A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

Proof that quality deep house is always timeless, 21 Feb 2005
I got this AGES ago on the strength of it having Paul Hester's Life Force on it. Loved that track, minimal punchy percussion and a gorgeous pulsating bassline. Saw a few other offerings on here that I thought I may like from the Rainy City stable, Nick Holder and Todd Edwards and thought I'd take a risk.

What I ended up with was something the Fabric boys would be getting in a lather about if it popped up on their series ... and this came out some time before that! Really good quality deep dark house music, murky and clicky. If you're looking for a comparison, Akufen's recent Fabric mix definately has a similar mood and scope to this.

You get some right deep down dark minimal stuff from the likes of Dan Bell himself and the nicely deep opening section of the mix, some bizarre quirkiness in the form of the Tellurians and Herberts offerings. After all that to balance things out you get some lighter tracks, US house bod Todd Edwards makes an appearance and the Nick Holder track on here is purely lovely deep gorgeous.

Now the mixing won't cause any soiling of pants but thats not the issue here, its track selection quality heaven. Surely thats what matters anyway?

Hopefully some clicky fans of the Fabric series who liked Michael Mayer, Craig Richards and Akufens mixes will stumble upon this. Grab it an be surprised by a little gem.

Do not listen to this if you are not of sound mind..., 15 May 2002
This is a more relaxed affair than most of the tresor releases. The whole CD is very minimal and quite down beat but don't be fooled by it. Get in the right frame of mind (?) and it will send you mental. There are the scariest samples ever recorded in the background - track 9 has someone talking in an alien language mixed in with obscure samples of English. It scared me. My friend refused to leave the room because there were people outside. We've never been the same since.
Want to compare it to other CDs? Think of very early (1990 ish) techno. Josh Wink maybe.
Going to hide in a cupboard now...

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

Proof that quality deep house is always timeless, 21 Feb 2005
I got this AGES ago on the strength of it having Paul Hester's Life Force on it. Loved that track, minimal punchy percussion and a gorgeous pulsating bassline. Saw a few other offerings on here that I thought I may like from the Rainy City stable, Nick Holder and Todd Edwards and thought I'd take a risk.

What I ended up with was something the Fabric boys would be getting in a lather about if it popped up on their series ... and this came out some time before that! Really good quality deep dark house music, murky and clicky. If you're looking for a comparison, Akufen's recent Fabric mix definately has a similar mood and scope to this.

You get some right deep down dark minimal stuff from the likes of Dan Bell himself and the nicely deep opening section of the mix, some bizarre quirkiness in the form of the Tellurians and Herberts offerings. After all that to balance things out you get some lighter tracks, US house bod Todd Edwards makes an appearance and the Nick Holder track on here is purely lovely deep gorgeous.

Now the mixing won't cause any soiling of pants but thats not the issue here, its track selection quality heaven. Surely thats what matters anyway?

Hopefully some clicky fans of the Fabric series who liked Michael Mayer, Craig Richards and Akufens mixes will stumble upon this. Grab it an be surprised by a little gem.

Do not listen to this if you are not of sound mind..., 15 May 2002
This is a more relaxed affair than most of the tresor releases. The whole CD is very minimal and quite down beat but don't be fooled by it. Get in the right frame of mind (?) and it will send you mental. There are the scariest samples ever recorded in the background - track 9 has someone talking in an alien language mixed in with obscure samples of English. It scared me. My friend refused to leave the room because there were people outside. We've never been the same since.
Want to compare it to other CDs? Think of very early (1990 ish) techno. Josh Wink maybe.
Going to hide in a cupboard now...

Interesting, 30 Nov 2000
I had read much about Warp, and how it was the most innovative label around. I decided to buy "We Are Reasonable" as I wanted to buy something on the Warp label and I wasn't sure where to start. I would say this is a good start from someone who is interested in getting into the Warp label or electronic music.

