How to ruin a track

[what evil lurks]

What was he thinking about from 2:15 to 3:00 aprox?

[Thumpson]

What are you talking about, that bit rules
I can think of much worse ways in which many tunes have been ruined: dodgy samples, not properly synced loops, out of tune melodies coming in all of a sudden...

[pete.devnull]

that speed up is awesome and fun to play with live (I use to mix oldskool into breakcore sometimes hehe). Love tunes where people try different things like this instead of the same old tried-and-tested samples/structure.

[what evil lurks]

that speed up is awesome and fun to play with live (I use to mix oldskool into breakcore sometimes hehe). Love tunes where people try different things like this instead of the same old tried-and-tested samples/structure.

Yes, I like creative producers as well...but in this case it didn't work for me :)

Sometimes you forum guys are too underground, you even like the most horrendous white label shite released in 92 as far as it was rare!!

[squatski]

ruined bits: 00:15-00:39
and again at: 2:21-3:13 & end

[renegadegenius]

What was he thinking about from 2:15 to 3:00 aprox?

1.45 - 3mins is the best bit

[digital delight]

This is one of my all time favourite tracks. Wicked beats, wicked piano, simple but effective vox. What more could you want? This is what hardcore is all about - it's just so uplifting! Awesome

[what evil lurks]

Yes, I must be mad then.

Acen, Hyper On Experience, 4 Hero, Neil Rumney, L. Howlett...all of them wanted to produce a tune like this but they never could :D

[DJ Chance]

Thats the first time hearing that track for me that I recall.

That bit would be mental in the dance!! Think it is good!

[Beagle]

I don't understand all the fuss; there were a few tunes that did similar things back then.

For example, 'James Brown is Still Alive' slowed right down in the middle and sped up again.

People were more creative and willing to risk things back then.

[pete.devnull]

big +1 on this. Xenophobia "Project 250" does similar thing, is maybe MORE dodgy sounding and it's still a great tune that's super fun to bounce around to.

Just because you only appreciate more polished poppier or "accomplished" hardcore. doesn't mean that people who also like gritty low fi stuff are being "more obscure than thou". First off, Bogwoppa stuff is far from super hard to find obscurest-of-the-obscure - if we wanted to go that route we'd probably jump right to any number of super noname white labels. Second, while it's pretty low-fi and gritty, it's all entirely functional, well sequenced and actually adheres to a clear and appreciable aesthetic (grimey amiga tracks with heavy b-boy/electro influence, good break choices and chopping and cheeky but well picked samples), versus tracks that just sound like an ill-thought-out mess.

Plus this track actually has a lot of character to it, which is more than I can say for a lot of the "tenerife rare" stuff people pay insane amounts for. I'd rather pay 4 pounds for this tune than 100 euros for friction and spice "groove me"

I don't understand all the fuss; there were a few tunes that did similar things back then.

For example, 'James Brown is Still Alive' slowed right down in the middle and sped up again.

People were more creative and willing to risk things back then.

[fannypad]

you even like the most horrendous white label shite released in 92 as far as it was rare!!

So true. The amount of utter toss that gets fawned over on here solely because it encapsulates the holy trifecta of Not On Label, more wants than gots on Discogs and a smudged stamp on a hearing-aid-beige label.

[what evil lurks]

big +1 on this. Xenophobia "Project 250" does similar thing, is maybe MORE dodgy sounding and it's still a great tune that's super fun to bounce around to.

Just because you only appreciate more polished poppier or "accomplished" hardcore. doesn't mean that people who also like gritty low fi stuff are being "more obscure than thou". First off, Bogwoppa stuff is far from super hard to find obscurest-of-the-obscure - if we wanted to go that route we'd probably jump right to any number of super noname white labels. Second, while it's pretty low-fi and gritty, it's all entirely functional, well sequenced and actually adheres to a clear and appreciable aesthetic (grimey amiga tracks with heavy b-boy/electro influence, good break choices and chopping and cheeky but well picked samples), versus tracks that just sound like an ill-thought-out mess.

Plus this track actually has a lot of character to it, which is more than I can say for a lot of the "tenerife rare" stuff people pay insane amounts for. I'd rather pay 4 pounds for this tune than 100 euros for friction and spice "groove me"

I don't understand all the fuss; there were a few tunes that did similar things back then.

For example, 'James Brown is Still Alive' slowed right down in the middle and sped up again.

People were more creative and willing to risk things back then.

Alright mate, I respect your opinion and I do like your blog and most of the tracks that you talk about, I was only referring to this track in particular as I just bought the vinyl in a bargain deal the other day and I was amazed when I listened to that part.

There was no need to make a comparison with the Tenerife tracks because I agree with you in the fact that many (not all) of the Tenerife hyped tracks are way overrated and a few of them are shit. If you read my posts during the all these years, you will see that I'm not one of those dickheads.

[dubplate records]

ruined bits: 00:15-00:39
and again at: 2:21-3:13 & end

aw man I love that piano/strings! :D
I take it you think they're cheesy?
anyone remind me where the piano/strings sample comes from?

[phil]

Personally i dont like that sped up bit at all