Your arm's too short to Talk box with God

Reason to hate the Red Hot Chili Peppers # 900, 001 : they made the sound of slap-bass about as appealing as Gangrene when it was once the preserve of records like this :

Glory - Let's Get Nice (edit)
(From Let's Get Nice 7"; 1981)



It wasn't just a happy coincidence when the Johnson brothers and Arthur Baker all happened to be signed to Tommy Boy Records in 1982, because before Michael Jonzun & Maurice Starr formed the Jonzun Crew and Arthur went on to producer records like Planet Rock and Play At Your Own Risk, the 3 of them were members of a little known group called Glory. Their debut single Can You Guess What Groove This Is from 1980 is a forgettably MOR Disco number, but their second single Let's Get Nice is the type of music the alien mothership should've responded with to Truffaut and his man dem's primitive plink plonking in Close Encounters Of The Third Kind. Okay, so Let's Get Nice completely rips off Zapp & Roger's steez, but if you're gonna swagger-jack someone it might as well be someone pretty darn amazing and in the process the song does manage to allude to the Electro sound all 3 men would spend the next few years exploring alongside Cybotron, Newcleus and Egyptian Lover.

I've got the 12" of Let's Get Nice, but this 7" edit I came across recently on Youtube is even better in the same way that the slightly abridged versions of More Bounce To The Ounce and So Ruff, So Tuff hit harder in all the right places when compared to the originals. Alas, the 7" is rarer than a French Montana song where he doesn't sound closer to EPMD's mate Frank B than he does to Max B because the same person who uploaded it to the 'tube is the only person who owns a copy on Discogs, and that mystery owner is none other than Dave Vinyl/Rare Dave from the DWG clique who was responsible for the classic Rare Frequencies Radio cassette compilation which was reviewed on the old Spine Magazine site a decade ago.

Despite Yo Gotti's protestations, Giorgio Moroder is still the reigning champ of cocaine-muzik, but he really should've stepped aside on the 1984 colourised restoration of Fritz Lang's Metropolis and let the Jonzun Crew compose the soundtrack for it because the likes of Pack Jam and Space Is The Place would've been a slightly better fit for the milieu of Fritz's dystopian megapolis of the future than Pat Benetar, Freddie Mercury and Elton John :