Unique 3 - Shades Of Grey - Digital Press advert
1st April, 2011Hide
Unique 3 - Shades Of Grey
Massive Support From
Orbital, DJ Craze, Crystal Method, DJ EZ, Freq Nasty, General Midi, Funk D'Void, DJ Nihal (Radio 1) Evil Nine, Orde Meikle, Stereo MC's, Freddy Fresh, Aquasky, Schema, Hexadecimal and many more ...
8th July, 2011Show
Unique 3 - Invasive Signals | Blah Blah
1st October, 2007Show
Unique 3 - Invasive Signals | WUB
28th September, 2007Show
Seventeen years is never too long to wait for something of this quality…..
There is rarely a longer story in the world of dance than that of Unique 3. After unleashing the seminal bleep classic of ‘The Theme’, and making the first track with the Amen breaks with ‘Activity’, it’s been a long 17 year odyssey to reach this point. And when a debut album is completed nearly two decades after a debut single, you know it’s going to be special. Unique 3 does not disappoint.
Given Fat’s recent expansion of its musical policy to incorporate elements of electro, tech and glitch alongside the usual breaks, it seems only fitting that Invasive Signals demonstrates aspects of all of these.
Shades of Grey, for example, is reminiscent of early Warp techno releases, with its blips and bleeps floating over cavernous kick drums and floating old school 303 hats, all combined with a melody that wouldn’t be out of place in a modern place electro workout.
Draw The Line is more of a sped up glitch breaks track, with reversed samples and machine gun like percussion flowing together at a sweltering 139bpm to give a track that is light yet steppy at the same time.
Perhaps the stand out track on the album is Take This Love. An instantly funky hook and some quite literally breathtaking production are segued together with a beautiful vocal (supplied by Unique’s sister Adele) to create a vocal slammer that will no doubt reverberate around both clubs and daytime radio. If there was any justice in the world, 14 year olds would be blaring this from their ipods, a perfect antithesis to the mass produced pop-hop that so many prepubescents see as the be all and end all of good music in this world.
Overall, Invasive Signals is probably as close to a complete dance music artist album as I’ve been privy to. Never overly dwelling on one particular genre or style, it barrels along with an almost seamless merging of different tempos and sounds, never once losing its pace or presenting a lacklustre submission.
Quite simply, this is unmissable. Sell a kidney, donate blood, pawn your TV – do whatever you can to obtain a copy of record. End of.
Review by Wub
Unique 3 | Invasive Signals | DJ Review | Allan McGrath
26th September, 2007Show
Invasive Signals Fat!
Seminal bleep techno artist busts out brave new jams.
Unique 3 basically created the ‘bleep techno’ sound that peaked with LFO’s chart gatecrasher and still influences breakbeat, techno and even dubstep today. His long-awaited first album is anything but retrospective though. ‘Shades of Grey’, ‘Draw The Line’ and the subtly haunting ‘Darkness Visible’ all fit into the Warp alt-rave electronica bracket. All sirens blaring, ‘Serial Killer’ is a bassbin-busting 2am breakbeat bomb, whilst vocal tracks ‘Take This Love’ and the acid squiggled ‘Open Up Your Mind’ add an almost pop diversity. ‘I’m The…’ comes on like Nitzer Ebb locked on by Zed Bias and whilst acid-bass bleeper ‘Rocks The Bass’ nods to the original Unique 3 sound it thumps it well into the 21st century. Refreshingly diverse and futuristic.
Unique 3 - Jus Unique | Whats On
5th December, 1990Show
PSST. Wanna hear a weird LP? Well the Unique 3’s Jus’ Unique says 33rpm all over it, but when you put it on, you get this slow, very odd, ragged/hip-hop, druggy monster. Something’s not right. The infrequent vocals sound slow, so you change to 45rpm and you suddenly have some House/Acid/Bleep psyche-outs. Amazing! Two LPs for the price of one. Very druggy, very mechanical, very good.
5 Dec 1990
Unique 3 - Jus Unique | Carribbean Times
18th December, 1990Show
Unique 3 - Jus' Unique - (10)
Unique 3's debut covers nearly all the house forms – mainly beep, techno, deep, ragga house, hip-house – in an easy and comfortable way.
Music Music, Reality, Theme III, Pattern 12 and club hit Rhythm Takes Control, all feature here, and all prove strong individual cuts (and they work in the context of an album which is quite unusual for house standards so far).
A cult group with dance fans, this album is a high, even though it looks likely it will only preach to those already converted.
