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Art of Noise: Drum and Bass Collection

 A l b u m   D e t a i l s

Artist: Art of Noise
Title: Drum and Bass Collection
Released: 1996.10.14
Label: China Records
Time: 73:37
Producer(s): See Artists ...
Appears with:
Category: Drum 'n' Bass
Rating: *****..... (5/10)
Media type: CD
Purchase date:  2001.03.24
Price in €: 22,67
Web address: www.ztt.com/artistpages/AON_expand.html

 S o n g s ,   T r a c k s


[1] Something Always Happens [Doc Scott Remix] (Dudley/Jeczalik/Langan) - 7:39
[2] Ode to Don Jose [Don And Roland Remix] (Dudley/Jeczalik) - 6:40
[3] Art of Love [ILS Remix] (Dudley/Jeczalik) - 6:10
[4] Yebo! [Lightfoot Remix] (Dudley/Jeczalik/Nkosi) - 5:27
[5] Opus 4 [PFM Remix] (Dudley/Jeczalik) - 9:20
[6] Island [Seiji Remix] (Dudley/Jeczalik) - 6:04
[7] Camilla: The Old, Old Story [J. Majik Remix] (Dudley/Jeczalik/Langan) - 5:53
[8] Kiss [Digital Pariah's Haitian Vampire mix] (Prince) - 6:17
[9] Eye of a Needle [Lemon D Remix] (Dudley/Jeczalik/Langan) - 7:35
[10] Peter Gunn [Flyright Remix] (Mancini) - 5:59
[11] Crusoe [Aquasky Remix] (Dudley/Jeczalik) - 6:33
[16] [Three Fingers of] Love (Dudley/Horn/Jeczalik/Langan/Morley) - 4:43

 A r t i s t s ,   P e r s o n n e l


Anne Dudley - Electronic Equipment, Keyboards, Voices
Trevor Horn - Electronic Equipment, Bass, Keyboards, Voices, Producer
Johnathon J. Jeczalik - Keyboards
Gary Langan - Electronic Equipment
Paul Morley - Electronic Equipment, Keyboards, Voices

Roland - Remixing
Seiji - Remixing
Doc Scott - Remixing
J Majik - Remixing
Lemon D - Remixing
Aquasky - Remixing
Ils - Remixing
PFM - Remixing
Lightfoot - Remixing
Dom - Remixing

 C o m m e n t s ,   N o t e s


1997 CD Discovery 77056



The third in a series of reworkings of Art of Noise hits like "Peter Gunn" and "Kiss" focuses on drum-and-bass remixes characterized by lightning-fast break beats and moody sonic textures. Among the remixers are Doc Scott, Lemon D and Jay Majik of the Metalheadz label.

Jason Ankeny



Hier haben wir die Electronica-Version einer musikalischen Widmung: Während sich dort Leute zusammentun, um die Songs einer einflußreichen Band zu covern, sind es hier einige mehr oder weniger bekannte DJs (darunter Mitglieder von Goldies Metalheadz-Crew), die vorhandene Aufnahmen nach ihren eigenen Vorstellungen remixen und neu konstruieren, wobei hauptsächlich Drum-and-Bass-Beats (auch unter dem Namen "Jungle" bekannt) zum Tragen kommen. In diesem Fall gilt ihre Zuwendung The Art of Noise, eindeutige Pioniere des derzeitigen Sample- und Remix-Booms in der Dance Music.