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

Proof that quality deep house is always timeless, 21 Feb 2005
I got this AGES ago on the strength of it having Paul Hester's Life Force on it. Loved that track, minimal punchy percussion and a gorgeous pulsating bassline. Saw a few other offerings on here that I thought I may like from the Rainy City stable, Nick Holder and Todd Edwards and thought I'd take a risk.

What I ended up with was something the Fabric boys would be getting in a lather about if it popped up on their series ... and this came out some time before that! Really good quality deep dark house music, murky and clicky. If you're looking for a comparison, Akufen's recent Fabric mix definately has a similar mood and scope to this.

You get some right deep down dark minimal stuff from the likes of Dan Bell himself and the nicely deep opening section of the mix, some bizarre quirkiness in the form of the Tellurians and Herberts offerings. After all that to balance things out you get some lighter tracks, US house bod Todd Edwards makes an appearance and the Nick Holder track on here is purely lovely deep gorgeous.

Now the mixing won't cause any soiling of pants but thats not the issue here, its track selection quality heaven. Surely thats what matters anyway?

Hopefully some clicky fans of the Fabric series who liked Michael Mayer, Craig Richards and Akufens mixes will stumble upon this. Grab it an be surprised by a little gem.

Do not listen to this if you are not of sound mind..., 15 May 2002
This is a more relaxed affair than most of the tresor releases. The whole CD is very minimal and quite down beat but don't be fooled by it. Get in the right frame of mind (?) and it will send you mental. There are the scariest samples ever recorded in the background - track 9 has someone talking in an alien language mixed in with obscure samples of English. It scared me. My friend refused to leave the room because there were people outside. We've never been the same since.
Want to compare it to other CDs? Think of very early (1990 ish) techno. Josh Wink maybe.
Going to hide in a cupboard now...

Interesting, 30 Nov 2000
I had read much about Warp, and how it was the most innovative label around. I decided to buy "We Are Reasonable" as I wanted to buy something on the Warp label and I wasn't sure where to start. I would say this is a good start from someone who is interested in getting into the Warp label or electronic music.

storming, 06 Aug 2002
great compilation, its actually quite hard to put your finger on this one, almost seems to veer off at strange angles from chill to drum n bass (sorta) but it alls blends together soo nicely. not a bad track, and many many a good one.

an eclectic cauldron of bubbling breaks and simmering sonics, 14 May 2001
this was a surprise. found it in an our price store ... it was a steal, it was a deal, it was sale of the fudgin' century! i took a chance, based on the fact that i had at least heard one track already (We's '3/10 of the population') and knew of Tipsy, DJ Spooky and Mixmaster Mike thru his Beastie Boys affiliation. The compilation itself is actually quite an eclectic mix, although the predominant style would perhaps be described as abstract hip-hop. We themselves offer a competent take on drum n' bass...their remix of Tipsy's 'grossenhosen' (the original version of which UK surfers may have heard on a recent TV advert for Orange phones) begins in a backwards world of symphonic distortion and barrel-organics (ha) before launching into a hyperspeed breakbeat sub-bass workout - yes, as nice as it sounds! mixmaster mike brings scratchtastic funky hip-hop to the mix with the likes of 'supa wyde laces' and 'audio mass'. tipsy's tracks are more of a playful honolulu lounge-jazz style (!) - great for chillin on the beach to...more turntable dynamism comes form mixing champ Roc Raider and Rob Swift while DJ Spooky unnerves the senses with his eerie twisted breaks, ethereal atmospherics and hardcore beats. my personal highlights are We's aforementioned track featuring more haunting indecipherable vocal snippets, deep dirty basslines and orchestral extracts - excellent. badawl's 'enter the heretic' is a suitable dramatic affair, with yet more strings to match the more modern sounds elsewhere. We round off with the dubphonic ditty 'Chango' - offering proof they are more versatile than previous efforts suggest. All in all this is an impressive showcase from the little San Fran label and I recommend it to fans of abstract electronic music, breakbeats, dub and jazz-funk with an alternative edge.

