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█ - d e e p h o u s e -
06.05.2007
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.
artist : Crime
title . Flight In 2 Fantasy
type : EP
year . 1995
genre : House
subgenre . House
label : Junior Boy's Own
cat . JBO 032
URL : n/a
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grabber : Soundforge
encoder . Lame 3.97
quality : VBRkbps / 44,1Khz / Joint-Stereo
source . Vinyl
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·∙∙·[trax]∙·∙∙ ∙∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙···∙···∙∙
A1.Flight In 2 Fantasy 07:11
B1.Rhythm Graffiti (Extended Re-Edit By Harvey) 10:19
17:30 min 25,6 MB
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The deep house crew brings you once again a high quality release of
soulful dance music.. music with emotion that deserves the promotion..
·∙∙∙·[comments]·∙·∙∙·∙···∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙·∙·
Crispin J Glover hates being called a æhouse producerÆ, a tag he
earned for his past contributions to the genre. But, try as he might,
the rest of us canÆt ignore GloverÆs past. With as many monikers as
Emelda Marcos had shoes, and countless releases under his belt, it
makes sense, in telling his story, to look back to the end of the 80s
when he first starting making music for himself. That was when,
inspired by the sounds of Derrick MayÆs Transmat label and fuelled by
a London scene rich with parties run by, amongst others, his mates
the Tonka soundsystem, Glover found himself in the thick of things.
But Crispin himself insists he was never a DJ and, he says, he only
ever came to things from a production angle. His love affair with
music started at an early age and has as many racy twists and turns
to it as the sauciest Jackie Collins novel.
Growing up in the Sussex backwater of HaywardÆs Heath in the
seventies it was cheesy popsters The Osmonds that first got Crispin
interested in music. He was the oldest of five children and the first
to have access to his parentÆs record collection. Uninterested in his
dadÆs 7 inch jazz collection it was his motherÆs BeatleÆs LPs that
eventually displaced his obsession with Donny and family and it was
because of the Beatles that Crispin took up the drums at school. But
his stint at the strict, catholic comprehensive was short-lived. All
the other boys in his class had names like Dave, Paul, Steve and Mark
so Crispin stuck out a mile. His headmaster was a socialist and an
ardent supporter of the early eighties minersÆ strike. Crispin was
always in trouble at school; forever accused of being disruptive,
hyperactive and problematic. What the teachers didnÆt know was that
he was vaguely politically aware. In an attempt to stick it to his
headmaster Crispin graffitied the boyÆs toilets in big red letters
with the slogan æArthur Scargill Is A WankerÆ. Everyone knew Crispin
had done it. The news filtered back to the headmaster and Crispin was
expelled. He was only 15 years old. He had no qualifications and no
desire to get any. HeÆd fallen out with his parents too and, just
weeks before his 16th birthday, he left home for good, moved in with
a family friend in a neighbouring village and started work on a
building site.
It was the post punk era that next grabbed CrispinÆs attention
musically. He found punk too intimidating and preferred the
musicality and emotion of bands like New Order and Depeche Mode to
the raw intensity of punk. Crispin landed a job painting the outside
of Hastings Park Gate Residential Recording Studio in Brighton in the
early eighties. He got on well with the owner, landed a job as a tea
boy and from there progressed to tape op, a job that came with its
own lodgings at the studio. ItÆs a period Crispin remembers as one of
his happiest. He was little more than a gopher most of the time but
dashing through the corridors of the studio running errands he got to
catch snippets of recordings that went on to become the pop hits of
the time. Crispin sat in on sessions for Paul YoungÆs æThe Secret Of
AssociationÆ album and was present during most of the recording of
æIÆm Going To Tear Your Playhouse DownÆ. He remembers Paul as a
friendly, inclusive character, always pulling Crispin in to sessions
and explaining what was going on. Crispin was unaware at the time the
value of these impromptu tutorials; he was just soaking up the
excitement. He was a teenager, living away from home, hanging out
with pop stars and being paid for it. One day he would sit in on a
jam session with Level 42 the next heÆd find himself having a cup of
tea with prog rock legend Peter Frampton, listening wide-eyed to
stories about touring with Bowie. China Crisis recorded at the studio
and would send Crispin out to buy their drugs while strictly
tea-total, vegetarian popsters King would have Crispin boiling up
their herbal teas. Crispin was still too young to contemplate his
career but what he soaked up at the studio set the framework for what
he would later devote his life to.
