The "Last" Great Hi-NRG Ever?

[marmite7]

Being a fan of the old skool hi-nrg, I think the sound lost its identity by the end of the 80's, with House making in-roads from 1985/6 onwards...............

so, what do you think was the last GOOD hi-nrg track to be made?

(Not including all that horrible dance-pop stuff like Gina G etc etc) :evil:

For me it has to be Mike Hammer's Divine from 1989 :P

A quality slice of hi-nrg, released slap bang in the middle of the UK rave scene :o


Music changed forever after that and for me, hi-nrg was a sound only to be heard in retrospect.

[discokicks]

Interesting question as it alludes to the idea that, like disco, true high energy music transformed to other styles and the original form became just a memory.

Although, I've enjoyed and still enjoy a massive array of dance music over these last 15 years, I do remember the end of 1990 being that turning point when finding that glorious hi-nrg sound became a challenge.

A tape that I made from October 1990 sort of says it all....Sugar Baby Love by Les Blue Belles, Stand Up and Sing by Lisa, Before The Night Is Gone by Blue Sunbeam, Even If You Say by Nilla Blackman :D and probably the song that I would say is the last greatest hi-nrg song: One Day by Janet! :D :D

The tape that I made the next month is good as well but there's definitely a more housey-energy feel to it.

[SandraDee]

You're right that the best hi-nrg was from roughly '81 with likes of Katmandu & Patrick Cowley to '86 with such as Taffy & Company B. After '86, for me, it was largely the British 'poppier' acts like the SAW stuff & Pet Shop Boys who made the best hi-nrg stuff e.g. Always On My Mind & Carol Hitchcok's Get Ready. I quite liked Jellybean's 'Just A Mirage' from '87 too. '88 was all about that housier influence with Natalie Cole's C+C remix of 'Pink Cadillac' & stuff like Capella & Inner City becoming more the sound of cutting edge gay nightlife. I generally found any pure hi-nrg from post-'88 quite sad & lacking. :cry:

[euroflash]

A tape that I made from October 1990 sort of says it all....Sugar Baby Love by Les Blue Belles, Stand Up and Sing by Lisa, Before The Night Is Gone by Blue Sunbeam, Even If You Say by Nilla Blackman :D and probably the song that I would say is the last greatest hi-nrg song: One Day by Janet! :D :D

All these tracks mentioned here were Italian imports, and Janet's "One day" is an absolutely fantastic piece.

I would like to add two other lovely Italian NRG tracks - PAULA FINA: "loving all the night" released in '90 on Discoenergy label, Italy. and PHIL & STAN: "love you tonight" that was released in 94! on Time Records (Italy). it is likely that the latter was the LAST NRG track ever. you never know though...

[discokicks]

I would like to add two other lovely Italian NRG tracks - PAULA FINA: "loving all the night" released in '90 on Discoenergy label, Italy. and PHIL & STAN: "love you tonight" that was released in 94! on Time Records (Italy). it is likely that the latter was the LAST NRG track ever. you never know though...

I'm not familiar with these two tracks so I'll have to search them out.

Although the heyday of NRG tracks was definitely the '80s, Almighty Records based in the UK picked up the slack at the start of the '90s and continues on today to be one of the best reliable sources for energetic dance music. They have an excellent website for ordering as well as offering legal downloads of pretty well their entire back catalogue. I am hoping that other labels follow Almighty's lead and start the same process of legal downloads.

[marmite7]

DK - I'm fully aware of Almighty (Clone & Fantasia labels), but am I the only one who can't stand their sound?

All those tired remixes of pop songs, along with remixes of classic hi-nrg tunes - ARGHHHHHHHHHHHH


I refuse to frequent my local gay club, due to the absolute crap the DJ plays!! If I hear another pumped-up remix of Gareth Gates, Fleetwood Mac, Snap etc etc etc, I shall take leave of my senses and cause actual bodily harm with a meat cleaver ;)


Just cos I'm gay, doesn't mean I'm gonna automatically like "gay cheesey music". Nowadays I prefer my dance traxc harder & darker :P


Had a top night with Judge Jules spinning a couple of weeks ago (and even better, he didn't speak!) and last year saw Mauro Picotto & Eddie Halliwell causing mayhem in Cambridge :D

Mauro was handing out mix cds, and I flattened three old ladies, two kids in wheelchairs and a blind man with his guidedog, just to get there first

[Davicillo]

3rd Nation 'I believe (Stonebridge mix)' was a great track from 94.
Sorta 'Zingy' in a Hinrg way. Love it!

