One record at a time: 519. Electribe 101 - Electribal Selections

By a quirk of fate, we find ourselves moving from one HMV 1921 100th Anniversary release to the only other one in my collection. Electribe 101’s "Electribal Selections" is a specially commissioned compilation of deep cuts (and a few lovingly resurrected oddities) from the band’s "Electribal Memories" era.

Things kick off with the Opium mix of "Talking With Myself", which dates back to 1988 and the track’s first outing as a single. Ostensibly it’s a dub mix, with TB-303 burbling, a few exotic samples, and the mandatory delays. The Pinopella mix of "Heading for the Night" wasn’t released until 2021, when lead singer Billie Ray Martin dusted down the thirty-year-old master tapes and issued six different remixes the record company had refused to put out when they were made. These old Frankie Knuckles remixes have a rough, lo-fi quality and sound as if his tape machine was having a mild wobble, complete with a slightly unsettling pitch drift.

"Diamond Dove" has always been a favourite of mine, and the shelved 7-inch version included here is tougher and more stripped back. I like its drive, but I do miss some of the poppier touches from the album version. The Larry Heard remix of "Tell Me When The Fever Ended", closing out side one, has a tremendous bassline and the electric piano sits beautifully. However, ever since I first heard this mix back in 1990, the snare has always struck me as a bit too prominent, like it’s wandered in from a different tune and decided to make itself comfortable.

Side two carries one of my favourite Electribe 101 remixes, the Corporate Def Mix of the single "You’re Walking". David Morales lets sly TR-909 hi-hats tick away under Billie’s soulful vocal, while the incessant bassline propels everything along with the single-minded determination of someone late for the last train. Next up is another shelved 7-inch version of an album track, "Lipstick on My Lover". Chopping two minutes off it doesn’t really do it any favours and, as a deep house track with minimal concessions to pop, it was never likely to get radio play anyway. Still, its inclusion is a nice nod for completists (and the rest of us who like owning alternate versions we’ll insist are essential).

Proceedings wrap up with the strangely titled Lambada version of "Talking With Myself". An edited version of this track appeared on the band’s debut album (as “Talking 2”), so I’m not entirely sure why it’s included here, beyond the gentle thrill of repetition for collectors and record labels alike.

As a GZ Media coloured vinyl pressing, this record comes with plenty of extra crackle courtesy of dust and debris, and cleaning only improves matters slightly. There’s deep bass, but the overall sound isn’t the best. As with many pressings from the Czech Republic, the inner sleeve is about four microns thick, so the vinyl cuts through it like a hot knife through butter. I like this record, but it’s probably only for the initiated (or the stubborn, which is much the same thing). 3.5/5

A forgotten gem

Five years ago I wrote a post about the remix 12" of "Inside Out" by Electribe 101. In my missive I complained this record seemed to have been miss-pressed as it had glitches, pops and all manner of background noise that ruined one of the best records the band released.

So imagine my excitement when lead singer Billie Ray-Martin announced the release of a four CD box set of parent album "Electribal Memories" that included the "MCM Mix" of Inside Out - my prayers had finally been answered. 

I did actually succeed in creating my own recording of the track with all of the artefacts edited out, but it took many weeks and I was never one hundred percent happy with it - but in the absence of the mix ever being released digitally, it was the best I was going to get.

So now I own a pristine digital recording of the mix and I only had to wait thirty four years. Patience is a virtue.

One record at a time: 88. Electribe 101 - Electribal Soul

In 1992 Electribe 101 recorded a follow up to their debut album "Electribal Memories". However, their efforts were branded "crap" by their record company who promptly terminated their contract and triggered the disintegration of the group. Of course I had no idea any of this was happening and I was too busy listening to Altern-8, Dream Frequency, Felix, The Prodigy et al to worry about a band that had seemingly disappeared without a trace anyway. 

I only became aware of the existence of a second album when singer Billie Ray Martin made one of the tracks, "A Sigh Won't Do" available via her webpage in 2014. Unfortunately this track didn't make much impression on me and, as it was only available at a low bit rate, I didn't listen to it much.

Having re-discovered a DAT containing the album Billie decided to finally do something with it and had it properly mastered. In the absence of protests from the surviving members of the group (their consent would be unfathomable) the album was finally released on download, CD and the vinyl we have here in 2022. Only thirty years late but who's counting?

On first hearing this album I found it very impressive, but in truth there are only three tracks here that haven't been released by Billie during her solo career. Even the unlikely cover version of Throbbing Gristle's "Persuasion" saw a solo single release in 1993. 

As "Moving Downtown" progresses you might hear a vague similarity to "Running Around Town" but "Deadline for my memories" is almost identical to the later solo version. The Electribe 101 version of "Space Oasis" is much better than the later solo interpretation due to its prominent Korg M1 piano and TR-909 drums instead of distorted pedal steel (??).

There is a clear progression here from the first album and the sound of the band has matured into something more soulful and melodic (hence the title). Having said that, the best track that wasn't regurgitated during Billie's solo career is "Insatiable Love" which sounds like it could have been lifted straight from the band's debut.