Crispin moved to London aged 18 and got a job as assistant tape op at
Trident Studios on Wardour Street in Soho. Crispin couldnÆt believe
his luck; The Beatles had recorded æHey JudeÆ here. Then, three
months later the studio went bankrupt and Crispin was out of a job.
By 1988, Crispin had got himself another studio job, in a
computer-based, 16-track studio in the depths of South London. A far
cry from the big budget, 64-track desk he was used to this new path
helped Crispin learn more about computers. CrispinÆs younger brother
Dominic had also moved to London by this stage but unlike Crispin,
was getting heavily into house music. Dominic would play Crispin the
house 12ös he would buy on import from the US but Crispin found the
stripped down tracks non-musical and way too basic for his seasoned
palate. Dominic would play Crispin his latest acid tracks and Crispin
would sling them aside and tell Dominic to go check out the latest
Sade album. Then Crispin heard Ten CityÆs æDevotionÆ and everything
changed. The next day he piled his record collection into six
cardboard boxes, took a cab into town to Reckless Records and sold
the lot. With the money he bought a computer, an 808 drum machine and
a synth. Through Dominic he hooked with DJ Rev from the Tonka Sound
System and together they started experimenting, eventually coming up
with æHappyÆ, a house tune that got signed to Blackmarket Records by
the then unknown r&b guru Steve Jervier.
Crispin set up his own studio, ditched the day job and started making
house music full time. That very same studio, with several additions
and updates, still crowds the front room of GloverÆs South London
flat where heÆs lived for the past fifteen years. It was in that
small studio that Glover went on to make a string of productions.
After watching someone make a mint out of sticking a house beat under
Suzanne Vega's 'Tom's Diner', he realised he could do better and
chose Mariah Carey's 'Someday' to bootleg. He sold 500 copies in one
day and even heard Trevor Nelson play it on his lunchtime Kiss show.
Carey had just got hitched to Sony Records big boss Tommy Mottola.
The hype around the bootleg made it over to New York and a copy was
slapped on MottolaÆs desk. He wasnÆt happy. It wasn't long before
Glover; as Master C, had the might of Sony breathing down his neck
and on his return to the pressing plant to press more, he was nicked!
Crispin got himself back on his feet by taking a restaurant job. With
the money he earned bussing tables he set up Matrix Records and,
after spending all his spare cash on a Roland 909, penned a house
tune called æNorthern LightsÆ that he released under the name
Caucasian Boy. The track was snapped up by BelgiumÆs R&S Records and,
after a lengthy bidding war, licensed by Strictly Rhythm Records
crowning Glover as the first UK house producer to release a track on
a US label. This opened the floodgates for other UK house producers
to spread their wings stateside.
In 1997 Glover started losing interest in house music and decided to
shut shop on his Matrix label. The swan song release was his
Expressions album that pulled together the best Matrix releases and
was put out simultaneously by Dust II Dust records. The album spawned
a same-name (now defunct) club night at South London venue The
Junction (also home to the vibrant Basement Jaxx nights) that
nurtured Glover as a DJ.
remember to support artists.
·∙∙∙·[respect]∙··∙·∙∙·∙···∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙··
shoutouts to the groups that love the music they promote..
·∙∙·[news]∙·∙∙ ∙∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙··∙∙∙··∙∙··∙·∙∙·∙···∙···∙∙
lots todo..
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If you're down with the deep house music, music with feeling..
music that makes you groove no matter where you are.. and you
think you can add to this feeling ... then visit us on efnet or
drop us a line to d_h@inbox.lv :)~
keep the feeling real. .∙· d e e p h o u s e 2 0 0 7 ·∙.
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nfo/header by rudo; updated at 12 nov 06