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BUSTIN OUT VOL 2 CD

2010 Apr Bustin' Out 1982: New Wave to New Beat volume 2 
Title: Bustin' Out 1982: New Wave to New Beat volume 2 
Artist: Various
Tracklisting: 

01. Goldfinger 6:05 
02. Moody (Cut Down) 3:52 
03. Dirty Talk (Radio Version) 4:25 
04. Hip Hop Be Bop (Dub) 7:39 
05. Music For Chameleons (Album Version) 6:08 
06. U-Men 3:19 
07. Liberty City 5:39 
08. Pounding System 5:21 
09. Dans Les Jardins 7:45 
10. My Spine Is The Bassline 4:02 
11. Breakdown  6:17 
12. Planet Rock 5:23 
13. Impulse 2:54 
14. Fiends 3:24 
15. Four Minutes 6:04 

How old: This CD is old!
Release Date: 2010 Apr
Format: CD
Record Label: Year Zero 
Catalogue No: ???
Price Guide: 7.00
Country:  UK
Additional info: --- 
Highest Chart Position: ---
Full Artist List:

01. Die Krupps
02. ESG
03. Klein & MBO
04. Man Parrish 
05. Gary Numan
06. Front 242 
07. Mark Stewart & The Maffia 
08. The Dub Syndicate
09. Benjamin Lew & Steven Brown
10. Shriekback
11. Colourbox
12.  Afrika Bambaataa & The Soul Sonic Force
13. Chris & Cosey
14. Portion Control 
15. Pylon

Buy: Amazon

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ALBUM INFO

Bustin Out 1982: New Wave To New Beat volume 2 is the second installment in veteran DJ Mike Maguire s fascinating new mission aimed at charting the groundbreaking developments in electronic-based music through the 80s. The set kicks off in Germany with Dusseldorf s proto-industrial Electronic Body Music exponents Die Krupps and the six-minute 12-inch version of Goldfinger being their irreverent take on electronically-cultivated pop music. Klein & M.B.O. s unadulterated dancefloor classic Dirty Talk , marked the blueprint for the oncoming House revolution. The importance of the trio of New York acts contained in this collection is inestimable. South Bronx sisters E.S.G., who opened Manchester s Hacienda, remained above pigeonholing, influencing anything from hiphop to house. The second monolithic Big Apple outing is Hip Hop Be Bop by Man Parrish, whose ingenious welding of Kraftwerk robo-sonics and European synth-pop sounds were a crossover club sensation. Thirdly is Planet Rock by Afrika Bambaataa and Soulsonic Force the first hiphop record to use a drum machine, setting the electronic rhythm beast loose in hiphop, providing the blueprint for electro and bringing a unifying house music sensibility to the party. Tubeway Army opened volume 1 and here Gary Numan is represented by Music For Chameleons displaying a more mature, haunted city style than earlier outings. Other artists getting additional airing from volume 1 are ex Throbbing Gristle duo Chris & Cosey, with their popping proto-electro of Impulse , and Belgium s new-beat pioneers Front 242 whose second release U-Men is possibly the rarest item on display here, currently fetching around 300. Meanwhile Mark Stewart, who by 1982 had left Bristol social agitators The Pop Group, released the Jerusalem EP which featured the bleak alien dub-funk of Welcome To Liberty City , a suitably unsettling backdrop for his wired urban reportage. This is neatly followed by Dub Syndicate s Pounding System , the opening track on the UK dub landmark LP The Pounding System [Ambience in Dub]. A more avant-jazz flavoured other-worldliness, even foreshadowing dubstep, continues with Benjamin Lew and Steve Brown teaming up on Dans Les Jardin . Shriekback are represented here with their rousing funk chant of My Spine Is My Bassline , and Colourbox with their 4AD debut Breakdown . Another serious master-stroke is the inclusion of South London s infamous Portion Control, whose fearsome brand of electro punk or hard rhythmic electronics is represented by Fiends from their 1982 debut album, I Staggered Mentally, showing why they were later cited as an influence by Depeche Mode, Skinny Puppy, Orbital and the Prodigy. The set ends with the hugely-influential but obscure Pylon, from Athens, Georgia, who were much championed by R.E.M. and the B-52 s. Four Minutes was the b-side of the 12-inch version of their Beep single, heaving through a crashing, alien dronescape, making a suitably unorthodox finale for this rather fine summation of a year when blips on the musical radar often assumed depth charge proportions.

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