Mixtape 08/Dear Ibiza 18: Back To Love: Club Classics

I've spent the past few days compiling a real treat for club music fans. Over the course of two posts, I'll be presenting my very own version of Hed Kandi's famous Back To Love compilation series. For those who aren't familiar with the label or the albums, I'll fill you in a bit. Hed Kandi was started back in 1999 by DJ Mark Doyle as a refined dance music label for a discerning generation of club-inclined listeners. Its very first releases were Back To Love albums, documenting the classic club jams (circa the late 1980s and early 1990s) that made dance music what it is now. One disc would feature house cuts, while the second included deeper tracks, even including some R&B and hip-hop. The series is one of the few that has survived from the beginning of the label to the present day, and has shifted its focus to covering later years of club tracks (and also sticking just to house music).

I don't have as many Back To Love albums as I do of some of the label's other mainstay series (like Beach House or Disco Kandi), but I have enough albums and mixed collections in my library to pick out some favorites. The first disc in my homemade Back To Love mixtape consists of classic cuts picked from the Hed Kandi albums. The second half (still to come) will feature cuts from mainstream acts cherry-picked from across my entire music library, again unified as essential club staples. If you like what you hear, I'd recommend picking up the 2004 edition or The Mix: Summer 2004 if you'd also like to try out some other Hed Kandi flavors. I'll skip over the big commentary I usually give, as the music can really speak for itself, but I will point out some favorites. The Brand New Heavies' "Back To Love" manages to sound both retro and fresh, while "Slave To The Vibe" and "Ain't No Love (Ain't No Use)" are funky essentials sure to keep you dancing even after a first listen. Club queen Ce Ce Peniston and Inner City also deliver groovy club bangers, just a few of the best from a great set of true club classics. Enjoy the music and stay tuned for more roots of modern club culture coming soon.

CD1: The Club Classics Mix
1. Lisa Lisa And Cult Jam, "Let The Beat Hit 'Em" (L L With Love R C Mix) [YSI]***
2. Aftershock, "Slave To The Vibe" (12" Club Mix) [YSI]+
3. The Brand New Heavies, "Back To Love" (Graeme Park Remix) [YSI]***
4. Ce Ce Peniston, "We Got A Love Thang" (Silky House Thang) [YSI]^
5. Clivillés And Cole Feat. Deborah Cooper, "A Deeper Love" (Club Mix) [YSI]^
6. Sub Sub Feat. Melanie Williams, "Ain't No Love (Ain't No Use)" (Original Full Length 12" Mix) [YSI]^
7. Secret Life, "As Always" (Gospel Radio Edit) [YSI]^
8. Inner City, "Big Fun" (Original 12" Mix) [YSI]#
9. Pamela Fernandez, "Kickin' In The Beat" (Extended Dance Mix) [YSI]#
10. Jomanda, "Got A Love For You" (Hurley's House Mix) [YSI]***
11. Joe Smooth, "Promised Land" (Original Mix) [YSI]***
12. Rhythm Is Rhythm, "Strings Of Life" (Piano Mix) [YSI]+

*** from The Mix 50
+ from The Mix: Summer 2004
^ from Back To Love 03.04
# from Back To Love 03.05

***Note: Links removed***

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Mixed & Mashed 23: More White Labelling

The sequel to the first white label feature includes another six innovative remakes of essential tracks. I was never a fan of The Raconteurs' debut single "Steady, As She Goes," but the slow-burning club take by Tommie Sunshine is a major improvement for pop fans. Rihanna's "Umbrella," on the other hand, never needed fixing, but the Vandalism/Diplo remix is a great sliced-apart, amped-up revisioning. Similarly, Sugababes get their hit "About You Now" turned into a stomping, skipping beast by The Videoband. The same remixer totally deconstructs Yelle's otherwise laid-back "Ce Jeu" to give it a dissonant electro growl. Vandalism strike again with their enormous bass on a version of Whitney Houston's "I'm Every Woman." To wrap up the white label feature, Night Facilities turn Daft Punk's late-period classic "Prime Time Of Your Life" into a mash-up of all their best moments, mirroring the French duo's own signature live antics.

