back at R&S Records to produce Electronic Highway, an album that marked a departure into electro and drum and bass territory.

And as for The Prodigy? The rest, as they say, is history.

[Kudos to Old Skool Wax for the YouTube upload]

Remember when Boy George recorded an acid house-themed LGBT protest anthem..? [May 1988]

Back in May 1988, the Thatcher government in the UK, published the controversial Section 28 to the Local Government Act, which required that local councils “shall not intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship.”

Intended as a fightback against the growing AIDS epidemic, the legislation was rightly criticised as an affront to the gay community, from a government that seemed more eager to brush health issues under the carpet than legitimately address them.

To coincide with its introduction, and tapping into the nascent rave culture of the time, Boy George released one of his most powerful singles, No Clause 28, one of the only acid house protest songs in existence (barring VIM’s Maggie’s Last Party, perhaps?), and a direct attack on the-then right-wing government’s policies.

As you can see, the lyrics are highly emotive:
“They talk about AIDS they call it a curse
But brothers we know it’s gonna get worse
You know you won’t cure it with TV campaigns
Or telling those mothers what to put in their veins
I’m telling you suckers start using your heads
By putting the money in hospital beds”

It being 1988, the video also features some very excellent freaky dancing.

Looking back on the track in 2012, Dangerous Minds noted that the release of Clause 28 in many ways “saw the cohesion of Britain’s modern gay rights movement. Aside from Boy George, many big name celebrities spoke out about Clause 28, such as Ian McKellen, beloved One Foot in the Grave actress Annette Crosbie, Helen Mirren, Jane Horrocks and comics great, Alan Moore.”

Section 28 remained in place until 2003, when it was eventually rescinded, Scotland having abolished it three years earlier, in 2000.

[Kudos to TheNouveauxdecadence for the Youtube Upload]

Top one, nice one, get sorted. This Fantazia footage, filmed 26 years ago today, makes us want to go raving… [May 1992]

Think your day is going well? Not as well, I would argue, as it was for these punters, who attended the Fantazia summer soirée in Bournemouth 26 years ago today…

Building on the strength of a New Years bash and ‘Second Sight’ party in February of that year, the Fantazia Summertime event welcomed around 16,000 ravers to Matchams Park Stadium, Bournemouth for a glorious all-night affair.

On the bill? Rave legends including Ratpack, Easygroove, Ellis Dee, Sy, Slipmatt, Top Buzz and Ratty, among others, with the music blasting until 8 in the morning.

As the official review on the Fantazia website puts it, “The first impression was unbelief, it was almost like going back in time to the days of old, who remembers Sunrise, Biology Etc? This definitely is as close as you could get in this present time of raving to finding out what it used to be like.”

Looking for evidence as to whether things were really better ‘back in the day’? You found it…

[All pictures taken from]