_buy this now_, 24 Apr 2001
i came accross this cd by chance in my local record store, i flipped it over to see who was on it and decided to buy it after seeing mix master mike and rob swift listed, some fantastic dub from spooky and melodious weird stuff from tipsy - genius!

GOOD GOOD GOOD!, 23 Jun 2000
£5? Buy it now!

real music, not like fatboy slim. ROB SWIFT, Master Mike etc. buy it now

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

Proof that quality deep house is always timeless, 21 Feb 2005
I got this AGES ago on the strength of it having Paul Hester's Life Force on it. Loved that track, minimal punchy percussion and a gorgeous pulsating bassline. Saw a few other offerings on here that I thought I may like from the Rainy City stable, Nick Holder and Todd Edwards and thought I'd take a risk.

What I ended up with was something the Fabric boys would be getting in a lather about if it popped up on their series ... and this came out some time before that! Really good quality deep dark house music, murky and clicky. If you're looking for a comparison, Akufen's recent Fabric mix definately has a similar mood and scope to this.

You get some right deep down dark minimal stuff from the likes of Dan Bell himself and the nicely deep opening section of the mix, some bizarre quirkiness in the form of the Tellurians and Herberts offerings. After all that to balance things out you get some lighter tracks, US house bod Todd Edwards makes an appearance and the Nick Holder track on here is purely lovely deep gorgeous.

Now the mixing won't cause any soiling of pants but thats not the issue here, its track selection quality heaven. Surely thats what matters anyway?

Hopefully some clicky fans of the Fabric series who liked Michael Mayer, Craig Richards and Akufens mixes will stumble upon this. Grab it an be surprised by a little gem.

Do not listen to this if you are not of sound mind..., 15 May 2002
This is a more relaxed affair than most of the tresor releases. The whole CD is very minimal and quite down beat but don't be fooled by it. Get in the right frame of mind (?) and it will send you mental. There are the scariest samples ever recorded in the background - track 9 has someone talking in an alien language mixed in with obscure samples of English. It scared me. My friend refused to leave the room because there were people outside. We've never been the same since.
Want to compare it to other CDs? Think of very early (1990 ish) techno. Josh Wink maybe.
Going to hide in a cupboard now...

Interesting, 30 Nov 2000
I had read much about Warp, and how it was the most innovative label around. I decided to buy "We Are Reasonable" as I wanted to buy something on the Warp label and I wasn't sure where to start. I would say this is a good start from someone who is interested in getting into the Warp label or electronic music.

storming, 06 Aug 2002
great compilation, its actually quite hard to put your finger on this one, almost seems to veer off at strange angles from chill to drum n bass (sorta) but it alls blends together soo nicely. not a bad track, and many many a good one.

an eclectic cauldron of bubbling breaks and simmering sonics, 14 May 2001
this was a surprise. found it in an our price store ... it was a steal, it was a deal, it was sale of the fudgin' century! i took a chance, based on the fact that i had at least heard one track already (We's '3/10 of the population') and knew of Tipsy, DJ Spooky and Mixmaster Mike thru his Beastie Boys affiliation. The compilation itself is actually quite an eclectic mix, although the predominant style would perhaps be described as abstract hip-hop. We themselves offer a competent take on drum n' bass...their remix of Tipsy's 'grossenhosen' (the original version of which UK surfers may have heard on a recent TV advert for Orange phones) begins in a backwards world of symphonic distortion and barrel-organics (ha) before launching into a hyperspeed breakbeat sub-bass workout - yes, as nice as it sounds! mixmaster mike brings scratchtastic funky hip-hop to the mix with the likes of 'supa wyde laces' and 'audio mass'. tipsy's tracks are more of a playful honolulu lounge-jazz style (!) - great for chillin on the beach to...more turntable dynamism comes form mixing champ Roc Raider and Rob Swift while DJ Spooky unnerves the senses with his eerie twisted breaks, ethereal atmospherics and hardcore beats. my personal highlights are We's aforementioned track featuring more haunting indecipherable vocal snippets, deep dirty basslines and orchestral extracts - excellent. badawl's 'enter the heretic' is a suitable dramatic affair, with yet more strings to match the more modern sounds elsewhere. We round off with the dubphonic ditty 'Chango' - offering proof they are more versatile than previous efforts suggest. All in all this is an impressive showcase from the little San Fran label and I recommend it to fans of abstract electronic music, breakbeats, dub and jazz-funk with an alternative edge.