The Raconteurs, "Steady, As She Goes" (Slave To The Sunshine Remix) [YSI]
Rihanna Feat. Jay-Z, "Umbrella" (VNDLSM Remix - Diplo Re-edit) [YSI]
Sugababes, "About You Now" (About The Videoband Remix) [YSI]
Yelle, "Ce Jeu" (Slaughtered By The Videoband) [YSI]
Whitney Houston, "I'm Every Woman" (Vandalism Remix) [YSI]
Daft Punk, "Prime Time Of Your Life" (Night Facilities Remix) [YSI]

***Note: Links removed***

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Tender Ballads 11

I have to admit that I've been neglecting my ballads playlist for a few weeks now. Of course, it is bright, hot and sunny all day every day in Los Angeles, but that's no excuse! Here's the eleventh (!) installment of tender tracks. The one tracks I wanted to post for sure was Imogen Heap's "Hide And Seek," a haunting near-elegy that has served as soundtrack to many dramatic scenes. Next up is No Doubt's "Magic's In The Makeup," an ages-old album track also about hiding behind a superficial mask. Kylie Minogue has never been a master of balladry, but her discography has some great slower moments scattered throughout, like the sweeping "Cosmic" from her latest record. To wrap up, I've picked out two super-tender old school favorites that everyone should know, George Michael's "Father Figure" and Cyndi Lauper's "Time After Time."

Imogen Heap, "Hide And Seek" [YSI] (from Music From The O.C.: Mix 5)
No Doubt, "Magic's In The Makeup" [YSI] (from Return Of Saturn)
Kylie Minogue, "Cosmic" [YSI] (from X)
George Michael, "Father Figure" [YSI] (from Ladies & Gentlemen: The Best Of)
Cyndi Lauper, "Time After Time" [YSI] (from She's So Unusual)

***Note: Links removed***

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Tender Ballads 11

I have to admit that I've been neglecting my ballads playlist for a few weeks now. Of course, it is bright, hot and sunny all day every day in Los Angeles, but that's no excuse! Here's the eleventh (!) installment of tender tracks. The one tracks I wanted to post for sure was Imogen Heap's "Hide And Seek," a haunting near-elegy that has served as soundtrack to many dramatic scenes. Next up is No Doubt's "Magic's In The Makeup," an ages-old album track also about hiding behind a superficial mask. Kylie Minogue has never been a master of balladry, but her discography has some great slower moments scattered throughout, like the sweeping "Cosmic" from her latest record. To wrap up, I've picked out two super-tender old school favorites that everyone should know, George Michael's "Father Figure" and Cyndi Lauper's "Time After Time."

Imogen Heap, "Hide And Seek" [YSI] (from Music From The O.C.: Mix 5)
No Doubt, "Magic's In The Makeup" [YSI] (from Return Of Saturn)
Kylie Minogue, "Cosmic" [YSI] (from X)
George Michael, "Father Figure" [YSI] (from Ladies & Gentlemen: The Best Of)
Cyndi Lauper, "Time After Time" [YSI] (from She's So Unusual)

***Note: Links removed***

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Open Your Box 18: Truth Hurts

For some inexplicable reason, I hadn't heard Handsome Boy Modeling School's collaboration with my personal favorite Róisín Murphy until very recently. "The Truth" is a departure for the former Moloko vocalist, seeing her abandon traditional song structure and a predictable melody in favor of dissonance and uneven phrasing. It ends up being one of her best tracks, with lyrics that will stick in your head for days. In the same vein, here are a handful of tracks vaguely related to the themes of truth and reality. To be honest, I just picked tracks randomly from my iTunes library by searching for "truth" and "lies." They all pretty much fit, though, from a remix of Amy Winehouse's bitter anthem "Love Is A Losing Game" onwards. Depeche Mode released classic single after classic single in the early 90s, including the haunting, essential "Policy Of Truth." Björk's best remix by far, Soft Pink Truth's injection of energetic electronic beats into "It's In Our Hands" does the already-great song wonders. Last, The Arcade Fire proved that blog hype can't always distill the quality of your music long ago with the soaring "Rebellion (Lies)," from their first album. I guess the truth isn't all there is Róisín--there's always music!

