In New York, Hashim was listening to the likes of Newcleus and Depeche Mode and creating Al Naafiyish (The Soul) – a track that has been sampled a hundred times over but which perhaps owes something to Duran Duran’s New Religion. Step forward Wah! and Story of the Blues Part One and Two (Talkin’ Blues) – an anthem for the downtrodden of early 1980s Britain with a proud, defiant and hopeful monologue. However, to be an indie rocker and fill a 12-inch you needed personality and flair. Elsewhere the format was being used creatively by heavy-on-the-percussion-and-bass funksters and left-field musicians alike, Pigbag (with Papa’s Got a Brand New Pigbag) and the The ( Uncertain Smile) produced extended versions that still amaze despite being 35 years old.
Blue Monday by New Order combined a post-punk attitude with beats perfect for the emerging hip-hop and electro scenes. The 12-inch allowed for uncompromising experiments in sound and technique. For me, their Smalltown Boy – next on this list – highlights how the 12-inch gave a song more depth, making the 7-inch seem limited. It’s not a coincidence Levine became a purveyor of Hi-NRG releases and throughout the 1980s remixed dance pop artists such as Bronski Beat. So, it seems entirely fitting that the glorious synth-pop meets 60s soul of Tainted Love/Where Did Our Love Go is included here. Hedonistic dancing was a feature of northern soul and at Blackpool Mecca, Dave Ball and Marc Almond of Soft Cell could’ve danced to discs spun by soul boy Ian Levine.
0 kommentar(er)
