Skatt Brothers "Walk the night" new remix

[kdavid13]

The whole Montréal Hi-NRG scene seemed intertwined like this. Katmandu went from Denis Lepage to Joe LaGreca and possibly others. I have a Trans-X album from the late 80s (On My Own) that is mostly Richard Buck (BTW, I'd assumed that was a pseudonym) whereas the classic "Living On Video" was by Pascal Languirand. However, Pascal appears to have some involvement in this album, I'm just not sure how much. Seems that the labels were anxious to keep their "brands" alive, even if the people behind the acts had moved on. It's even more perplexing when you consider how fickle club audiences are: an act is only as good as their last hit; there's very little fan loyalty like you would have with certain rock acts.

It is strange when a label assumes that people will swallow anything and never read the labels !! :icon_biggrin:

Pascal Languirand is the son of a well known and very,shall we say,funky philosopher...Jacques Languirand ,a big TV & radio star in Quebec.
I was told that he did in fact dabble in dance music but when he was asked to deliver a follow-up ; he had wandered and tried to push his spacy,trippy music and that would not fit in with the Matra sound !!

Richard Buck very well could be a pseudonym but he stuck with it since I've seen him use R.Buck and also Richard "Micro Fiber" Buck [as he is billed on Nancy Martinez' 1986 album "Not Just the Girl Next Door"].

Apparently Languirand makes a dramatic return on Trans-X's 2003 CD "The Drag-Matic Album".

I never understood the whole Kat Mandu thing...The album was indeed arranged by Denis Lepage [who had done wonders on the France Joli & Freddie James albums] and he did write "The Breaks" - but the rest of the album was a vehicle to push Jimmy Ray as lead vocalist.

[BrunoRepublic]

I never understood the whole Kat Mandu thing...The album was indeed arranged by Denis Lepage [who had done wonders on the France Joli & Freddie James albums] and he did write "The Breaks" - but the rest of the album was a vehicle to push Jimmy Ray as lead vocalist.

Well, I'd read elsewhere on this site that "The Break" was originally intended to be a vocal track (it was the b-side on the original Unidisc 12", wasn't it?).

[SandraDee]

Stephen,

Not being a DJ, I'm curious what the technical mistakes were on the Jean Carn record?

I was wondering about that comment too.:icon_confused:

[EricHG23]

LOVED Suzy Q's version of "Harmony". Played it, in place of the original for quite awhile. Like that BGM/Canada cover version of "Was That All It Was" by (what's her name), It was sooo close to the original, but with all the technical mistakes removed.

Technical mistakes? In one of my fave Moroder singles? What do you mean? :icon_evil:

[SandraDee]

So there were technical mistakes in both records? Please elaborate my dear Stepheny.:icon_confused:

[STEPHEN L FREEMAN]

The tall one with the deep voice told me he used to be "miked" back stage during Village People concerts to sing bass.

I swear I had to read that 3 times, before I realized it didn't say "milked"!:icon_redface::icon_lol:

[nrgbeat]

I'm sure he's been milked too....:icon_twisted:

[STEPHEN L FREEMAN]

So there were technical mistakes in both records? Please elaborate my dear Stepheny.:icon_confused:

YIKES! Let me clarify...

When I referred to technical mistakes, I was speaking strictly from a DJ-Point-Of-View...

With regards to "Was That All It Was":
The original was difficult to program as the intro wasn't structured well, the mixing on the break meanders too long, and the bpms are all over the place, during both. (It really is a difficult record to get in-and-out-of, with any decent length of overlay.)

As for "Harmony":
The intro and chorus' phrasing is evened-out, making it possible for longer and better overlays.

Otherwise... On both remakes, the Producers stayed very faithfull to the original arrangements (albeit, electronically), so they passed well, on die-hard dancefloors, in place of the originals.

That's it! Just pure DJ-technical commentary.

[SandraDee]

I see, thanks for clarifying. I'm not a DJ but do remember an interview with Pete Waterman where he said the best invention as far as DJs were concerned was the linn drum because real drummers could never keep time accurately.

[STEPHEN L FREEMAN]

Yes "Do You Like It" sounds very much like Denis Lepage's other ventures though he is not involved at all in this song.John Brenner is credited as sole writer and his production company co-produced with Joe Lagreca.The sound is pure Lime , make no mistake.

First of all... Thank you!:icon_mrgreen: muah!
I love this instrumental. I played it a lot, at my gig on Miami Beach (as well as the a-side), when it came out.

The Lime story is one complicated story... In more ways than one !!

Montrealer NRG producer Richard Buck became involved,producing Side B of the "A Brand New Day" album...which was odd because you'd get Denis & Denyse singing "Please Say You Will" then flip it and get original Lime-inspired Richard Buck songs with different vocalists. Buck did come up with one of my all-time favorite later Lime songs "Sentimentally Yours"...

I have the LP and 12" on the KARISMA label. Not on MATRA, strangely enough. Though still a UNIDISC release. (And the next LP, "Caroline", was on the Unidisc label.) I was pushing both, when I played at Probe/LA, for the first time. I remember a couple people asking "Is that LIME???" Where did you get this?" But it didn't fare too well. The sound was too far removed from the established LIME product, for the purists. And too predictable to sound current, either.

But I was a HUGE fan of Richard Buck & Robert Matichak! Their production of "The More I See You", by BUBBLES???:icon_eek: Oh Lord! I'm in heaven over that record, since the day it got released!!! (Even saved the name for my first bulldog!):icon_lol: They also did the KATMANDU follow-ups "Theme From Dynasty" and "Sport". Both of, which contained "revamped" versions of "The Break" on the b-sides. And Matichak's remix of "Did You See That Girl?" is one of my absolute favorite LIME recordings! He was a real shot-in-the-arm for the whole LIME Enterprise. I'm sorry the fame didn't last longer. But 10 years at the top (or close to it) isn't a bad run, at all.

As far as I know Marley Marl "butchered" another Denis LePage project that came out on Prism : "You Can Do The Dancin'".This 1988 venture was indeed created and performed by Denis & Denyse.

I'd completely forgotten about that song!!! It was so bad that I didn't even keep it for my collection!!! But I'd always wondered what the original actually sounded like.

Funny thing about the BGM label and Lime ; In 1992,BGM released a 12in called GREATEST HITS OF D. & D. LePAGE - CHERRY-LIME Medley. It's a 15 song medley introduced by a theme song [with lyrics like "D & D LePage gonna make you dance..." and sounding like a cross between LIME & DEAD OR ALIVE].

Aaarrgghh!! Now you've given me two LIME-related record hunting tasks in one week!:icon_twisted:

[thommy2458]

OK,I know we've gone completely off track here but
what was the name of that great Lime-like Mitch
and Melanie track? Was it "Coming for your Love"?
sorry guys-but it really was good!

Thom

[STEPHEN L FREEMAN]

...what was the name of that great Lime-like Mitch and Melanie track? Was it "Coming for your Love"?

Big yuppers! That's what it was.
Here you go...

Mitch and Melanie
"Coming For Your Love"
1988 Oak Lawn Records (US)


love how their Special Thanks start with their Attorney

[thommy2458]

That's it! I love the permed mullet with frosted
highlights!

Thanks Stephen

Thom