Handsome Boy Modeling School Feat. Róisín Murphy & J-Live, "The Truth" [YSI] (from So...How's Your Girl?)
Amy Winehouse, "Love Is A Losing Game" (Truth & Soul Mix) [YSI]
Depeche Mode, "Policy Of Truth" (Single Version) [YSI] (from The Singles 86>98)
Björk, "It's In Our Hands" (Soft Pink Truth Mix) [YSI]
The Arcade Fire, "Rebellion (Lies)" [YSI] (from Funeral)

***Note: Links removed***

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Mixed & Mashed 22: White Labelled

I wasn't always such a remix fiend, but in the last year or so, I've become addicted to the endless musical variations offered by remix culture. Sure, most of the remixes I listen to follow a pretty predictable template of merely translating a song for club friendliness, but with time and a tireless eye, it's not too difficult to find amazing remakes of all your favorite tracks. Alongside the usual host of commissioned remixes are a handful of unofficial takes, done by everyone from your local DJ to the biggest names in the industry. Ending up online, on white label promos or confined to a small listening circle, the best of them can often surpass the commercially-available remixes most commonly heard in clubs. After much collecting, it's time for me to look back and round up some of my favorites.

For the first installment (part two is imminent), I've started out with two recent white label mixes. The first is a booming club rework of Madonna's dance standard "Into The Groove," which, although taking a bit of a safe remix angle, is a worthwhile cheap thrill. Next up is a promo-only track intended for full single release in the near future, a rework/mash-up of Natasha Bedingfield's "I Bruise Easily" with Chicane's "Saltwater." Crookers are notorious for their bass-heavy underground mixes of popular tracks, and their juicy stripdown of Nelly Furtado's "Maneater" is no exception. Inner City's old school "Big Fun" gets an extended and groovy, if unremarkable, mix by Simian Mobile Disco. Aphex Twin's "Windowlicker" was perfect in its own right as a filthy dance track, but the "Run Jeremy" mixes by Tocadisco are nice variations. To wrap up the first half, A-Trak have cut up Kanye West's already robotic "Stronger" for a crucial remake.

Video: Chicane Vs. Natasha Bedingfield, "Bruised Water"


Downloads:
Madonna, "Into The Groove" (Sidechains Remix) [YSI]
Chicane Vs. Natasha Bedingfield, "Bruised Water" (Original Radio Edit)
Nelly Furtado, "Maneater" (Crookers Remix) [YSI]
Inner City, "Big Fun" (Simian Mobile Disco Remix) [YSI]
Aphex Twin Vs. Tocadisco, "Windowlicker" (Run Jeremy's XXX Lick Mix) [YSI]
Kanye West, "Stronger" (A-Trak Remix) [YSI]

***Note: Links removed***

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Attention: Girl Talk Feeds The Animals

Girl Talk is back! The master of hyperactive mash-ups and copyright-bending sampling, Girl Talk has gained widespread acclaim and notoriety over the past few years for his astounding DJ skills. His last album Night Ripper was a non-stop thrill ride with its hundreds of samples from every genre, juxtaposing completely disparate clips for often stunning results. His new disc Feed The Animals ups the ante, with over 300 samples crammed into its fourteen tracks. This time around, his label Illegal Art is offering it for a Radiohead-esque pay-your-own-price download. For those who choose to pay nothing, a questionnaire follows asking for an explanation (ironic considering the album's barely-legal stretching of the fair use doctrine in US copyright law). For more generous downloaders, higher quality files and a bonus of a physical disc (to be released at a later date) are also available. Of course, I spend far too much money on music already, and dished out to see Girl Talk live (twice in one weekend), so I had no qualms about entering $0.00 as my donation, but follow the link below and do as you will. I haven't had a great deal of time to fully evaluate the record yet, but my first impression is that it will continue to blow away Girl Talk fans without replacing its predecessor as the essential party album. For those who need some convincing before committing too much hard drive space, I've hand-picked three selections from Feed The Animals to whet your appetite. The "Flashing Lights"-meets-"No Diggity" moment on "Still Here" is pop gold!

