I was never a big fan of “The Man Like Sasha”. He could generate a buzz in clubs for weeks before he was due to play there but I could never fathom out why. Mix Mag even went to the extent of questioning whether he was the son of God, a bit stupid, when we all knew that Weatherall didn’t even have any kids. His mixing was impeccable but it was the stuff that he was mixing, it was the blandest of the bland, to me there was nothing strange or out of the ordinary nothing that stopped you in your tracks. I seemed to be in the minority, however, as everybody else seemed to love him.
Why then did I buy a record with a huge “Sasha Mixes” on the front cover? The only reason I can think of is that it was on the UCR record label and the previous couple of releases I had bought on that label I liked a lot. Mombassa’s Cry Freedom and Metropolis by, eh, Metropolis (FSOL).
The record is credited to B.M.EX and is a double 12″ pack consisting of various mixes of 2 tracks Appolonia and Feel The Drop. Appolonia in all it’s various guises as a workmanlike progressive verging on trance track, nothing special. Feel The Drop on the other hand is a great dance track in the same vein as the early Cowboy stuff.
I later found out that B.M.EX was an acronym for The Barry Manilow Experience and was in reality Sasha’s first foray as an artist.
I still hold him and John Digweed responsible for the popularity of bloody trance
Warning – This track contains saxaphone.
B.M.EX – Feel The Drop (Saxed Up)
Also, as I mentioned it above.
Mombassa _ Cry Freedom (Malawi mix)