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Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

Prolific Seattle producer Jon McMillion returns to Nuearth Kitchen with another crucial chapter in his epic tale of haunted house-music subversions. This EP offers four variations on a bizarre and engrossing theme. Don't It Make You (edit 1)' is a work of extremes: By some miracle of aural physics, it's at once one of McMillion's strangest tracks and one of his most accessible. He sets into motion a staunch, relentless house rhythm bolstered with congas, massed claps, synth-bass raspberries, and a badass male singer intoning, Don't it make you feel good, if you wanna get down/Just say it, say it again,' over which a miasma of enigmatic tones bubbles and swirls. Like Bohannon's disco-funk classics from the '70s, Don't It Make You' seems like a tease, even at 10 minutes duration, you wish it would roll on for at least 30. On Don't It Make You (edit 2),' McMillion strips things down to dance-floor essentials and erases some of the free-floating background weirdness.

The two remixes are revelatory. New York house icon Fred P. (aka Black Jazz Consortium) slides the track into a tighter pair of pants, but that just makes it swivel harder and slyer. He emphasizes Don't It Make You''s mysterious drones and then loops a female vocalist singing He keeps me' while dropping in some echoed male chatter to gently disorient. What a dreamy, soulful trip Fred P. conjures here. And rising German wunderkind Orson Wells layers and pitches up the original's cascades of bleeps, which becomes the dominant motif, and then subtly modulates said bleeps over the tune's seven minutes, while keeping that irrepressible rhythm strutting. McMillion's raw materials prove to be fertile ground for these two maverick remixers to flaunt their own fascinating quirks while maintaining the original cut's club-darkening and ass-moving functionality.

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

you secretly believe that all of the best dance music has an undercurrent of melancholy then you are in for a treat. 0.5, the debut EP from the Fascination Movement, doesn't skimp on either the dancefloor rhythms or the windswept yes-we-remember-New Pop romanticism. The Fascination Movement is looking forwards, not backwards: just because this is music that adapts the same vocabulary created by bands like New Order or early Orchestral Manoeuvres in the Dark doesn't change the fact that from the first arpeggios of "Just Pretend" you feel the shock of the new. Of course, you may be too busy humming along to the choruses to notice how slyly the band makes a classic sound fresh again...