From Feed The Animals:
Girl Talk, "Shut The Club Down" [YSI]
Girl Talk, "Still Here" [YSI]
Girl Talk, "Hands In The Air" [YSI]

Link: Download the full Feed The Animals album here!

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Hits 30: Style Hybrids

Today I'm featuring a handful of hits new and old that are at the intersection between different genres. Most prominently, Dizzee Rascal has teamed up with Calvin Harris and Chrome for the electro-grime-R&B fusion "Dance Wiv Me," resulting in a surprisingly funky single that has already hit the top spot in the UK. Also recently in British pole position were the Ting Tings, with recent single "That's Not My Name." It's a fun pop-punk hybrid that fits onto the dancefloor strangely well. Saint Etienne never get too much notice as a sophisticated niche pop act, but their great "Shower Scene," which sees them fully embracing modern electronica perhaps a few years after the fact, was at the very least given a release in Spain a few years ago. I'm not too familiar with Mystery Jets, but I've taken notice of their recent cover of Leona Lewis's epic ballad "Bleeding Love." They strip the song back to an acoustic, country and blues-tinged take and reveal its strengths as a truly solid pop song, meeting the essential goal of a proper cover version by doing justice to the original while infusing it with a unique spin. In a way, the last featured song can be considered a cover version in its own way. When first recorded by Róisín Murphy around a year ago, the Calvin Harris-produced "Off And On" wasn't deemed the right fit for her second album Overpowered and didn't get released. It was, however, leaked, so by the time Calvin Harris remade the song with Sophie Ellis-Bextor, many web-savvy pop fans (myself included) had already grown accustomed to hearing Róisín's distinctive snarl over Harris's huge synth-laden beats. While Sophie's version is still catchy in its own right, it will Róisín's to my ears. Anyway, here is a remixed version of Sophie's recording, supposedly done for its imminent release as her fourth album's lead-off single (though I'd prefer she went with the superior Freemasons-produced "Heartbreak Make Me A Dancer"). For comparison, I've also reposted Róisín Murphy's recording of "Off & On," first featured in one of my earlier posts on Calvin Harris (see here).

Dizzee Rascal Feat. Calvin Harris & Chrome, "Dance Wiv Me" (Extended Mix) [YSI]
The Ting Tings, "That's Not My Name" [YSI] (from We Started Nothing)
Saint Etienne, "Shower Scene" (Radio Edit) [YSI] (from Finisterre)
Mystery Jets, "Bleeding Love" (Leona Lewis Cover) [YSI]
Sophie Ellis-Bextor, "Off And On" (Calvin Harris Remix) [YSI]
Róisín Murphy, "Off & On" [YSI]

***Note: Links removed***

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Dear Ibiza 17: Summer Jams, Pt. III

This post isn't as extensive as the first dance music-filled summer jams post, so instead I picked out three nearly-irrefutable dance classics and a recent favorite. Modjo's "Lady" was a huge club hit everywhere, and its glittering rhythm can still be heard on dancefloors today. Stardust (featuring a pre-Daft Punk Thomas Bangalter) was similarly enormous with the French filtered disco monster "Music Sounds Better With You." The Bucketheads were another name known only for their one big hit, the thumping, instantly-recognizable "The Bomb." More recently (and with considerably less Ibiza impact), dance hitmaker Michael Gray struck gold again with "Borderline," featured here in its mostly vocal-less original mix. Whether you're lucky enough to be vacationing in the revered clubber's paradise or not, these songs will fit in perfectly with any summer soundtrack.

