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CHAD JACKSOIN - BIG NOISE PLAYLIST
Chad Jackson – A key figure in The Haçienda’s musical landscape, Chad brought his eclectic style and sharp turntable skills to the club during his “Big Noise” residency. A former DMC World Champion, he mixed up hip hop, electro, funk, and emerging dance sounds, giving Big Noise a distinctive edge.
We caught up with Chad as he shares his top 20 tracks from those memorable Big Noise nights at The Haçienda.
1. Gwen Guthrie - Seventh Heaven (12" US Remix by Larry Levan)
Just about my favourite DJ/Remixer at that time and probably one of my favourites of all time, the lovely Larry. Some people are just born with the natural effortless talent to create great soundscapes with a signature sound, and he was a perfect example. His dub adventures over the Sly and Robbie rhythm section and Gwen Guthrie’s sweet vocals make this a soulful ‘Paradise Garage’ groove. Add to that engineer Steven Stanley at the mixing desk controls, you got the dream team right there. Beautiful dance music.
2. Nitro Deluxe - This Brutal House
Another smash for the producer Aldo Marin (who produced the evergreen B-Boy classic ‘Hashim – Al-Naafiysh’) who was on fire around this time. This is a timeless production that still gets a rapturous reception when played in clubs now. The epitome of the phrase ‘simple but effective’.
3. Harlequin Fours - Set It Off (Walter Gibbons Mix)
This record was preceded by the original version of this jam by Strafe which was big in the U.S, but Harlequin Fours were close behind with this cover version which appealed more to the UK palette. One of the 1st DJs to make the move to studio remixing, a true pioneer and originator Walter Gibbons was on the mix of this one. Similar to Larry Levan, everything he touched turned to gold. I remember when I played at The Haçienda I used to do a special live turntable-mashup mix of both versions, as they obviously complemented each other perfectly and slotted together like glue. The way the dark and twisted vibe of the Strafe version interplayed with the simple hypnotic and pumping electronic drum track of the Harlequin Fours version was great fun to mash up (hey DJ kids, why not try it at home!). A straight up stone cold electro proto-house jacker!
4. Jago - I'm Going To Go (Frankie Knuckles Plant Mix)
Originating in Milan, and recorded in Rome, this was Frankie’s first released remix, although the record label misspelled his name as ’Frankye’. Not specifically a remix, but a Dub Re-Edit made using the stereo master of the instrumental track, apparently.
Featuring one of my favourite drum machines – the Sequential Circuits Drumtraks for the drum sounds and Peech Boys-esque delayed claps. It really starts to get me when the lead synth interpolates the riff from Central Line’s ‘Walking Into Sunshine’ fitting perfectly with the strident bass line, driving electronic percussion, and tight rhythm guitar and synths. Timeless.
5. Run DMC - Peter Piper
At the time, quite simply ‘The Heavyweights’ of the Hip Hop scene, with the supa-dope flava! New York was red hot around this time with overflowing stables of talent such as Def Jam Recordings, Profile Records and a multitude of bullseye productions, artists and producers leading the way. I often think where would all of us turntablists be without the wealth of scratch and cut-up friendly sounds that came from this era, especially this one from the OGs. Trailblazers.
6. A Split Second - Flesh
One of the biggest hits from the short lived Belgian New Beat scene at the time, the slow tempo industrial indie sound that in many ways was a precursor to modern styles such as Chug, Dark Disco and others. The shiny synth riff at the intro was a joy to tease-mix over other tracks of similar bpm, before letting it play with it’s chunky and aggressive EBM drum beat.
7. Talk Talk - Its My Life (Extended 12” Mix)
I was sent the promo video (on a VHS video tape!) and a very rare dub version white label vinyl copy of this from the record label before release (which I cherish to this day), and the environmental message within this tune really chimed deeply with me. I was ‘best buddies’ with Greg Wilson at the time (he may disagree, as I was a bit neurodivergent [still stuck there] and a bit of a crazy cat, lol). We had many similar passions such as the artform of DJ mixing. I vividly remember us really getting into this video on repeat through a smoky haze on one of my many visits to his bachelor pad in Wigan. A haunting song that never lets you go….with the emotion of the vocal, chords and instrumentation showing what a superb and talented band Talk Talk were. A lesson in exceptional songwriting and production.