[Energyguy]

EVEN IF YOU SAY - By Nilla Backman was definitely one of the last great "true" HINRG tracks....
I must admit I`m not a big fan of todays "hinrg" sound by labels such as KLONE & ALMIGHTY... They just seem to take a current pop song and speed it up with a dance backing track. I do like some of their remixes such as IN THE EVENING by Sheryl Lee Ralph. the track they released in 1991 called BABY DON`T CHA LEAVE ME THIS WAY by ROYAL T was quite good (vocal by Earlene Bentley). yoi can keep the rest.....

[Andy Farley]

I carried on playing Hi-Nrg until 1994, when I found that 90% of what was coming out was a cover version or remix of a classic, both from the Uk and abroad. I played a lot of stuff from Almighty & Klone, and didn't mind the housey element to be honest. Klone put out some great original tracks in amongst all the covers, Abigal - Don't Tell Me Why was a great track and Paul Parker - In My Wildest Dreams spring to mind, the same with Almighty, Technique - Tell Me springs to mind as well as Royal T of course. Other than that the Italians provided the best uptempo tracks, big for me were Vanessa - Why Did You Say I'm Sorry, Linda Ross - Touch Me, D-Essex - Victim Of Love, Anika - Precious Love & Virgin - All Your Love were stand out tracks that were big for me :)

[Energyguy]

I carried on playing Hi-Nrg until 1994, when I found that 90% of what was coming out was a cover version or remix of a classic, both from the Uk and abroad. I played a lot of stuff from Almighty & Klone, and didn't mind the housey element to be honest. Klone put out some great original tracks in amongst all the covers, Abigal - Don't Tell Me Why was a great track and Paul Parker - In My Wildest Dreams spring to mind, the same with Almighty, Technique - Tell Me springs to mind as well as Royal T of course. Other than that the Italians provided the best uptempo tracks, big for me were Vanessa - Why Did You Say I'm Sorry, Linda Ross - Touch Me, D-Essex - Victim Of Love, Anika - Precious Love & Virgin - All Your Love were stand out tracks that were big for me :)

Hi Andy - Hows things ??
Some good tracks listed there mate... they bring back good memories !

[Andy Farley]

Hey Neil, I'm great thanks. Sorry not been in touch for a while been heads down workwise!! How you doing?

[discokicks]

DK - I'm fully aware of Almighty (Clone & Fantasia labels), but am I the only one who can't stand their sound?

All those tired remixes of pop songs, along with remixes of classic hi-nrg tunes - ARGHHHHHHHHHHHH


I refuse to frequent my local gay club, due to the absolute crap the DJ plays!! If I hear another pumped-up remix of Gareth Gates, Fleetwood Mac, Snap etc etc etc, I shall take leave of my senses and cause actual bodily harm with a meat cleaver ;)


Just cos I'm gay, doesn't mean I'm gonna automatically like "gay cheesey music". Nowadays I prefer my dance traxc harder & darker :P

It certainly is no news that Almighty mixes are scorned by many...a stigma that they have had to endure over the last 15 years. Thankfully, the heart of the label still remains: to create quality, energetic music for those with tastes that lean to the happy side of dance music. There is a plethora of 'serious' dance music makers out there, all making 'legitimate' tracks that appeal to darker tastes. Almighty simply doesn't make any attempt to be one of them. The unfortunate result is it being chastised by much of the gay crowd for it's 'cheesiness'...the very term that hi-nrg music was labelled in the '80s.

Why there is this great need for dark dance music is what puzzles me. So many of today's club djs spin a continuum of dubby, low-key, tribalistic, hard sounds...all in an effort to create some sort of pseudo-sadistic, tough-guy, sexual playground ("no one can accuse me of being a nelly queen") No wonder so many gay men have swore off going to dance clubs or think that the only good music was from the heyday of disco and early '80s.

The gay crowd ate up the happy vibe of Hi-Nrg during the '80s during a time when the community struggled to gain respect and equality. Perhaps it was that positive vibe that helped keep us optimistic...a musical driving force for the troops. Personally, I love smiles on the dancefloor.

[Simon White]

A lot of Gay disco became chart pop music back in the disco days- Kelly Marie, Village People, The Three Degrees 'Runner', Donna Summers hits, even Divine 'You Think You're A Man" ect ect. But they crossed over from the Gay clubs to the pop charts where as Almighty have reversed the process and just disco'd up pop hits. Great if you like lowest common denominator pop stuff. I hate it. The reason I liked a lot- not all - of what I heard in Hi Nrg and Gay discos was that it often combined a great Soul voice with a great dance beat and a sense of dramatic purpose often with real orchestras and musicians. For me, the early vocal house tracks showed the same promise after Hi NRG had become crass electronic europap. I remember the first time I heard Darrel Pandy singing "Love Can't Turn Around" and I couldn't believe how amazing it was. The Gay Disco legacy is there still though but I do't think it exists in the Gay discos anymore which are either full of gay Sharon's and Tracy's who wouldn't know good music if it came up and kissed them on all four cheeks or overtly queer drugged up gym queens who as long as it's got a ridiclously fast beat, no melody or complete vocal and is unlistenable anytime but 5.00am sunday morning and off your tits, will be happy.