Modjo, "Lady (Hear Me Tonight)" (Radio Edit) [YSI]
Stardust, "Music Sounds Better With You" [YSI]
The Bucketheads, "The Bomb" (Radio Edit) [YSI]
Michael Gray Feat. Shelly Poole, "Borderline" (Original Radio Edit) [YSI]

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Review: Coldplay, "Viva La Vida Or Death And All His Friends"

So much has already been written about Coldplay's fourth album, the recently-released Viva La Vida Or Death And All His Friends, but unlike most reviewers, I'm not quite big enough to receive albums ahead of release, and (usually) don't give in to the temptation to download early leaks. As a result, my verdicts tend to come in a bit later than most, especially since I like to give new records time to sink in before judging them. A few weeks isn't exactly adequate time to render a long-gestating piece of work worthy of praise or not, but it's generally enough time to articulate some key points.

That said, I've loved Coldplay for a good few years now, since their groundbreaking (and still career-best) A Rush Of Blood To The Head came out in 2002. Before they were the biggest stadium rock band in world short of U2 or the Stones, their appeal lay in their songwriting and consistent, if formulaic, melodies. Their knack for simple, catchy ballads and addictive hooks was apparent on their debut Parachutes, and developed to its fullest extent on Rush. X&Y, however, saw the formula stutter, with their trademark builds and simplicity pushed aside in favor of epic widescreen flourishes and stadium grandeur. While it had some standouts, it failed to gel as an album and didn't have the repeat listenability of its predecessor. Viva La Vida, on the other hand, works in quite the opposite way. As an album, it improves greatly on the rehashing X&Y, and the whole ends up somehow being much more than the sum of its parts.

After kicking off with an engaging instrumental, the album's first real track, "Cemeteries Of London" sets the pace for the whole record. It relies more on its melodic builds and intricacies than just purely its songwriting, which had become Coldplay's nearly-debilitating crutch. Similarly, "42" must be listened to in full to truly appreciate or even enjoy it, a fact that extends to Viva La Vida as a collective whole as well. It isn't until its long-building climax more than halfway through its duration that "42" becomes a fully-realized song. The album is arranged to fit a similar pattern, building with upbeat tracks like the jangly "Lovers In Japan" and climaxing with the soaring love-as-a-kingdom metaphor "Viva La Vida," easily two of the standouts and obvious radio singles on the record. Sure-t0-be future single "Lost!" joins them as one of the few moments that can be isolated from the whole and dubbed "classic Coldplay," though unlike the best tracks on X&Y, it doesn't rely on any of their now-tired trademarks. After the off-beat groove and dissonant finale of first single "Violet Hill" (a song which took me a while to even like), the album wraps itself up with the unremarkable "Strawberry Swing" and majestic "Death And All His Friends," containing a memorable build reminiscent of Rush's amazing closer "Amsterdam." However, while "Amsterdam" ended Rush neatly, the hidden track following "Death And All His Friends" could have just as easily come at the beginning of the record, or wedged in between tracks like some of the other instrumentals. It's as if Coldplay are subtly remarking that the end is nowhere near, in both the context of this record and their musical career. While it hasn't scaled the impressive heights of some of their past work, Viva La Vida Or Death And All His Friends has achieved the remarkable feat of shaking off their increasingly stale formula, a great sign for their future as still-developing career artists. Of course, it doesn't hurt that they've knocked out a damn good album on their way there, too.

Coldplay, "Lovers In Japan/Reign Of Love" [YSI]
Coldplay, "Death And All His Friends" [YSI]

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Classics 24: Summer Jams, Pt. II

Part two in the essential summer jams series is a handful of random classics, some very recent and some pretty old. Texas have been around for ages, putting out some classic songs over their long career, including the glittering pop of "Inner Smile." Supergrass were one of the key, if somewhat lesser, players in the Britpop movement, and it their bouncy hit single "Alright" about freewheeling youngsters that kickstarted their brief moment in the spotlight. MGMT have become one of this year's best new listens for me, as songs like the anthemic "Kids" (one of my good friend's favorite tracks) easily showcase. M.I.A. has been in repeat on all my music players ever since I saw her in concert a month or so ago, and politically-charged, rhyme-heavy bangers like "World Town" are her specialty. Stay tuned for more upbeat summer tracks all season long!

