Above is the official video for Hysteria by Mark Stewart & The Maffia. Below is the album version followed by an unreleased dub and then a (very) unfinished track called 'Silly Boy' and finally Hysterialive in Bristolfrom 2005
And here are Mark Stewart & Gary Clail in the On The Wire studio back in 1986 talking and playing On-U tracks and some exclusive mixes
Nearly 3 feet tall. A limited edition of 350 and costing $1,950 USD. You can find all the details and how to enter the draw HERE. Personally it's just a wee bit expensive for me and tho I do have Futura merch I have avoided the figurines. These are more in my price range but then the cost of shipping to Australia is 4X the cost of the figures!
(Original 12" mix)
(The Afro-Acid Remix)
By Martyn Young of Colourbox & M|A|R|R|S
The first time I heard this song was in ZuZu's in Melbourne one (I think) Wednesday night. My sister-in-law (of the time) ran the nightclub and had also brought out Paul Oakenfold for a month residency (this was certainly the first time he played Melbourne and may have been first time down here.) I was chatting to a couple of friends fom London who were visiting and staying with us and then my feet just moved by themselves to the dancefloor. If this doesn't get you moving...you are DEAD
I found this on YouTube. I have a big love affair with things that don’t sit anywhere – I like not knowing the lineage. Of course it’s Japanese, but you can hear and feel they’re studying a lot of different musical lineages and digesting them. It was kind of like the starter of my first record, Ancestor Boy: I came across this and it kind of gave me a breath and direction to start the record. It’s not a literal influence necessarily, but it’s more the emotional rainbow that they opened for me that was inspiring. They did the soundtrack for Akira, which is what they’re most known for, but they’re a collective made up of hundreds of people, gathered precisely for not being musicians, which is something very interesting to me. I studied classical music, but always felt like I didn’t belong or wasn’t enough, so it was a good foundation for me to be so in love with the music of hundreds of non-musicians – teachers, journalists, lawyers, whatever. I also love all the group singing, there’s rarely a focus on an individual voice. My entry point into music was the collective, and I’ve always been more interested in the feeling of the group than the “I”.