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: [ P.R.E.S.E.N.T.S ] :
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: Fruit Of Life-Not Afraid To Dance (Freak Out) :
· ·-──────────────────────────────────────────────────────────────────────-· ·
: Genre......: Techno-Industrial · Rel. Date..: May-05-2003 :
| Type.......: Maxi | Year.......: 1988 |
│ Tracks.....: 02 │ Label......: Subway / Antler │
│ Size.......: 14,5 MB │ Catalog No.: SUB 004 │
│ Scans......: None │ Source.....: Vinyl │
│ | │
│ · │
│ Grabber....: Wavelab │
| Encoder....: Fhg Radium MP3 Codec V1.263 |
: Quality....: 192 kbps / 44,1kHz / Full Stereo :
· ·-──────────────────────────────────────────────────────────────────────-· ·
: [ T.R.A.C.K.L.i.S.T ] :
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│ Track Title Time │
│ │
│ 01 not afraid to dance (puzzlemix) 04:56 │
│ 02 not afraid to dance (latenightmix) 05:35 │
| Total: 14,5 MB / 10:31 |
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· ·-──────────────────────────────────────────────────────────────────────-· ·
· [ R.E.L.E.A.S.E..i.N.F.O ] ·
: :
│ One of the first NewBeat records ever. The Morton-Sherman-Belluci team │
│ made this under their real names Jo Casters and Herman Gilis, both members │
│ of the famous band Poesie Noire. Belluci was Roland Beelen, the big boss │
│ of the Antler-Subway record company. │
│ │
│ Here is an interessting article about this time: │
│ │
│ Feel The Belgian Beat │
│ From electronic body music and new beat to techno and trance: Belgium is │
│ considered as one of the pioneers in the international dance scene, just │
│ ask Carl Graig, The Chemical Brothers or The Prodigy : "We were laughed at │
│ or simply ignored when we claimed this, but history has proven us right." │
│ │
│ "We felt like revolutionaries." and this is what they were, the people who │
│ at the end of the eighties gave shape to the Belgian dance scene. They │
│ were a small group of music fanatics and/or business people who heard what │
│ others didn't: the power of the beat, the energy of electronics. Techno │
│ heroes like Carl Graig are full of praise for Belgian dance music, the │
│ Chemical Brothers based one of their singles "Hey Boy, Hey Girl" on an old │
│ track from Praga Khan, and a couple of years ago also The Prodigy showed │
│ they were very good at borrowing from Praga. │
│ │
│ Belgium has undeniably played a prominent role in the development of dance │
│ music, on the commercial as well as artistic level. "We knew immediately │
│ that we were creating something special. And the massive export of our │
│ releases proved that Belgian dance was highly esteemed across the borders │
│ as well.", says Hessel Tieter, who in the mid seventies joined the now │
│ almost legendary Music Man record shop, and who is today one of the │
│ driving forces behind the record company NEWS. So what makes Belgium so │
│ special ? You can fill dozens of dissertations looking for the answer to │
│ this question, but never obtain any satisfactory results. Everybody has │
│ his own views, but nobody knows what exactly made it work. One thing is │
│ sure: clubs played a crucial role. This is how it went in the early days: │
│ in the Boccaccio discotheque in Ghent, young artists presented their demos │
│ to the DJ, hoping they would play them. When the audience went wild, the │
│ track was approved. When there was no reaction, the artist went back to │
│ his studio to tinker on. And the week after that he came up with a new │
│ tape. It was an excellent experience. │
│ │
│ 33 instead of 45 │
│ And at the end of the 80s there was New Beat. It was the catalyst of │
│ Belgian dance. Everyone agrees on this. according to the legend, new beat │
│ comes into existence when DJ Marc Grouls by accident plays the maxi │
│ version of "Flesh" by A Split Second [1986] at 33rpm instead of the │
│ regular 45. In other words, he obtained slowed down new wave, with rarely │
│ more than 100 beats per minute. Soon the Ancien Belgique (AB) in Antwerp │