Texas, "Inner Smile" [YSI] (from The Greatest Hits)
Supergrass, "Alright" [YSI] (from Supergrass Is 10: The Best Of 94-04)
MGMT, "Kids" [YSI] (from Oracular Spectacular)
M.I.A., "World Town" [YSI] (from Kala)

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Serve Chilled 10: Ambient & Instrumental Sounds

It's always great to just sit back and enjoy some chilled sounds every so often (as in, on a daily basis). To commemorate some more memorable instrumental and laid-back classics, here is a selection of instrumentals, dubs and straight-up relaxed sounds. First up are two captivating instrumental versions of some excellent tracks, the squelching electronic stylings of Róisín Murphy's "Overpowered" and the delicate strumming of Goldfrapp's subdued "Clowns." It's a testament to both artists' skill that the tracks are stunning even without their accompanying vocals. Jazzanova has been a favorite collective of mine for a few years now, releasing equally flawless mix albums and original material, like the chilled Ibiza soundtrack of "Bohemian Sunset." Mogwai's "Like Herod" isn't so calm, but rather an epic 12-minute lesson in pure musical drama and intensity. Coldplay have long been masters of stripped-back rock, as the first half of new track "42" proves. Just like Mogwai, Coldplay rely on builds for effect in their best pieces, and the release in "42" is inimitable. Things get electronic again with Fischerspooner's trippy single "The 15th" and an extended, perfectly summer-appropriate dub version of Jamiroquai's forgotten single "You Give Me Something." To wrap up the ambient side, there's a long, skillfully crafted dub remix of Moloko's club classic "Forever More." Enjoy the sun while it lasts with some vacation-appropriate chillout listening!

Róisín Murphy, "Overpowered" (Instrumental) [YSI] (original on Overpowered)
Goldfrapp, "Clowns" (Instrumental) [YSI] (original on Seventh Tree)
Jazzanova, "Bohemian Sunset" [YSI] (from the Hed Kandi compilation Serve Chilled 59)
Mogwai, "Like Herod" [YSI] (from Young Team [Deluxe Edition])
Coldplay, "42" [YSI] (from Viva La Vida Or Death And All His Friends)
Fischerspooner, "The 15th" [YSI] (from #1)
Jamiroquai, "You Give Me Something" (Full Intention Dub Mix) [YSI] (original on A Funk Odyssey)
Moloko, "Forever More" (FKEK Dub Mix) [YSI] (original on Statues and Catalogue)

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Hits 29: Róisín & Solange: Hot Tranny Messes!!!

Video: Róisín Murphy, "Movie Star"

Hopefully readers of this blog are by now familiar with the inimitable Róisín Murphy, one of my undisputed favorites. Her unique sense of style and quirky musical vision never falter, as her astounding body of work, both with Moloko and solo, can attest to. Her latest video, for Overpowered's glittering standout anthem "Movie Star," takes the crazy side of her persona to a new extreme. A play on John Waters' ridiculous and controversial work with Divine, it redefines the phrase "hot tranny mess" in so many ways. It starts out in typically fabulous fashion, with Róisín cavorting with her posse of transvestites and drag queens on just another high-glamor night out. At some point, it turns awry, and becomes nothing short of an all-out disco bloodbath, complete with shrieks of terror and unexplained monster moments. There's even an allusion to Waters' infamous lobster rape depiction! I've always known Róisín to be a bit nutty, and of course effortlessly fabulous, but this just smashes all expectations. With "Movie Star," she is officially a model for all the hot tranny messes out there (and definitely in a good way!). Check on a lovely acoustic take of the normally stomping club track to cool down after the frenzy of the video.