The vinyl version of the album omits another song Billie resurrected, "You and I (Keep Holding On)" along with an alternate version of "Deadline For My Memories" and an instrumental titled "Conquering Tomorrow". 

This album is the equal of its predecessor but I had no idea nearly all of it had already seen the light of day in some form or another. Turns out I didn't have to wait thirty years to hear a new Electribe 101 album, it was under my nose all along. 3/5

One record at a time: 87. Electribe 101 - Electribal Memories

My brother went to a record fair in 1990. I know this because he took the unusual step of purchasing a record for me. I can't remember if it was a gift or if I paid him for it; but the ball-point indentations on the sleeve tells me it cost £1.99. 

The record in question was the limited edition 12" of "Talking With Myself" by Electribe 101. I'm not 100% certain why he chose this record, but I think it might have been as a result of a tenuous link to the Pet Shop Boys because the sleeve was designed by Mark Farrow/3a and Tom Watkins was their manager. Alternatively, it could be because I expressed admiration for the single "Tell Me When The Fever Ended" when I heard on the re-booted Jukebox Jury circa 1989/90. It could be all of the above - I don't really recall.

However, I do recall receiving the CD of parent album "Electribal Memories" for Christmas in 1990 (the same year I was given the cassette of "Blissed Out" by The Beloved). CDs seemed very expensive thirty years ago and each purchase (or requested gift) represented a sizeable commitment. The disappointment of purchasing a rubbish disc could be rectified by taking it back and exchanging it for something else, but sometimes this wasn't practical. Being bought a duff CD as a Christmas gift is one such scenario. So, despite being underwhelmed by "Electribal Memories", I felt compelled to persist with it as this was easier (and seemed less ungrateful) than asking my mum for the receipt to take it back.

I did grow to like this album eventually, but this was a result of familiarity as much as it was admiration. Thirty years later I found myself reminiscing about the good old days and my rose tinted spectacles forced in an impulse purchase of the album on vinyl. This copy is a bit scuffed and has some surface noise here and there, but nothing I can't forgive. 

Things open up with the afore mentioned single "Talking With Myself". Until recently, I had no idea this song was 'inspired' by a classic old school house track by Julian Jonah. I say 'inspired' but it would be more accurate to use the phrase 'a complete rip off'. I have to admit, I lost a bit of respect for Electribe 101 when I finally heard "Jealousy and Lies". How you can appropriate a track without giving a writing credit seems ludicrous nowadays.

Second track "Lipstick on my lover" is a rather sparse arrangement and Billie's melody doesn't quite do enough to carry the song for me. When I first heard the album it was this track that rang the alarm bell that this record might not be entirely to my taste. I've always liked the single, "You're Walking (Peeping Tom Mix)" which doesn't really have a hook but does have that laid back Balearic groove of the early nineties.

The first track on the flip side is "Diamond Dove" which has some nice touches and proves that the eighties weren't entirely forgotten with its orchestra hits and fluid bassline. "Heading for the Night" was considered for single release in 1990 and, to this end, Frankie Knuckles provided several remixes. However, Phonogram elected to release the excellent "Inside Out" instead and the remixes didn't formally surface until 2021. Whilst the Knuckles mixes are good, the original featured here is superior in my opinion. Another single "Tell Me When The Fever Ended" is a more melodic deep house type of track that may (or may not) have drawn me to the band in the first place. The vinyl version of the album closes with a largely instrumental remix of "Talking With Myself" titled "Talking 2". I've never been sure why this was included on the album as it isn't particularly impressive and it occupies space that could have been used for another original song "Electribal Memories" which is included in the CD.

So, despite my initial disappointment as a teenager, the years have brought a fondness for this album and I enjoy it very much. Not long after the album was released Electribe 101 seemed to disappear and the potential shown by this album was never realised in a follow up. Or so I thought.... 4/5

Snap, Crackle, Pop

I'm sure I've said it before, but it's worth repeating that all vinyl is not created equal. I used to assume that the 12" singles I bought in the 80's and 90's sounded poor because my turntable was rubbish and I didn't look after my vinyl very well. Well it turns out that is only partly true.

One particular 'slab of wax' that frustrated me was the remix 12" of "Inside Out" by Electribe 101. My copy crackled and popped as if it had been covered with iron filings and scratched with a nail. Right from brand new this vinyl just wouldn't play properly. It was a real shame as the MCM Remix was one of the best remixes of any Electribe 101 track and, in truth, was probably one of the best things the band ever released. Yet all I had was a rubbish 12" that was barely listenable.

Fast forward 20 years and I buy another copy from Discogs in an attempt to do justice to the music. When the single turned up I lay it reverentially on the platter, dropped the needle and lo and behold, exactly the same 'scratches' all over the first track. Whoever mastered this 12" obviously never listened back to it and I can only assume neither did the band.

Having recorded the vinyl into my PC I attempted to repair the audio and make a good master of the MCM Mix. Once done I might finally get to hear it in something approaching its full glory. Yet the audio was so mashed, I gave up editing despite having put quite a few hours into the attempt. Over the years I keep loading up the Audacity file and tinker around removing huge sratches and  'repairing' sections of audio. But the task remains so mammoth I am losing faith that I will ever hear the MCM mix without the offending clicks.