_buy this now_, 24 Apr 2001
i came accross this cd by chance in my local record store, i flipped it over to see who was on it and decided to buy it after seeing mix master mike and rob swift listed, some fantastic dub from spooky and melodious weird stuff from tipsy - genius!

GOOD GOOD GOOD!, 23 Jun 2000
£5? Buy it now!

real music, not like fatboy slim. ROB SWIFT, Master Mike etc. buy it now

Best Latin dance collection ever., 06 Jun 2001
Ubiquity Records have a gem on their hands with this turbo charged collection.

The up tempo Oya Ye Ye opens the compilation at break neck speed leaving even the most conservative listener tapping their feet. Batunova Scat will appeal to all night ravers who quite frankly are too old to rave these days but fancy some chill out action lounge side... Espacio provides a well-earned change of tempo with a 70s retro sounding track. Other tracks of interest include Terra Del Fuego and the pleasantly crafted Casa Forte. This record is a brilliant fusion of Dance, Chill-Out, Latin Beats and Jazz Fusion. Guess what I absolutely love it.

Don't take my word for it, go buy it and turn your lounge into a temple for superior sound.

A former Clubber, who wants to relive the memories!, 05 Dec 2003
A fantastic album, a real gem to listen to! I still get the same tingle I did when I first listened to this album nearly eight years ago!!!

Ideal for anyone who loved clubbing in the early to mid-nineties.

A real trip down memory lane (and a very good one at that!!)

Put it this way, I loved this so much I bought it twice!, 15 Nov 2001
Released in 1995 this was one of Cream's earliest compilations, and also one of the (if not the) best. The first CD, mixed by David Morales, is all shiny house and being from the "Handbag Era" everything is suitably glam and fun although it never gets cheesy. The second CD is mixed by Paul Bleasedale, who is still a Cream resident today. This is a slightly more leftfield selection with Acid House and more Progressive stuff, and is if anything even better than the first CD. With hindsight it seems to include one classic after another (Bassheads, Slam, Gat Decor). From an era before club compilations turned into "Now that's what I call Big Choons" type affairs, this now offers a great introduction to early - mid 90's house.

If you're in to clubbing, buy it... Otherwise, forget it, 06 Jan 2000
Cream Anthems is a mix of modern club tunes, manny reaching back to the Summer and ibiza, with few current chart hits in there... altogether not a lot the average top of the pops viewer would recognize, but many stormin' club tunes people would enjoy, from places such as nemesis near Manchester to ManuMission on that island.... A must buy for anyone into the scene... and anyone who goes within a mile of Cream in Scouseland (Liverpool)... and anyone who has Sky One... Buy It.

Because Reich's minimalism has influenced so much music, 28 Mar 2008
What a pleasant surprise to discover that Nonesuch have reissued the fantastic Reich Remixed with additional mixes by the likes of Four Tet, who perhaps unsurprisingly chooses to rework Reich's `Drumming' (previously given an electronic twist by the venerable acid-house pioneers Mantronix). No one can doubt the impact Reich has had on both popular as well as classical music, and for me he is unrivalled in the world of minimalism, despite my respect for the work of Philip Glass, especially his seminal `Glassworks' (1982) and his collaborations with Ravi Shankar (`Passages', 1990) and Uakti (`Aguas da Amazonia', 1999). Receiving the 10 CD Steve Reich set `Works' was one of the greatest musical presents I ever got, and once I learnt of the Remix project, I just knew that would prove essential listening, especially with the likes of Coldcut, Howie B, Andrea Parker, Tranquility Bass, Ken Ishii and Freq Nasty making contributions. After all, I had first heard Steve Reich sampled on The Orb's 1989 classic `Little Fluffy Clouds' without even knowing it. Years later I learnt that I was actually listening to the cyclic guitar of Pat Metheny from Reich's `Electric Counterpoint' (1987)- testament to Alex Patterson's good taste and pioneering approach to ambient psychedelic dance music. Finally hearing the original transported me to an equally potent musical headspace and Reich quickly became one of my all time favourite composers.