[discokicks]

But they crossed over from the Gay clubs to the pop charts where as Almighty have reversed the process and just disco'd up pop hits. Great if you like lowest common denominator pop stuff.

Ouch! `

[marmite7]

Hey disco kicks :)


Darker for me equates to emphasis on bass & minimal lyrics - if any ;)

[Energyguy]

A lot of Gay disco became chart pop music back in the disco days- Kelly Marie, Village People, The Three Degrees 'Runner', Donna Summers hits, even Divine 'You Think You're A Man" ect ect. But they crossed over from the Gay clubs to the pop charts where as Almighty have reversed the process and just disco'd up pop hits. Great if you like lowest common denominator pop stuff. I hate it. The reason I liked a lot- not all - of what I heard in Hi Nrg and Gay discos was that it often combined a great Soul voice with a great dance beat and a sense of dramatic purpose often with real orchestras and musicians. For me, the early vocal house tracks showed the same promise after Hi NRG had become crass electronic europap. I remember the first time I heard Darrel Pandy singing "Love Can't Turn Around" and I couldn't believe how amazing it was. The Gay Disco legacy is there still though but I do't think it exists in the Gay discos anymore which are either full of gay Sharon's and Tracy's who wouldn't know good music if it came up and kissed them on all four cheeks or overtly queer drugged up gym queens who as long as it's got a ridiclously fast beat, no melody or complete vocal and is unlistenable anytime but 5.00am sunday morning and off your tits, will be happy.

Some good points there which I agree with... During the 80s HINRG boom years DJs & producers were far more "creative" and produced fresh, original tracks unlike the modern day NRG labels that just remake/cover current pop hits (with the odd exception).

[nrgbeat]

Interesting question as it alludes to the idea that, like disco, true high energy music transformed to other styles and the original form became just a memory.

Although, I've enjoyed and still enjoy a massive array of dance music over these last 15 years, I do remember the end of 1990 being that turning point when finding that glorious hi-nrg sound became a challenge.

A tape that I made from October 1990 sort of says it all....Sugar Baby Love by Les Blue Belles, Stand Up and Sing by Lisa, Before The Night Is Gone by Blue Sunbeam, Even If You Say by Nilla Blackman :D and probably the song that I would say is the last greatest hi-nrg song: One Day by Janet! :D :D

The tape that I made the next month is good as well but there's definitely a more housey-energy feel to it.

You should post these on-line so we can hear them.

A couple of other NRG tunes I remember from that time are "All I Ask Of You" Vicki Shepard and "Believe" Mary Stella.

[john davis]

For me,some of the tracks released on the Loading Bay label was some of the best Hi-NRG ever.

Stuff like Ankie Bagger,Claudia T,Sheila Stewart and Jayne & Jill really stand out for me.

Since then all the Almighty,Klone and Fantasia stuff have in my opinion devalued the Hi-NRG sound.

[Simon White]

A lot of Gay disco became chart pop music back in the disco days- Kelly Marie, Village People, The Three Degrees 'Runner', Donna Summers hits, even Divine 'You Think You're A Man" ect ect. But they crossed over from the Gay clubs to the pop charts where as Almighty have reversed the process and just disco'd up pop hits. Great if you like lowest common denominator pop stuff. I hate it. The reason I liked a lot- not all - of what I heard in Hi Nrg and Gay discos was that it often combined a great Soul voice with a great dance beat and a sense of dramatic purpose often with real orchestras and musicians. For me, the early vocal house tracks showed the same promise after Hi NRG had become crass electronic europap. I remember the first time I heard Darrel Pandy singing "Love Can't Turn Around" and I couldn't believe how amazing it was. The Gay Disco legacy is there still though but I do't think it exists in the Gay discos anymore which are either full of gay Sharon's and Tracy's who wouldn't know good music if it came up and kissed them on all four cheeks or overtly queer drugged up gym queens who as long as it's got a ridiclously fast beat, no melody or complete vocal and is unlistenable anytime but 5.00am sunday morning and off your tits, will be happy.

