Golden Rules are London producer Paul White and Florida vocalist/rapper Eric Biddines. ‘Golden Ticket’ is their debut album.
In 2005 there seems to have been a resurgence in digging into the much ignored 70’s disco grooves for long lost hidden gems. $tateside are currently reissuing Miami’s TK label output making us all re-evaluate KC and his Sunshine Band for holding together some serious funked up disco action, Greg Wilson and his perpetual one man mission for the glory that is 80’s electrofunk, and now we come the genre that is the ‘edit’. Apparently this is exactly as it says on the tin. An edit is not a remix, but an old school tape and scissors method to extract the dance groove for maximum effect. So in honour of this long lost art Emi’s new imprint, ‘Original Soundtrack’ have put together a set of tracks that have been diced and spliced using more up to date methods, to sometimes breathtaking effect. The line up of people doing the tricks is mighty impressive, amongst the unknowns there are tracks that are going to make you go ‘oooh, i do know this’ (the advertising world features in several places), as well several heavy hitting hip hop sample sources. Special mentions must go to the awesome 8 minutes of ‘Make You Believe In Me’ as mucked up and breakbeat enhanced by Ashley Beedle and Phil Asher (revisited at the end of the comp in an even more wonderful tripped down version), the melody is pure dynamite and the hip hop style emphasis is a serious spine tingle experience, as is the horny Tim ‘Love’ Lee re-edit of ‘Soul Drummers’, the exquisite luxuriously chilled out fug version of ‘Les Fleur’ with its excessive choral effects and dubbed up basslines, as is .. as is .. you get the picture, hopefully.
Basically, for 77 minutes you cant go wrong with this updated piece of disco dance action that makes the sun shine irrespective of the cloud cover /Ireallylovemusic.co.uk/.
Armique Shartez Wyche (Jazz), Troy Carter (L’il Troy), Anthony Fontenot (Ant Live)
Jazz linked up with L’il Troy in the 9th Grade and brought in his cousin Ant Live, to form 2 Too Many. They were spotted by The Fresh Prince (Will Smith) while rehearsing in a studio next door, and he signed them to his Willjam Productions, through Jive Records, and teamed them up with Hula & Fingers to create their debut album Chillin’ Like A Smut Villain
Vinyl Dialect are Hip Hop crew from East Anglia, UK comprising of Ezra (MC), Precise (DJ) and Olson (DJ).
If there’s a reason J.V.C. Force’s “Doin’ Damage” is not better known 20 years after it was initially released, the music industry game is definitely to blame. B-Boy Records was already somewhat suspect in 1988, having lost rising rap star KRS-One and his Boogie Down Productions crew over financial issues to Jive Records. While BDP moved on to bigger and better things, B-Boy was forced to milk the lone “Criminal Minded” album they had for all it was worth while signing and releasing as much product as they could to shore up their shaky financial situation. The very name “J.V.C. Force” reflects how tenuous things were at B-Boy, since the label feared electronics giant JVC would sue over use of the name. The periods between letters are meant to indicate the name is an acronym; in fact the WHOLE NAME is alleged to stand for “Justified By Virtue of Creativity For Obvious Reasons Concerning Entertainment.” If you’re being generous that’s clunky at best, otherwise it’s just plain absurd. Either way the trio of DJ Curt Cazal and emcees AJ Rok & B-Luv lucked out that “Doin’ Damage” got into stores at all since B-Boy Records folded the same year this album was released.
A production showcase CD for Q.D. III, it is primarily a hip-hop disc but has a small handful of songs that may be considered R&B flavoured hip-hop, and one hip-house track.
Rare and dope compilation! Enjoy!