I'm really not sure then how much more I need to say to persuade you just how essential this album is. If you don't know who Steve Reich is then I can only wonder what cultural crevice you have been hiding in- he's a living legend, widely acknowledged to have had a revolutionary impact on twentieth century music. So what of the remixes then? Well, Coldcut are responsible for an incredible six-minute contraction of Reich's renowned `Music for 18 Musicians', and in case you don't know, they are noteworthy for innovating VJing (the political potency of `Timber', with the sync-ed images of trees being sliced by chainsaws remains the zenith of achievements in this field), developing new DJing technologies, setting up their own Ninja Tune dance music label, as well as being responsible for some enduring tunes of their own. Other contributors attempt his early, ultra minimal works like `Piano Phase' (D Note), and `Come Out' (Ken Ishii), whilst others attempt his more orchestrated pieces such as `The Four Sections' (Andrea Parker) and `Eight Lines' (Howie B). All in all then, a fair selection of compositions from Reich's long and varied career are represented. I just think that rather than issuing an expanded version, Nonesuch should have commissioned a second volume- I would love to hear somebody like Amon Tobin rework `Different Trains' for example.


steve goes dance, 08 Jun 2007
This is steve reich translated into club music. This is a real mismatch of tracks that work and those that don't. I'm happy I bought the CD, as it's of interest how artist's have interpretated minimalist music into dance style tracks. If you don't like dance music don't buy this, but if you are able to allow Reich to be deconstructed, experimentalised and adapted into a youthful club mix then this may appeal.

A modern master revitalized, 22 Aug 2003
I have come to be a bit of a fan of Steve Reich over the last few years. The apparent simplicity of the music can drive people crazy if they listen in the wrong mood, but it often has a transcendental beauty. A recent radio program commented that some of the most interesting 'Steve Reich' music is currently being released by other people who are reworking his back catalogue. This album is a great example.

I had heard of some of the remixers - Takemura is an inspirational musician as well as remixer,(for those who haven't heard of him, try 'Scope', half of which is fantastic, powerful electronica, half just baffling). It was a great pleasure to find that the remixers have not only added a new layer of interest, but frequently made the music more accessible. Early Reich such as 'Its Gonna Rain' can be particularly hard going, but the Megamix makes an extraordinary combination of tracks, overlaying the utterly different, lyrical 'Electric Counterpoint' over the hard, repetitive samples of 'rain' and other tracks, to create something both new and more accessible (although not exactly 'easy listening') .

In a more direct way, D Note's version of 'Piano Phase' adds a warmth and richness to an austere original. If you find, as I do, that Reich's music generates virtual music in your head rising over and above the minimal strata he lays down, then this CD allows you to share the inspirations he has generated in others. And if this makes you long for the purity of the originals, you can go back and listen with fresh ears.

This CD may not appeal to those who have never heard Reich and have yet to find a way into minimalism or electronica, but I found it a very enjoyable listen. A 'must-have' for any Steve Reich fan, and perhaps a good way to discover Reich from a contemporary perspective.