│ (with DJ Fat Ronnie) and the Boccaccio in Ghent made the sound their │
│ trademark. The Aarschot-based record company Antler is the first to pick │
│ up the trend. It makes them big money and puts Aarschot on the map. │
│ │
│ Belgian new beat was certainly not inspired by the techno and house that │
│ were simultaneously maturing in Detroit and Chicago respectively. On the │
│ contrary, at the time American electronic music is hardly noticed by │
│ anyone. Pioneers like Derrick May and DJ Pierre cannot make a living out │
│ of their records. They just don't sell. "One by one the records ended up │
│ in the sales", Hessel Tieter laughs. In those days trendy, young people │
│ danced to the new wave tunes of Fad Gadget, Gary Numan or Anne Clark. Or │
│ to our very own Nacht und Nebel ("Beats of Love"). Not surprising then, │
│ that new beat was closer to this genre than to Rhythim Is Rhythim. By the │
│ way: distrust friends who claim that already ten years ago their record │
│ collection boasted 12-inch records from Detroit or Chicago. They lie. They │
│ bought the American classics afterwards. │
│ │
│ This is not music │
│ Unless one of these friends is called Jo Casters. This front man of the │
│ electronic pop group PoΘsie Noire and one of the founders of new beat, has │
│ always been a visionary. "Very early already I played this American stuff │
│ in the Belgian Congo club in Leuven. But it's true: early techno and house │
│ sounded so alternative that they remained marginal." It is around '81 that │
│ Casters becomes fascinated by electronics. In his band PoΘsie Noire he │
│ combines guitars with synthesizers and the first drum machines, inspired │
│ by the electronic body music of Front 242 and The Neon Judgement. │
│ According to Jo Casters new beat is a simplified form of that electronic │
│ body music. Whatever it is, it certainly allows him to develop a │
│ successful career. Jo Casters is part of the well-known and infamous new │
│ beat producers trio Morton- Sherman-Belluci, the creative forces behind │
│ bands like A Taste Of Sugar and Erotic Dissidents. Casters is Morton, │
│ Sherman is Herman Gilis, also a member of PoΘsie Noire and now │
│ world-famous of his invention the "Sherman filterbank", an indispensable │
│ accessory for techno artists. │
│ │
│ Belluci finally, is Roland Beelen, the big boss of the Antler-Subway │
│ record company. They honoured a point of view that also applied to PoΘsie │
│ Noire: 'we have to make special music'. And special it was, as appears │
│ from the reactions from the public and the press. Electronic body music, │
│ and later new beat, is often the subject of heated debates. Meanwhile fans │
│ are living it up in clubs. Opponents shout that this is not music. At best │
│ they talk about 'soulless music'. Made by 'button pushers'. History has │
│ put them in the wrong. │
│ │
│ Sacrilege │
│ Times were different then. Today's eighteen year olds cannot imagine that │
│ ten years ago bands like Underworld and the Prodigy would have been booed │
│ off the stage, because they weren't 'real'. It was unthinkable that a │
│ dance act would make it to the bill of rock festivals like Torhout / │
│ Werchter. It was sacrilege ! Casters: "We weren't frustrated by this │
│ hostility, it only confirmed us in our opinion that we were doing the │
│ right thing." But let's move back further into history. before PoΘsie │
│ Noire, Neon Judgement and Front 242, there was already Telex. The Brussels │
│ trio were the first to experiment with electronics and they knew damn well │
│ how to create a good beat. Telex is its time a little bit too far ahead. │
│ The band has only nestled in our collective memory thanks to their song │
│ "Eurovision", Belgium's entry for the Eurovision song contest of 1980, │
│ where they were - needless to say - the odd one out. │
│ │
│ Erotically charged │
│ But we were talking about new beat, and the transition from the │
│ underground to the general public. Ironically enough, especially in │
