I LICKED BOY GEORGE’S MOPED AS WE WENT SCRAMBLING IN THE RAIN.
JOHN EARLS
Dye another day: Adamski is back, complete with a trippy beard
© Nana Tinley
My whole life has been very weird,” notes Adamski. He’s not wrong. Just the tale of creating Killer is so bizarre that it involves lurid rumours about a future Prime Minister. There’s Adamski’s days as an 11-year-old punk, gatecrashing the first ever Indie Chart; the time his mum thought he’d died due to an error by BBC News; and ending up on the front page of News Of The World as a menace to society. That’s before he’s even touched on how he went from DJing for 30 people to hanging out with Elton John in less than a year. “The things I like mostly aren’t commercial,” he explains. “I never thought any of this would happen.” Adamski had a thorny relationship with his alias and dance music in general. He talks warmly of the early days of rave, playing clubs like Cream’s predecessor Underground in Liverpool and Sub Club in Glasgow long before they became legendary names. But he feels house music didn’t progress and turned stale, so he rejected it for years, becoming sick of Killer and his own name as a side-effect.
But now, marking the 30th anniversary of his No.1, Adamski has made Free To Kill Again – an album of 10 new versions of the smash, featuring Boy George, Adrian Sherwood, veteran leftfield icon Nina Hagen and transgender rapper Mykki Blanco.
“There was a long period where I was sick of Killer and bored of people asking me about it,” he admits. “Then I realised that was ungrateful of me to the universe for giving me that blessing in the first place.” He seems bemused as he says how much he’s enjoyed making the new versions, enthusing: “I’ve felt inspired and re-energised working on the album. You can hear that in the music.” He’s right – whether sampling Sarkodie’s club hit Party & Bullshit or getting Boy George to revisit his reggae side on Sherwood’s mix, it’s enjoyable hearing Adamski reacquaint himself with that squelchy riff.
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