here is the NFO file from Indietorrents
Lend a hand, leave your BitTorrent downloads open as long as possible, even after it is complete. It will help everyone’s downloads go faster and give you a good share ratio. Thank you!
Interested in indie music? Join us at #indie.torrents on EFnet (IRC).
#indie.torrents tracker: http://www.indietorrents.com (now invite only)
Please support indie artists and labels. Buy this release or see a live performance if you enjoy it.
*—#indie.torrents—*
Artist: Various
Album: FAC. Dance: Factory Records 12″ Mixes & Rarities 1980-1987
Label: Strut
Year: 2011
Genre: New Wave
RIAA Radar Status: UNKNOWN
Encoder: unknown
Sample Rate: 44.1 kHz
Codec: LAME (using
Avg Bit Rate: 251 kbps (V0)
“Converted from the 100% FLAC (ripped by vdown on what.cd) using dbPoweramp.
Respect to the original ripper.
Enjoy!”
Posted by: metaclam
Description / Review:
————————
What does dance music sound like when it’s made by people who seem slightly worried about the whole idea of dancing? What about people who are totally passionate about dance music even if it’s not their native language, who can tackle it with the fearlessness of musicians who love something but aren’t of it? Stateside, the music of Talking Heads is one answer. Along with a host of American artists from the same time, they carved out a unique interstice between rock and dance– not quite one or the other. Fac. Dance goes some way to answering those questions from the UK’s perspective, and it’s probably no coincidence that some of it mines the same vein as Talking Heads before they discovered M.O.R. A collection of singles from (mostly) the early days of Factory Records, it’s a glimpse of world where former wallflowers, whether one-time punks, or one-man avant acts suddenly found the possibilities of disco and post-disco club music too enticing to ignore.
For some, those possibilities were purely musical, a new set of compositional ideas to explore and formal rules to bend or break. On their 1985 single “Boss Toyota Trouble”, Manchester post-punks Biting Tongues, featuring future members of Simply Red, Yargo, and 808 State, sound like an industrial band who got its wigs flipped by Middle Eastern music and Ethiopian jazz and gamelan, but who couldn’t quite shake the perversity that leads people to form industrial bands in the first place. Two inclusions from the Durutti Column are just jittery and uptempo variations on Vini Reilly’s usual plangent and gorgeous brand of guitar-based instrumental music, seeming to have wandered in from a completely different compilation. In each case, the communal qualities of dance music get short-circuited, in both interesting and “interesting” ways, by artists too individualist to join any club night that’d have them as a member.
And sometimes this formalist fucking around just leads to jokes that burn themselves as quickly as you’d expect. Experimental jazz-rock group Blurt founded by poet/puppeteer Ted Milton, for example, certainly earn their name, their 1980 track “Puppeteer” featuring an early hip-hop groove where the MC is replaced by an imitation of a mentally ill ranter who owns a cheap saxophone. It’s a curious artifact of one of those rare moments when bands felt the compulsion to experiment with whatever was in the cultural air around them, but ultimately that’s all it is, like a lot of the stuff collected here to pad things out to two discs (the inclusion of such tracks when the comp has nothing by New Order doesn’t help).
For other Factory artists, though, dance music became both an experiment in new sounds and their first real attempt to make records that met the needs of an audience who wanted to do more than nod with approval at the innovation on display. This is the impulse that animates the bulk of Fac. Dance, and it’s why the compilation is worth hearing. Dance music can be many things, but to actually be dance music, it’s got to be, you know, funky. You can’t impede the groove, whether out of nervousness or perversity or indifference. What’s most surprising is how many of these artists, a lot of them reared more on the pogo than the hustle, made these tracks into real-deal dance music that also served as experimental tape collages or extended trance-rock jams.
Section 25’s legendary but only intermittently available-for-purchase 1984 B-Side “Looking From a Hilltop (Megamix)” is, on one level, pure street-level electro of the glassy and inhuman sort that was everywhere in the early 1980s. But the tension comes from the way it seamlessly weaves in the abrasive, clanging post-punk Factory was first known for, jolting you out of dancefloor hypnosis without disturbing that groove. Section 25 and a few other Factory artists also helped not to break but to extend the rules enough to help create the next wave of dance. It’s telling that Fac. Dance cuts off at 1987, a year before acid house took parts of Factory’s later, compulsive, electro-driven sound and remade the dance mainstream. However out-there or abrasive it gets, much of Fac. Dance is also stuff that still worked for clubbers, mostly young ones hungry for something new, in New York and Detroit as much as Manchester and London, kids who saw group revelry as the whole point of pop.
Note, for example, how many tracks here are the “New York Mix” version, with Factory also drafting in U.S. producers like Jellybean Benitez as the label’s records became international DJ tools and its artists began making pilgrimages to New York studios to learn the ropes, often leaving any lingering trace of their punk past behind. One representative and truly obscure American inclusion, the Hood’s 1987 cut “Salvation! (Nitromix)” is pure early freestyle/electro, that simultaneously most machine-driven and most pop brand of mid-80s dance, denigrated by old heads but integral to all the house and techno tweaks that would follow. Much of Fac. Dance probably wasn’t considered “true” dance music by certain disco aesthetes at the time. But its fearlessness, its untrueness, helped in a small way to invent the future we’re still living through.
http://pitchfork.com/reviews/albums/15963-fac-dance-factory-records-12-mixes-rarities-1980-1987/
Track Listing
—————-
[01/24] Looking From A Hilltop (Megamix) (Section 25) (8:10)
[02/24] Wild Party (Certain Ratio, A) (4:20)
[03/24] Love Tempo (Quando Quango) (7:54)
[04/24] Express (52nd Street) (5:04)
[05/24] Little Voices (Swamp Children) (7:18)
[06/24] Boss Toyota Trouble (Biting Tongues) (5:35)
[07/24] For Belgian Friends (Durutti Column, The) (5:23)
[08/24] Art on 45 (Royal Family & The Poor) (4:48)
[09/24] Knife Slits Water (Certain Ratio, A) (9:46)
[10/24] Dirty Disco (Section 25) (5:20)
[11/24] Puppeteer (Blurt) (3:23)
[12/24] See Them A’Come (X-O-Dus) (8:28)
[01/12] Pretenders of Love (Shark Vegas) (5:13)
[02/12] Cool as Ice (Restructured by John ‘Jellybean’ Benitez) (52nd Street) (7:28)
[03/12] Act On Instinct (Hot Swedish Mix) (Streetlife) (5:34)
[04/12] Salvation! (Nitromix) (Hood, The) (12:13)
[05/12] Smiling Monarchs (Abecedarians) (6:47)
[06/12] Time (Minny Pops) (3:42)
[07/12] Atom Rock (New York Remix) (Quando Quango) (7:32)
[08/12] Reach For Love (New York Remix) (Marcel King) (5:30)
[09/12] Look Into My Eyes (52nd Street) (6:56)
[10/12] Genius (Quando Quango) (6:26)
[11/12] You’ve Got Me Beat (Swamp Children) (4:56)
[12/12] Madeleine (Durutti Column, The) (3:03)
Total number of files: 24
Total playing time: 150:49
Generated: Thursday, October 4, 2012 4:43:10 PM
Created with: #indie.torrents NFO Generator (Mac) v2.3b3
Integrated in: What Request (Mac) v1.3