│ Belgium this was a difficult process. While new beat hits the cover of │
│ leading English rock music newspapers like New Musical Express and Melody │
│ Maker, the genre is treated condescendingly in its home country. Press and │
│ radio presenters sneer at the music, or worse: they ignore it. When the │
│ Erotic Dissidents enter the charts with "Move Your Ass and Feel The Beat", │
│ a radio presenter apologizes to the listeners because he has to play the │
│ song. The disapproval is often based on pure hate, because new beat is │
│ "anti-music". Sometimes it is fed by the fear of parents that their │
│ offspring would take to using drugs in discotheques. Sometimes people are │
│ uncomfortable, because acts like Erotic Dissidents have erotic │
│ connotations. "Wherever we performed, we were followed by the vice squad. │
│ We once did a TV show in which our female singer playbacked with a │
│ vibrator. Apparently this was so shocking that it was not broadcasted." │
│ │
│ Well, what can we exect from a band with a name like that ? Maurice │
│ Engelen, the man behind Lords of Acid and Praga Khan also came out with a │
│ controversial release: the single "I Don't Do A Thing On My Thing". The │
│ record was released in a limited edition and came with a condom. │
│ │
│ Winner's instinct │
│ The decline is inevitable. As soon as big record companies start meddling │
│ in, new beat collapses. It is 1990. The majors smell money, turn the genre │
│ into a gimmick and muck up the whole thing, with a commercial new beat │
│ version of Rocco Granata's "Marina" as an absolute low to many. Sadly │
│ enough, also today new beat is often associated with The Confettis and │
│ their single "The Sound of C". Great look, immensely popular, but poor │
│ musical quality. Luckily other people have things simmering on the stove. │
│ The Ghent-based label R&S (named after the founders Renaat Vandepapeliere │
│ and his wife Sabine) enters the scene. The first "In Order To Dance" │
│ compilation of R&S flops, but the second edition and all the following │
│ ones are increasingly successful. R&S by the way, sets a spectacular │
│ record: the first fourteen releases on the British market all make it to │
│ the charts. And talking about winner's instinct: "Pump up the Jam" from │
│ Technotronic - a product by Jo Bogaert - goes straight to the top of the │
│ American charts. Bogaert, a man from the Eastflemish city of Aalst, who │
│ was successful during the new beat period under the name Nux Nemo, now │
│ lives the life of a recluse. We rarely hear from him these days. Not │
│ really necessary, since this one song turned him into a millonaire. even │
│ the female singer Ya Kid K, who also wrote the lyrics, says that the │
│ copyrights from "Pump up the Jam" still yield her a decent month pay. │
│ Juicy detail: the first version of the song, which was without vocals, was │
│ a dead loss, but remains a collector's item. It seems like yesterday, but │
│ in 1999 it was the tenth anniversary of Jo Bogaert's "Pump up the Jam". │
│ │
│ Sharon Stone without knickers │
│ Another Belgian goldmine was 2 Unlimited [not true, 2 Unlimited are │
│ Dutch]. The figures speak for themselves: twenty million records sold, │
│ number one in the charts in forty countries. It even yielded the group a │
│ page into Microsoft Encarta Encyclopaedia. 2 Fabiola, the band of Patrick │
│ 'Pat Krimson' Claesen did not gain world fame, but was immensely popular │
│ here in Belgium. Meanwhile Lords of Acid, one of the projects of Maurice │
│ 'Praga Khan' Engelen, is taking the American market by storm with over a │
│ million records sold. When during the shooting of "Basic Instinct" (Sharon │
│ Stone, no knickers) film director Paul Verhoeven hears "Rave to the │
│ Rhythm" by Lords of the Acid in the New York Limelight club, Maurice │
│ Engelen and his partner in crime Oliver Adams embark on an exciting film │
│ adventure. After contributions to the soundtrack of "Basic Instinct", the │