Audio: Róisín Murphy, "Movie Star" (Live Acoustic Version) [YSI] (original on Overpowered)

I never gave much notice to Beyoncé's younger sister Solange, but her new single "I Decided" has more than caught my eye. Effortlessly picking up on the modern throwback trend pioneered by the likes of Mark Ronson and Amy Winehouse's many clones, it's a slick, catchy single that doesn't rely on studio trickery or tired pop formulas for its remarkable appeal. Less fun, but still worthwhile, is the Freemasons rework, dubbed "Pt. 2" of the track (not included here, though). The video, on the other hand, is a total free-for-all, directed by Melina (the maker of Kylie's big-budget "Wow" and "In My Arms" videos). It's one of the strangest, most random compilations of images I've ever seen! Assembled like a collage throughout, the visual construction is stunning, however there isn't any plotline or flow to the clip. It's an amalgam of totally disjointed, utterly ridiculous setups, including countless memorably outrageous juxtapositions of significant historical events with funky outfits. The segues are even crazier, jumping from a girl group stage to an Atari-hipster 80s party to an outer-space love story! It's a trainwreck well worth watching!

Video: Solange, "I Decided"

Audio: Solange, "I Decided" [YSI] (from the forthcoming Sol-Angel and the Hadley St. Dreams)

***Note: Links removed***

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Mixed & Mashed 21: Summer Jams, Pt. I

I know it seems like I've been full of excuses for the past two months. I hate that I'm not posting regularly, (especially since I never stop listening regularly), but something always seems to come up! I just started both summer school and a new job at Starbucks two weeks ago, which means I have opening shifts followed by five hours of physics (leaving precious little blogging time or sanity!). I will be making an effort, though, so stay tuned for a hopefully sustained flood of music to make up for it.

To kick off the return, here is the first of a series of summer jams, perfect for hot weather and sluggish days. It's an eight-song set of hot club remixes, some old and some brand new. Rihanna included a bonus disc of excellent remixes on the import deluxe edition of her Good Girl Gone Bad album, including a memorable Miki Moto and Bobby Blanco version of "Push Up On Me." Tepr has done some brilliant techno-fied reworks of recent underground tracks, including fresh mixes of Yelle's "A Cause Des Garçons" and Santogold's "Say Aha." Also in Santogold's remix repertoire is an extended version of "L.E.S. Artistes" by one of my favorite remixers Hervé. Kylie Minogue's music has always been ripe for the remixing, as the numerous saucy remixes of non-album outtake "Boombox" demonstrate (included here is Revolte's). Madonna doesn't have such a dependable track record for mixes, but her singles usually have one or two great club mixes included on them. "Give It 2 Me" is already shaping up to have a kick-ass mix package, with Eddie Amador's house mix joining Paul Oakenfold's as one of her best. Danity Kane's "Damaged" is already insanely catchy on its own, and Mike Rizzo's radio mix adds a great dance punch to it. The Saturday's still-forthcoming "If This Is Love" gets a much-needed Moto Blanco injection of upbeat rhythm, rounding out the first set of summer stormers.

Rihanna, "Push Up On Me" (Moto Blanco Club Mix) [YSI] (original on Good Girl Gone Bad)
Yelle, "A Cause Des Garçons" (Tepr Remix) [YSI] (from Pop-Up)
Santogold, "Say Aha" (Tepr Remix) [YSI] (original on Santogold)
Santogold, "L.E.S. Artistes" (Hervé Remix) [YSI] (original on Santogold)
Kylie Minogue, "Boombox" (Revolte Remix) [YSI]
Madonna, "Give It 2 Me" (Eddie Amador House Lovers Mix) [YSI] (original on Hard Candy)
Danity Kane, "Damaged" (Mike Rizzo's Global Factory Radio Edit) [YSI] (original on Welcome To The Dollhouse)
The Saturdays, "If This Is Love" (Moto Blanco Radio Edit) [YSI]

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