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With almost 30 minutes of music here, we very nearly get our desires granted. At last, these jaw-dropping mixes are widely available to every Arthur fan in the world. This is musical perfection.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eThe deep Loft classic \"In The Light Of The Miracle\" remained unreleased during Arthur's lifetime, finally discovered when Phillip Glass included the original version on Another Thought on Point Music in 1993. As Steve Knutson told us, when Another Thought was being put together, the plan was to release a companion album of remixes that was overseen by Steve D'Aquisto but the project only got as far as these two remixes of \"In The Light Of The Miracle\". \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eSome dodgy scans of some centre label designs suggest that Point Music might’ve been planning to release these on a 12\" but it didn’t happen. The story goes that Gilles Peterson heard the remixes on a visit to the Point Music offices and wanted to release them on Talkin’ Loud. We’re not sure how many white label copies made it out into the wild, but again, these remixes didn’t make it to a proper release. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eThese remixes both extend and undeniably enhance the original, elevating it to new heights. The 13 minute remix on the A-side is by Danny Krivit \u0026amp; Tony Smith with editing duties performed by Tony Morgan. As ever with Arthur, the music is almost impossible to describe: is it Disco? Garage House? Avant Garde? None of these tags do full justice to its sheer majesty. You best just listen. Stretching out the original with some unbelievably great percussive elements, until we're in a deeply spiritual, otherworldly realm, it's just too beautiful for words. As many have claimed, it's the prototype for EVERYTHING. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eThe \"Ponytail Club Mix (Part 1 \u0026amp; 2)\", produced by Tony Morgan in the mid-90s, is in a more up-tempo style, with vocals higher in the mix, the BPM upped to 120 and the addition of a housey 4\/4 kick drum. A 14 minute epic, you could say this is a more straight ahead \"club-friendly\" mix (but can things ever be that straightforward with Arthur?!) It also has some really interesting vocal parts not used in the other versions, including some vocals from guest poet Allen Ginsberg. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eThese remixes are part of the same original project that also produced the Another Thought album so it seems only right that they have a sleeve that matches. Thanks again to Janette Beckman for letting us use another of her photos of Arthur and the rest of the design follows what Margery Greenspan, Tina Lauffer and Michael Klotz did for Another Thought back in 1994. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-family: 'Arial',sans-serif; mso-fareast-font-family: Arial; color: black; mso-bidi-font-weight: bold;\"\u003eSimon Francis remastered the original audio for both tracks and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12\" well and truly slaps. The immaculate Record Industry pressing will ensure this incredibly sought-after treasure finds a home in many more collections, this and every year.\u003c\/span\u003e\u003c\/p\u003e","brand":"Be With Records","offers":[{"title":"Standard LP","offer_id":48345788154200,"sku":"TKM-09575","price":12.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"halfway-somewhere","title":"Halfway Somewhere","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 115%; font-family: 'Helvetica',sans-serif; color: black; background: white;\"\u003eAlmost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.  \u003c\/span\u003e\u003cspan style=\"font-size: 10.5pt; line-height: 115%; font-family: 'Helvetica',sans-serif; color: black;\"\u003e\u003cbr style=\"font-variant-ligatures: normal; font-variant-caps: normal; 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text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eBorn out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word. \u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px;\"\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px;\"\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003eWhen they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.” \u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px;\"\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; float: none; word-spacing: 0px;\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cbr style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; text-decoration-style: initial; text-decoration-color: initial; word-spacing: 0px;\"\u003e\u003cspan style=\"background: white;\"\u003e\u003cspan style=\"font-variant-ligatures: normal; font-variant-caps: normal; orphans: 2; widows: 2; -webkit-text-stroke-width: 0px; text-decoration-thickness: initial; 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More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. 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