8. Serious Intention - You Don’t Know (Special Remix)
A perfect example of why most of the ‘tuned-in’ and progressive DJs always play the b-side dub version of many jams rather than the a-side vocal mix (which was often a little too commercial sounding for a serious dancefloor). Probably my favourite Paul Simpson production….not the main vocal side obviosly, but the dubs and this ’Special Remix’. I invariably used to mix the b-side dubs, instrumentals and accapellas (if available) of all the tunes I played while in residence at The Haç, and this was a particular favourite with lots of mixes and a precious accapella! Hours of fun and the epitome of that early Garage Proto-House sound.
9. Hanson & Davis - Tonight (Love Will Make It Right) Dub
Fresh Records were more known for Hip Hop and Electro, but the forward thinking label used to have quite an eclectic set of releases, as Curtis Mantronik was A+R at the label, including cuts by Arthur Russell, Todd Terry and this one by Hanson and Davis. Proto-House in it’s general sound and, as always…the dub wins again. This devastated the dancefloor with some fierce drops and that bassline! I remember there used to be whistles and shouts of delight whenever the bass dropped. Unfortunately, it featured a short played vocal sample which sounds very dated now as a result of the evolution of music production and sampling. The technical ability to sample something was limited to about 1 second (if you were lucky) in those days! I remember getting my hands on one of the 1st ‘samplers’ that I had ever encountered – an AMS Delay unit in the Bunker Studio underneath the offices at Island Records (when I working for Island at the time doing remixes and mix albums) that had this sample functionality….it was my favourite piece of gear in there….it still amazes me how music technology has evolved and become almost like voodoo magic sorcery compared to these early times.
10. Colonel Abrams - Music Is The Answer (Dub Version)
nto a future called House Music. Remixed by Yvonne Turner after the legendary Arthur Baker (her employer at the time with his label Streetwise Records) agreeing to her request to remix this jam. Unfortunately (and criminally), her name was erroneously not included in the label credits on the release, to Arthur’s frustration and bafflement to this day. It is an unfortunate echo of the times, when females did not get the credit or the breaks that they truly deserved in such a male dominated industry. Yvonne Turner was undoubtably a female trailblazer (along with early people such as Prince’s favourite engineer Susan Rogers), and I adored Yvonne’s vibe with her work. She was a teenage DJ, worked at Downstairs Records in Midtown New York and was a disciple of the seminal and massively influential Loft parties thrown by the legendary David Mancuso (she even calls herself a ‘Loft baby’). One very fortunate DJ mix ‘helper’ for me was the fact that she had also done a couple of fantastic remixes of a track by Willie Colon called ‘Set Fire To Me’. It was a gift to me to be able to get really creative and do a special mix of this with both of the versions of Willie Colon, due to them sharing the same groove track, tempo and musical key! They mixed together like cheese and wine. To me, Yvonne always had great ears and that funky, latin-tinged but soulful vibe that Larry Levan always had in his work, and to this day she is a massive influence and favourite remixer of mine and was (and is) criminally under-rated for the massive effect her productions had on the future of dance music. Thankfully, we are now living in more enlightened times where human beings are mostly given the same opportunities regardless of their sex, race, colour, creed or self-identity.
11. Jessie Saunders - On And On
I remember getting hold of one of the first pressings of this seminal piece of House Music by Jessie Saunders….arguably the very 1st beginnings of House in vinyl form. It was a bit strange playing these first forays into the emerging House music sound as itb wasn’t immediately welcome in many areas, with some mixed reactions like a couple of un-enlightened bottom-feeders who knocked on the DJ booth door a couple of times and said ‘what are you playing this shit for?’ and ‘get this gay music off!’.
And not soon after the E-Monster came to gobble them up! They were a lot nicer after that encounter.
