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A Tribute to My Dad (Pt. 2 - Electronic)


On a typical Saturday morning in 1995 (the first year I can clearly remember), the house was filled with House. Club jams from 1988 shook the living room floor as I would lay there on the carpet transfixed, immersed in the vibrations. ,my eyes on the digital VU meter. My parents' cardio workout was in full swing. Big beats meant we were in for an energized (and sweaty) start to the day. I joined in the workout when I pleased. Surrounded by pulsating rhythms and corporeal beats, the atmosphere was electric, and the hooks were irresistible.

Back in those days, I had absolutely no sense of what was "contemporary." I didn't even know what a year was until 1998. All I knew was what I was captivated by; and for me, House music was monumental. I wondered how the songs we listened to every week came about. If there were actual people or instruments making the sounds, or if they were all done some other way, perhaps by robots or other intelligent machines. When you're 2 or 3 years old, it seems like magic. House music brought to my mind the idea of vibrant digital sound; images of lightning, sparks, and green and black computer-generated images from primitive computers came to mind. It was music to imagine to; with all its textures, shapes and layers. And it was fun. Before I could even realize what I was listening to, I was developing a love for electronic music. Probably one of the strongest of my roots.

The main album we listened to on workout Saturdays was a compilation album my dad brought home by a company called PolyTel. They released a series of electronic and dance compilations of popular club music in the 80s and 90s, often with seamless fades between each track.

Probably the most legendary song of my childhood began with the epic first words "Американская фирма "Transceptor Technology" приступила к производству компьютеров "Персональный Спутник"
which translates to: “The American company Transceptor Technology has started production of the ‘Personal Companion’ computer,” which was a computer for people with visual impairments.

...then - BAM! The Power.

It's annoying to me that Snap!'s The Power has been reduced to a mere novelty hit of the early 90s, along with the equally iconic "Pump Up the Jam" by Technotronic. I know I'm biased, but I can't help but wonder how dance music enthusiasts can fail to see the masterpiece this song is, beyond the fact that it's "dated". You've got some instantly memorable hooks, an awesome, strong female vocal, and a powerful beat that just makes you feel pumped. In the context in which it was released, it would have been cutting edge. I say would have been partly because they decided to base much of the song on samples, most notably from another rap artist, Chill Rob G., who did a version of the song on his own (I think as part of the agreement not to drop charges against Snap! for using unauthorized samples). Plus, the rapping is pretty good for a German group's English-version recording. Much more witty and articulate than most italo and euro disco contributions.

Either way, it's a timeless classic to me, no matter how cheesy some might think it is.


Next up was another song that I would consider to be a legend- Soul II Soul's Grammy award winner, Back to Life.

I think this is probably my favorite House and New Jack Swing hit, hands down.
Nowhere have I ever found a song so jazzy, suave, and ultimately danceable than from Soul II Soul. The level of sophistication they show puts them a step above many of their contemporaries. They have managed to create something that both embodies and transcends its native era, and sounds almost as fresh 20+ years later as it did when it was released. Its elegant urban strut is just so infectious.

Unfortunately, Soul II Soul shuffled through several vocalists throughout its existence. Caron Wheeler's vocals in Back to Life, and on Keep On Movin', their two most successful (and imo most listenable) tracks, were excellent, and had she stayed with the group, I think they might have broken their status as a virtual one hit wonder.



Beyond those two mammoth hits, the PolyTel compilation included other, lesser known hits, which were much more popular in parts of Europe than in the states. They are also the most dated sounding today, but nonetheless, well orchestrated. Almost as a rule, they contained fantastic vocals.

The hyperactive, italo-disco influenced track "Numero Uno" was a hit in Britain in 1989. I just love it's epic sound, exciting atmosphere, and the oh-so-amazing retro music video that goes along with it. They don't do graphics like they used to. *sigh* But it really gives you an idea of the aesthetic at the time.


Higher quality audio:


The last notable song from the album was probably "Dirty Cash (Money Talks)" by Adventures of Stevie V . At the time, I had no idea what the song was about (I probably also sang along to "Jack to the Sound of the Underground" *facepalm*) but it brings back good memories. Again, catchy hooks and retro rap.



The music I listened to then planted the seed that led to some of my greatest discoveries concerning Synthpop, Italo Disco, House, and German electronic music, including 3 of my favorite artists- Yazoo, Kraftwerk and Propaganda.
All thanks to my dad bringing home a club mix from Costco

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