│ Belgians also write songs for "Sliver", "Strange Days" and "Bad │
│ Lieutenant". In America they even meet Mick Jagger in the studio. The only │
│ thing left to do was to conquer Belgium. The foundation of present-day │
│ house and techno were laid in the transition from underground new beat to │
│ the commercial start looking for new sounds. They are not only helped in │
│ their search by labels like Antler and Pias, but also by specialized │
│ dance-shops like USA Import. Sven Van Hees, the man behind trendsetting │
│ programmes like "Liaisons Dangereuses" on the Antwerp local radio, is │
│ entering the picture with his releases on the Wonka label. Later Van Hees │
│ moves to R&S in Ghent, where he starts the Global Cuts label, that in 1993 │
│ acquires a place among the big ones, thanks to the megahit "Plastic │
│ Dreams" by Jaydee. │
│ │
│ Selling quality │
│ Life is unfathomable. Take Bonza∩. Fly, one of the founders of the record │
│ label, starts off as a barman and as a DJ in the AB in Antwerp. He keeps a │
│ close track of dance, but also plays things like the Simple Minds. In │
│ September '90 he opens a record store in Deurne: "Blitz". It's an ordinary │
│ record store where you can also find Helmut Lotti and Pavarotti. But one │
│ day thieves ransack the shop. And because he has to start again from │
│ scratch (the insurance company only covers 25 percent of the total loss), │
│ Fly resolutely decides to focus on dance only, a decision which he doesn't │
│ regret. DJs like CJ Bolland and Yves De Ruyter make regular stops at │
│ Blitz. One thing leads to another and soon a studio and record label are │
│ started. They are an instant success. Bonza∩'s concept is ridiculously │
│ simple: "releasing music we like ourselves". The first release in '92 is │
│ followed by a hype. Bonza∩ T-shirts are extremely popular: 400.000 of them │
│ are sold. Fly: "I don't know exactly how many records we have sold. It │
│ must be between three and five million." At this moment Bonza╧ employs │
│ fifteen people and the label has branches in Italy, the Netherlands, │
│ Germany, England, Canada and Israel. Also after the Boccaccio heyday, │
│ Ghent remains the epicentre of the Belgian dance scene. There's not only │
│ R&S, but also MMI, which later merges into Music Man. Important feats are │
│ "B-Sides" from Frank De Wulf and "Destiny" from Insider, then already a │
│ well- known DJ at Boccaccio and La Rocca. Also remarkable in the light of │
│ techno history: in 1994 MMI signs the first release of Chicago pioneer │
│ Green Velvet. Talking about vision... Hessel Tieter is also crossing the │
│ borders with NEWS (short for North East West South). The Ghent record │
│ label, founded in '92 as a joint venture between MMI, Antler and R&S, has │
│ already licence deals with Robert Miles and Josh Wink long before anyone │
│ has heard of them. But compilation albums remain their speciality, with │
│ releases like "Serious Beats", "Club System", "I Love Techno", "Dance │
│ Train" and "Solid Sounds". These commercial products enable the company to │
│ invest in new/young/undiscovered talent. Because: "The intention of NEWS │
│ is not to make big money, but to send loads of good music into the │
│ world.", according to A&R mananger Jan Vanneste. Belgium offers quality │
│ that proves to be a real seller, and that's why international recognition │
│ remains. NEWS is strengthening the position of Belgian dance on the │
│ international market, while they continue to sign international top │
│ artists like Deep Dish and Jeff Mills. Up with Belgium ! Roland Beelen of │
│ Antler/Subway: "The first time I was in the States, I met a chap who knew │
│ more about our record company than myself." And what about the future ? │
│ Hessel Tieter: "Belgium should keep its leading position. And if things go │
│ less well for a while, we will certainly be back..." -- David "Fonzamundo" │
│ De Scheemaecker │
│ │
│ │
│ │
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