The Drum and Bass Collection ist das jüngste Album in einer Serie von Art of Noise-Remix-Samplern, die von der 1990er Ambient Collection und der eher techno- und rave-orientierten 91er The Fon Mixes angeführt wird. In Anbetracht dessen, daß mit Drum and Bass mittlerweile die dritte neue Platte von The Art of Noise seit der Auflösung der Band vor acht Jahren vorliegt, ist dieses Album wohl eher den unendlichen Möglichkeiten gewidmet, die unser High-Tech-Zeitalter für das Recycling alter Songs bietet. Zumal bei den vorliegenden Tracks nur wenig an The Art of Noise erinnert. Ihr Hit "Peter Gunn" beispielsweise, damals selbst ein krasses Remake einer Fernsehmelodie aus den Fünfzigern, verliert unter den Händen des Londoner Duos Flyright komplett sein ehemaliges Markenzeichen: der stählerne "Twang" aus der Gitarre von Duane Eddy. In ähnlicher Weise enthält Lightfoots Neubearbeitung von "Yebo", dieser Gemeinschaftsproduktion von Art of Noise und der südafrikanischen Gesangsgruppe Mahlathini and the Mahotella Queens aus dem Jahre 1989, gerade mal noch zwei Silben des Original-Gesangsparts.

Da stellt sich natürlich die Frage: Wenn die Rhythmen geändert werden und die Melodien verschwinden, inwiefern handelt es sich dann noch um ein Art of Noise-Album? Die Antwort: Gar nicht. Wiederum verschwimmen in der seltsamen Welt des Techno alle Grenzen, was Quellen, Ursprung und Komposition betrifft. Tun Sie sich selbst einen Gefallen: Behalten Sie alle Fragen für sich und konzentrieren Sie sich einfach auf diese verrückten Beats.

Roni Sarig, Amazon.de



Nun. Flynn & Flora sind seit einiger Zeit in Bristol aktiv, hauptsächlich wohl mit Veranstaltungen, machen aber auch selber Tracks, gerne natürlich im Bristol Style mit den vielen High Hats, die dort immer durch die Gegend zischen, was manchmal den Tracks einen leichten Old School Flavour verpaßt. Eingesammelt haben sie hierfür dann alles, was zur Bristol Szene um Roni Size gehört, den Krust natürlich, DJ Suv, Die, aber auch Bill Riley, More Rockers usw. Ich weiß nicht. Guter DJ Krust Remix von Crystal Clear, bei denen die Beats ziemlich raw geradeaus durch den Track laufen und die Sounds ungewöhlich um sie herumgedroppt werden, aber wenn das ein Rückblick auf die Parties der vergangenen Jahre sein soll, vielleicht, gibt es dafür wahrscheinlich treffendere Compilations, V-Recordings usw., die dann auch die Hits versammeln. Jetzt Exclusive Tracks rauszubringen, die klingen, als wären sie ein Jahr alt macht irgendwie keinen Sinn. Wie gerne bei Bristol fließender Übergang zu Jump Bässen. Nicht ganz mein Fall

© DE:BUG - Zeitschrift fr elektronische Lebensaspekte.



Da durften ein paar Szene-Figuren an Knöpfen herumspielen, um den Katalog von Art Of Noise auf "Drum And Bass"-Sound zu trimmen. Das Resultat ist mit zwei, drei Ausnahmen ("Kiss") billig-banal. ** Musik: 01-04

© Audio



Though they disbanded in 1990, Art of Noise keeps resurfacing in remixes. And rightly so. White Brit beatmeisters who were often miscontrued as a black dance act when they first emerged in the early '80s, AoN's propulsive electro-techno anticipated today's dance underground. They also showed a wry sense of humor in unlikely collaborations with Duane Eddy on "Peter Gunn" and Tom Jones on Prince's "Kiss," both included here in jungle-ized remixes that obliterate the originals. This is, of course, the point. Indeed, Digital Pariah's "Haitian Vampire Mix" of "Kiss" and Flyright's jazzbo "Gunn"-- along with Lemon D's lounge-y "Eye of the Needle"-- are among the album's few strong tracks, percolating with polyrhthyms AoN explored in their Zulu collaborations. Most of this 75- minute snorefest has only a tangential relationship to deep jungle, let alone AoN. It's slow-modem muzak: the perfect soundtrack for endless re-dials when you're trying to sign on to AOL on a Saturday night.

Rating: 4 [of 10]

Cree McCree
Copyright © 1994-1999 CDNow, Inc. All rights reserved.