A mixed interpretation, 22 May 2001
The Reich remixed album is a strange paradox. A debate within some circles existed as to whether Philip Glass had sold out on the genre of minimalism after his operatic trilogy. Most believe that this is a view that Reich shares. This recording brings the sparse, hard, austere genre back to those who probably missed it first time round, it is a completely different animal. Perhaps those tracks that use samples of voice loops best represent what Reich was trying to do when these tracks hit vinyl many moons ago. The mixs are all good quality, however, I don't know on a personal level how well they interpret the originals! On a purely aesthetic level, these tracks are good listening, and they bring Reich to a new audience, perhaps they even bring back an audience that for a short time has tired of the minimalism genre.

Proof that quality deep house is always timeless, 21 Feb 2005
I got this AGES ago on the strength of it having Paul Hester's Life Force on it. Loved that track, minimal punchy percussion and a gorgeous pulsating bassline. Saw a few other offerings on here that I thought I may like from the Rainy City stable, Nick Holder and Todd Edwards and thought I'd take a risk.

What I ended up with was something the Fabric boys would be getting in a lather about if it popped up on their series ... and this came out some time before that! Really good quality deep dark house music, murky and clicky. If you're looking for a comparison, Akufen's recent Fabric mix definately has a similar mood and scope to this.

You get some right deep down dark minimal stuff from the likes of Dan Bell himself and the nicely deep opening section of the mix, some bizarre quirkiness in the form of the Tellurians and Herberts offerings. After all that to balance things out you get some lighter tracks, US house bod Todd Edwards makes an appearance and the Nick Holder track on here is purely lovely deep gorgeous.

Now the mixing won't cause any soiling of pants but thats not the issue here, its track selection quality heaven. Surely thats what matters anyway?

Hopefully some clicky fans of the Fabric series who liked Michael Mayer, Craig Richards and Akufens mixes will stumble upon this. Grab it an be surprised by a little gem.

Do not listen to this if you are not of sound mind..., 15 May 2002
This is a more relaxed affair than most of the tresor releases. The whole CD is very minimal and quite down beat but don't be fooled by it. Get in the right frame of mind (?) and it will send you mental. There are the scariest samples ever recorded in the background - track 9 has someone talking in an alien language mixed in with obscure samples of English. It scared me. My friend refused to leave the room because there were people outside. We've never been the same since.
Want to compare it to other CDs? Think of very early (1990 ish) techno. Josh Wink maybe.
Going to hide in a cupboard now...

Interesting, 30 Nov 2000
I had read much about Warp, and how it was the most innovative label around. I decided to buy "We Are Reasonable" as I wanted to buy something on the Warp label and I wasn't sure where to start. I would say this is a good start from someone who is interested in getting into the Warp label or electronic music.

storming, 06 Aug 2002
great compilation, its actually quite hard to put your finger on this one, almost seems to veer off at strange angles from chill to drum n bass (sorta) but it alls blends together soo nicely. not a bad track, and many many a good one.

an eclectic cauldron of bubbling breaks and simmering sonics, 14 May 2001
this was a surprise. found it in an our price store ... it was a steal, it was a deal, it was sale of the fudgin' century! i took a chance, based on the fact that i had at least heard one track already (We's '3/10 of the population') and knew of Tipsy, DJ Spooky and Mixmaster Mike thru his Beastie Boys affiliation. The compilation itself is actually quite an eclectic mix, although the predominant style would perhaps be described as abstract hip-hop. We themselves offer a competent take on drum n' bass...their remix of Tipsy's 'grossenhosen' (the original version of which UK surfers may have heard on a recent TV advert for Orange phones) begins in a backwards world of symphonic distortion and barrel-organics (ha) before launching into a hyperspeed breakbeat sub-bass workout - yes, as nice as it sounds! mixmaster mike brings scratchtastic funky hip-hop to the mix with the likes of 'supa wyde laces' and 'audio mass'. tipsy's tracks are more of a playful honolulu lounge-jazz style (!) - great for chillin on the beach to...more turntable dynamism comes form mixing champ Roc Raider and Rob Swift while DJ Spooky unnerves the senses with his eerie twisted breaks, ethereal atmospherics and hardcore beats. my personal highlights are We's aforementioned track featuring more haunting indecipherable vocal snippets, deep dirty basslines and orchestral extracts - excellent. badawl's 'enter the heretic' is a suitable dramatic affair, with yet more strings to match the more modern sounds elsewhere. We round off with the dubphonic ditty 'Chango' - offering proof they are more versatile than previous efforts suggest. All in all this is an impressive showcase from the little San Fran label and I recommend it to fans of abstract electronic music, breakbeats, dub and jazz-funk with an alternative edge.

