This is about Volume 3 from 2018.
Amazon has messed up and is currently (August 2018) displaying three reviews of Volume 1 (from 2008!) under the recently released Vol. 3.
Wilson is a great guy. How many people can you name who have consistently been active from the early days of Electro in the 1980 through to the end of the second decade of the new millennium and delivered quality. Not only has he embraced various trends in dance music over 40 years or more he is also somebody who has consistently reach his audience outside the DJ booth. His online activities are great and if you don't follow him yet, you should.
Credit To The Edit had two previous volumes in the distant past: released in 2005 and 2009 it's been almost 10 years since one of the first consistently good edit-creators had a commercial release of his output. I always looked at Vol. 1 and 2 and though "What's the point numbering your 'series' if you can't even count to 3?" Well, finally we can.
Cariño is referred to in the booklet as a cult-classic. If you have any affiliation to the Haçienda scene, this will do fine. If not (like me), press skip.
Wilson says in the booklet that he was never taken by Glad To Know You and I can relate to that. I remember how most of my friends had the 12" on their wish lists back in the 80s; when I found a copy I flipped it quickly. Here we get a an instrumental rework. It doesn't annoy, but it's just not a strong track to start off with with.
We jump forward a few decades with Cocain Blues, though it of course references a 70s original (Dillinger). The original 12" already included a Greg Wilson mix, but this here is two minutes shorter focussing on the T-Connection Do It Anyway You Wanna bassline and (as Greg points out) the "I Don't Wanna Stop" vocals. It's OK.
The liner notes to Luxxury Feat. The Reynolds' 'Hold On' are super interesting referencing the original producer Baron von Luxxury and his Hotel California remix which got him into legal issues with Warner Music. What's included here is only half as exciting: A poppy Schunkel-House track like many others.
I guess every generation needs to discover Chakachas' Jungle Fever but I remember when I heard this 1970 track for the first time in the 80s (as Greg says: NOT on the radio...!) I tired of it very quickly and this remix is not going to get me excited, no matter how much she moans.
Yes, the world does need a remix of Change The Beat and this is exactly what I would have done: Start with THAT sample, build the groove from Fab 5 Freddy's version, go over to Beside's French version, include the Japanese lines and work back to F5F's version. The only problem I have with what Greg did here (and this is a big problem for me): He cuts so hard from F5F to Beside and unfortunately the original beats on the Female version are much weaker than on the Male version. It sounds amateurish and he should have built a groove with the harder beats to underpin her verses.
The next , Mink & Shoes by Psychemagik is one of the highlights of the compilation and it's flawless in my opinion. I was surprised that this wasn't a bigger hit, especially as it's well known from a Vodka advert. Maybe it was the lack of physical copies that suppressed its success (the original vinyl is quite collectible). It's not even been comp'ed as far as I know, so this is reason enough to buy this CD.
The Bassheads track has elements I like, but also some that turn me off. Greg writes that he put the edit together in 2009 as his opener for the Big Chills Festival. I can imagine that this worked really well from the Pink Floyd "Is Anybody Out There" sample in the intro, the slow build but then the rock guitar kill sit for me. My wife straight away said 'can we skip this, please'. It gets better again with the acid lines, before a cheesy italo house keyboard breakdown is overlaid with Afrika Bambaataa's underwhelming rap. More edits and elements follow (some of those I like repeatedly)and I totally understand that this would have been a great festival opener, but on all future plays of the CD, I'll follow my wife's request.
Due to my advanced age I like my physical media and usually don't download music but I have to admit that I couldn't resist ripping a version of GW's edit of "Spacer" from somewhere a few years ago. He gave it a lot of time to build and kept out most of Sheila but kept all of Nile Rodgers & Bernard Edwards in. Great!
Magic Fly, brings back a lot of childhood memories for me: Not only was I at the age where you suck up new sounds like a sponge when this came out, I also have this vivid memory of visiting a relative in Cologne where a band practiced this all afternoon in the neighbouring house: They sounded absolutely like the original. Space are four French guys, so it's a bizarre encounter and I will never know who I heard that day... GW's mix is very good, it builds nicely and stays true to the original.
I had never heard of Wonky Bassline Disco Banger before and for the first minute or so I thought this was going to become a rip off of Mr Oizo "Flat beat" but then it develops very differently. It’s a bit oddballish, with a fake fade after more than 3 minutes only to be overlaid with, well, a wonky synth before an irresistible Euro Disco Banger crescendo (think Frank Farian) gets the party started for real. GW’s edit repeats this once more time. Six minutes of pleasure.
The closing track of the CD is exactly that for Greg in his DJ sets as he describes in the booklet: “Getting Away With It” has a very ordinary beats-only intro and as he writes: “The idea being to mix it out of the previous track so it grooves for a couple of minutes, keeping things on a level for a couple of minutes, before the strings enter and the whole vibe lifts and swells.” It totally works as described. Once the vocals kick in it will be heaven for some or pop hell for others: The whole thing is Neil Tennant produced and since I do not follow pop music much I have to admit that until I heard it here I thought this is a Pet Shop Boys track.
Get it and enjoy. There’s something on here for (almost) everybody.
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