This is the electronica equivalent of a tribute album: Instead of gathering bands together to cover the songs of an influential group, here we have a bunch of more or less well-known DJs (including members of Goldie's Metalheadz crew) remixing and reconstructing actual recorded works in their own image, namely with drum and bass (a.k.a. jungle) beats. In this case, the object of affection is Art of Noise, a clear forerunner to the current boom in sampled and spliced dance music.

The Drum and Bass Collection is the latest in a series of Art of Noise remix compilations, following 1990's The Ambient Collection and 1991's more techno- and rave-oriented release, The Fon Mixes. Considering that Drum and Bass is, thus, the third new Art of Noise record since the group disbanded eight years ago, perhaps the only tribute here is to the infinite possibilities for recycling old songs in this high-tech age. Then again, there's little here to suggest these tracks have anything to do with Art of Noise. For instance, in the hands of the London duo Flyright, Art of Noise's hit "Peter Gunn" (itself a drastic remake of the '50s television theme) loses all traces of the original's most distinguishing feature, Duane Eddy's twang guitar lead line. Similarly, Lightfoot's reworking of "Yebo," Art of Noise's 1989 collaboration with South African singing group Mahlathini and the Mahotella Queens retains only two syllables of the original vocal part.

The question, then, is: If the rhythms are altered and the melodies disappear, what makes this an Art of Noise record? The answer: nothing. But, then, in the strange world of techno, all matters of source material and songwriting are bound to remain fuzzy. Do yourself a favor: Keep all inquiries to yourself and just concentrate on those crazy beats.

Roni Sarig, Amazon.com



...Sometimes these reinterpretations render the original sources unrecognizable, but wasn't that what Art Of Noise's mission in the first place...

Entertainment Weekly (1/17/97)



No Art of Noise Here!!!

I agree with most of the others. This is NOT THE ART OF NOISE. The only song that even has AON in it is "Something Always Happens". The other songs are unrecognizable. The Art of Noise are AWESOME. If you like cool remixes of Art of Noise, don't get this CD!! But since it has AON on it, it is in my collection, which I have every Art of Noise CD, album and 12" remixes made to date. HUGE FAN.

Anthony Rogers from Oldham Co. Ky. USA, October 10, 2000



This is not art.

Don't get me wrong... I do like d&b remixes and I love the art of noise but this album is more noise then art. When musicians rely on drum machines to make their music sound 'cool' this is what happens. There are a couple of exceptions on this album such as opus4 & peter gunn which must have taken effort and talent to create. However for the bulk of the rest of this album.... pllease!!

swatson48 from Pittsburgh, PA USA, August 21, 2000



The best AON remix to date...

Easily one of the best drum and bass albums available, it is by far the best 'remix' album of the AON. What makes it so successful? It says what it is and is what is says. This is an excellent drum and bass execution of AON classics. Makes for great driving music and relaxing enough to groove solo style at home. Whether you like AOM or not, this is a triumph in the genre of drum and bass, and should not be missed by AON and D&B fans all over the world.

DJ-JJ from Los Angeles, September 3, 1999



I Wouldn't Pass Judgment, Except...

OK, I'm not a d&b fan, so I shouldn't be reviewing this item. However, they put the Art of Noise name on it, so I bought it (baaaa!). These songs may be good d&b, but they ain't good AON. I'm not sure what exactly is involved in these remixing projects, but apparently one goal is to remove anything that identifies the song. I'm told that this track is "Peter Gunn" and that track is "Something Always Happens". Sure, OK. As a huge fan of the originals, I shouldn't have to be told - but I need to be. They're remixed to the point that nothing's left. The beats are different, the speeds are different, the melodies are gone, the bass structures are different... exactly how are these remixes again? Why not original pieces by the artists listed? No matter. I'll give it two stars because, hey, this might be GOOD d&b, but it has absolutely no value to the AON fan who cares nothing for d&b.

alf from Denver CO, August 4, 1999

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