12. Darryl Pandy - Love Can’t Turn Around - Remix
Originally released under the DJ Producer Farley Jackmaster Funk’s name, but now both he and Darryl are credited as having equal power on this juggernaut of a House record, and the 1st release in that genre to smash the pop charts wide open. Sounded great in the cavernous space that was The Haç, with that pounding bassline and urgent and spiritually uplifting gospel power of Darryl Pandy’s mahoosive vocal. It was like a religous experience hearing those ponding House jackin’ beats and bass, and seeing the larger-than-life Darryl strutting and roaring throughout a fantastic performance on the much-missed UK TV programme ’Top Of The Pops’.
13. Riuichi Sakamoto - Riot In Lagos
Proto-Acid! I don’t know if that is even a genre, but if it isn’t – I am claiming the inception!
The legendary member of Yellow Magic Orchestra, he was more experimental in his solo years. I remember hearing this for the first time at an all-dayer somewhere in the North-West, when one of my favourite DJ gurus Colin Curtis dropped it like it was hot! It has a really tight but wonky drum track and synths very reminiscent of early Kraftwerk, but really stood out as it sounded completely alien to everything else around it at the time. It was like electro jazz funk krautrock fusion. Blew my musical mind.
Music Is The KeyMUSIC IS THE KEY - J.M.SILK
Another one of the 1st ‘proper’ House music tracks I remember playing. This was one of the first records I heard that had the full electronic, percussive, jacking sound that we now term as House Music.
For many of us, it was just the latest inception of the pulsating, rhythmical lineage of club music that we had been blessed with hearing for many years in Manchester and the North West of England from Northern Soul onwards.
15. Sleezy D - I’ve Lost Control
The one thing about acid house music at The Hacienda was the way it used to swirl around the cavernous echoey interior of the club…it gave those Roland 303 bass lines even more space to mess up your head. Marshall Jefferson did some crazy work on this with Sleezy D. I have become good friends with Marshall over the years and was even in a Christmas ‘nativity’ music video a few years ago with him. I played the part of Joseph….Marshall simply played God! With him and the most puzzling thing to me is how nice and gentle a man he is, I would have never believed he was involved in this madness. Punk House anyone?
16. Adonis - No Way Back
I remember the really serious jazz dancers that used to flock to the floor whenever this came on. Manchester’s Jazz Defectors and various other crews busting some serious power moves!
This track has stayed ‘in my box’ ever since, it sounds so powerful over a nice big sound system like we had at the time at the Hac. The best bass sound and bassline I think I have ever heard.
17. Section 25 - Looking From A Hilltop (Megamix)
In those days the Hac DJs all regularly played an eclectic mixture of tunes new and old, one of my personal faves was this Electro barnstormer from Blackpool! Probably one of my most favourite tracks on Factory Records which I still have in my box and play regularly today. The influences of Kraftwerk etc shine through with aplomb on this seminal Manchester track, together with this Psychefunkadelic remix by Bernard Sumner and A Certain Ratio’s Donald Johnson. They really captured perfect flow on this one. Pure creative fire.
18. Tony Cook & The Party People - On The Floor (Rock-It) (Special DJ Master Mix)
Another Timmy Regisford and Boyd Jarvis super-jam, they were over so many great productions.
Electro-Funk monster with a loose flavour and killer drum machine intro leading into their signature synth bass and leads, live percussion and funky live claps. Unfortunately the childish ’Smurf’ pitched vocals always turned me off (as in many Newcleus productions) but it was a common technique at the time, although sounds rather dated now.
19. Kraftwerk - Musique Non-Stop
The ultra-influential band were the electronic music pioneers for many years and in many ways club music would have probably been very different without their groundbreaking productions. A worthy contender for the title ‘the best electronic band of all time’. Their music never seems to age, and still sounds like the future of sound from an alien world. The funky-est Germans to have ever lived. Technic.
20. Grace Jones - Slave To The Rhythm - Hot Blooded Version
Another track that had various mixes which I really played around with live as I DJ’d. A stone cold classic with a truly epic production from the lovely Trevor Horn. A few years after I found myself in Trevor’s studio in his flat opposite his Sarm West’s studio in London with my great friend the legendary DJ/Remixer/Producer Bruce Forest from New York. Trevor let us raid his multi-track cabinet to try out some remix ideas, and one of the many things we pulled out was this gem. I have remix version of this that we did that only Bruce and myself have….a nice exclusive that I play out all the time, it never leaves my ‘bag’.