Blimey, had I eaten a lemon for breakfast that day? ;)

[SandraDee]

I think your observations were quite accurate Simon!;-)

[Simon White]

I think your observations were quite accurate Simon!;-)

Thanks Sandra ... I think ! :razz:

[marmite7]

No-one's mentioned S.A.W's output as being the last bastion of hi-nrg and for that I say.................


Thank you :)

couldn't stand their sound, although the gay club I frequented used to play Kylie's I Should Be So Lucky three times a night :-o

Mind you, they also did that with Man 2 Man's Male Stripper!

Oh for the halcyon days of 1982-1985 when hi-nrg wasn't cheesy just good pumping fun (ooh er) - I don't actually remember it ever being classed as cheesey to be honest, as most people (straight) complained it was too fast/repetitive. (There by missing the whole point of continuous dancing/mixing) It only became cheesey in retrospect, with Spagna / Baltimora / Sabrina / and all the other "holiday/Ibiza" hits crossing over.



Gawd - dontcha remember the straight clubs with the dj taking a break between records just to wish Wayne & Debbie a happy anniversary!

Arghhhh

[Andy Farley]

Hi Mark how are you?

Gawd - dontcha remember the straight clubs with the dj taking a break between records just to wish Wayne & Debbie a happy anniversary!

That seems to be the gay clubs nowadays, maybe not Wayne & Debbie, but very naff music and talking in between records. Certainly in Brum anyway

[discokicks]

No-one's mentioned S.A.W's output as being the last bastion of hi-nrg and for that I say.................


Thank you :)

couldn't stand their sound, although the gay club I frequented used to play Kylie's I Should Be So Lucky three times a night :-o

Mind you, they also did that with Man 2 Man's Male Stripper!

Oh for the halcyon days of 1982-1985 when hi-nrg wasn't cheesy just good pumping fun (ooh er) - I don't actually remember it ever being classed as cheesey to be honest, as most people (straight) complained it was too fast/repetitive.

The reason hi-nrg wasn't regarded as cheesy back then is because it seemed new and innovative. Also going out to the gay clubs back then wasn't looked at in a negative way as it is these days so anything the dj threw at us on a hot party night seemed to be universally accepted as part of the package of that exciting era.

How often do we see in online profiles these days that someone is 'not into the gay scene' and 'I don't go to clubs' in an effort to put themselves into a more positive light. One of the main reasons cited is the music sucks....why don't we just label all recent dance music as cheesy, redundant and crass? :roll: Nowadays, when dance music borrows or emulates sounds form the past, it's deemed as tired and cheesy....so we reminisce about how great the past was but condemn those who try to re-create it....damned if we do and damned if we don't.

In regards to the SAW era, I quite enjoyed much of it....not what I would label 'hi-nrg' but some great pop dance that filled my floors. Best of the bunch was Lonnie Gordon's glorious Happenin' All Over Again, Sonia's You'll Never Stop Me From Loving You and Kylie's beautiful Better The Devil You Know. Fantastic dancefloor classics!

Looking through some of my 90's vinyl today brought back memories of some great tracks with Hi-nrg rhythm.....

Mary's Prayer - DC Project (1997)
Show Me Heaven - Chimera (1998 )
Holding You - Ally and Jo (1996 - so good!)
Stars - Roxette (1999 Almighty Mix)
He's On The Phone - St. Etienne (1996)
Swamp Thing - The Grid (1994)
Heaven - Neuronic (1996)
Come To My Window - Dare 2B Different (1995 - Melissa Etheridge cover)
Sound Of My Heartbeat - Emjay (1995)
Because You Love Me - Lost (1996 - Celine Dion cover....HUGE!)
Tree Frog - Hope (1994)
Martha's Harbour - Victoria Newton (1999 - beautifully haunting)
Touch - France Joli (1996 - perfect comeback tune)
Catch - Sunscreem (1997)
Shoot Me With Your Love - D:Ream (1995)
Perfect Day - Indigo (1998 - beautiful Lou Reed cover)
Right In The Night - Jam and Spoon (1995)

and my top FIVE in no particular order:

Rendezvous - Culture Beat (1998 )
Go Before You Break My Heart - Tears 'n Joy (1994)
I Don't Want You (Vafanculo) - Linda Ray 1995)
Coming Back - DJ Dado (1997)
Whispering Your Name - Alison Moyet (1994 - gorgeous beyond words!!!)

....and so many more!:D

[Energyguy]

Some of the earlier SAW productions (Hazell Dean, O Chi Brown, DOA) were quite impressive. When it came to 1987 onwards they just became a "cash cow" and started churning out all sorts of pap :-(