_buy this now_, 24 Apr 2001
i came accross this cd by chance in my local record store, i flipped it over to see who was on it and decided to buy it after seeing mix master mike and rob swift listed, some fantastic dub from spooky and melodious weird stuff from tipsy - genius!

GOOD GOOD GOOD!, 23 Jun 2000
£5? Buy it now!

real music, not like fatboy slim. ROB SWIFT, Master Mike etc. buy it now

Best Latin dance collection ever., 06 Jun 2001
Ubiquity Records have a gem on their hands with this turbo charged collection.

The up tempo Oya Ye Ye opens the compilation at break neck speed leaving even the most conservative listener tapping their feet. Batunova Scat will appeal to all night ravers who quite frankly are too old to rave these days but fancy some chill out action lounge side... Espacio provides a well-earned change of tempo with a 70s retro sounding track. Other tracks of interest include Terra Del Fuego and the pleasantly crafted Casa Forte. This record is a brilliant fusion of Dance, Chill-Out, Latin Beats and Jazz Fusion. Guess what I absolutely love it.

Don't take my word for it, go buy it and turn your lounge into a temple for superior sound.

Jarre Tribute more a Whimper than a Celebration, 30 Jul 2001
Tribute albums are one of 'those things'... they can be alarmingly mediocre or - albeit more infrequently - alarmingly good. You see, the problem with tribute albums is an old one. Does the artist wrench the guts from the music in order to be creative, or merely replay the original and appear dull? All of these problems are exacerbated when the original artist's work is instrumental, when the original artist's work in seminal in its field and when the original artist is Jean Michel Jarre. How do you add to the atmosphere and feeling present in the original work? Moreover, how do you prevent the listener thinking he's listening to a rendition on a Bontempi organ? That's not to say that this album is bad; the Kenton Files tracks are pleasing to the ear (although Rendezvous 3 is more lively than perhaps it should be), along with Michael Bondees version of Oxygene 7 (parts 2 and 3). Bondee also scores well with the reworking of Arpegiator from the China concerts way back in the early eighties - a track filled with emotion in the original, and perhaps even more so now. For the most part of the album though, you feel as though the artists are simply going through the motions; as if the homage is turning to sycophancy - and no-one really seems to have the wherewithall to break out from behind the wall and attempt something vibrant, which can only be seen as a shame (or worse, a wasted opportunity). The author of the sleeve notes mentions - at large - the effect the JMJ has had on todays artists but if that is the case, why are we subjected to such bland repetition? For me, Gravity Four hit the high point of the tracks on offer (Equinoxe 7), although throughout I had the uneasy feeling that 'Jarre wouldn't have done it this way'. The low points quite simply are the tracks mutilated by 'Jarre Experience'. Equinoxe 7 (the Space Mix) is an unadulterated mess, neither starting nor finishing anywhere in particular and not offering much in the way of a middle section either. It's almost as if the Jarre Experience couldn't quite understand what they wanted to achieve from the track - be it minimal ambient or dreamy atmospherics, or a mix of background noise overlayed with a note here and there from the track itself. Unfortunately for them, it would appear that these problems got in the way of making a decent stab at Equinoxe 2 as well. So to summarise... this is one for Jarre completists only (myself included), and those looking at it as a form of 'Greatest Hits' should stay well away and turn to the originals. Not really one for casual Jarre listeners either - it's more likely to put future original purchases on a back burner... I'd love to know what the man himself thinks about it...