18 Dec 1990
Unique 3 - Jus Unique | Echoes
24th November, 1990Show
Techno house whizzkids Unique 3 have their Jus’ Unique album released on 10 this week. It includes their singles, ‘Rhythm Takes Control’ and ‘The Theme’.
24 Nov 1990
Unique 3 - Jus' Unique | Paul Sexton
10th December, 1990Show
(TEN DIX 98/CDIX 98/DIX CD98)
Far from being the left-field challenger to the pop formula, the synth-obsessed dance poundings or groups like Bradford’s Unique 3 and bed-fellows like LFO and Tricky Disco have become a chart mainstay in recent months, a wall that the more “conventional” groups like Wop Bob Torledo and Cool Down Zone have been unable to break down. There needs to be room for both, of course, but I know which sounds more conventional to me….
The group’s best (indeed one of their only) combinations so far of hypnotic rhythms and palatable melodies came on ‘Musical Melody’, a top 30 hit in the spring together with its fellow a-side ‘Weight For The Bass’, which is more indicative of the album’s overall style. Apart from a couple of credible raps, and an unconvincing female vocal on ‘Rhythm Takes Control’, this is a veritable computer riot that features titles like ‘Pattern 12’, ‘Phase 3’ and ‘0274’. If the bedroom synth bubble doesn’t burst, there may be more hits here, but does it have to sound so inhuman?
Unique 3 - Jus' Unique | anon
1st January, 1991Show
Unique 3 - Jus' Unique (Ten)
Bradford’s Unique 3 have delivered a post-house melange of rap, ragga and bleeps on their debut album. The menacing subsonic bass throughout gives the album the feel of a soundtrack to a dark sci-fi suspense thriller. A great eerie piano riff spooks out on Phase 3 and the dripping tap blips and bleeps of Digicality had me looking over my shoulder. With acid jazz samples on Musical Melody and the ragga chat of Reality, variety is never far away, although the overriding feel is one of a post-rave alien film soundtrack.
Unique 3 - Jus' Unique | Gay Times
1st January, 1991Show
Similarly striking but much more minimalist and bleak is Bradford group Unique 3’s Jus’ Unique. According to the press release this is a ‘tour de force’ of hip-hop, raffa, blips, bleeps, and vocal styles’ and heralds some sort of new post-Acid House sound. Six of the ten tracks qualify for the somewhat ludicrous description of ‘bleep House instrumentals’. At times it is more akin to the noise of an amusement arcade and at one point they appear to have recorded the sound of water going down a plughole. Whether Unique 3 follow in this direction is open to doubt. Certainly some of their basslines are quite awesome and when this raw bass is combined with soulful vocals and the ubiquitous computerised bleeps, as on the Karin sung single ‘Rhythm Takes Control’ the effect is very commercial.
Unique 3 - Jus' Unique | Kulwinder Singh- Rai | High Fidelity
1st February, 1991Show
Ten DIZG 98
This is your speaker’s ultimate bass nightmare (unless of course you own a pair of Cerwin Vegas, in which case it’s easy meat). Hailing from the North of England, this quartet virtually invented the infamous ‘bleep’ sound though they are trying to distance themselves from it now. Jus’ Unique is a completely silly, ground shaking exercise in subsonic excitation. Turn on the strobe, grab a Lucozade and shake yourself to death with the awesome basslines – those sounds are utterly surreal.
Unique 3 - Jus' Unique | Hot Press
27th December, 1990Show
A Bradford quartet followed the introductory single “The Theme” with not just a couple of strong 12” releases but also a new ten track album across four sides, “Jus’ Unique” (Ten). The Bleep was big news.
27 Dec 1990
Unique 3 - Jus' Unique | Huddersfield Examiner
5th January, 1991Show
UNIQUE 3: Jus' Unique.
Ten Records. DIX98.
The horrible hotchpotch of hip hop, ragga, blips and bleeps concocts a sound even more contemptible than the strongest acid.
The bank has apparently been perfecting this blot on the musical landscape for two years.
More agonising than thumb screws.
1st November, 1989Show
Unique 3 - Club Chart Highest Climbers
Unique 3 - Jus' Unique | Jocks
1st December, 1990Show
UNIQUE 3 - Jus' Unique Ten
If we’re to be honest, Unique 3 are survivors from an attitude in time that didn’t see house and hip hop as mutually exclusive forms of music, which makes ‘Jus’ Unique’ a puzzling album for out and out purists. Pulling from both styles in an easy manner as well as working in the odd ragga track, this is an album that gets better with every hearing and shuffles Unique close to the top of the new breed of British dance acts. The heavy instrumental tracks are the best – ‘Pattern 12’, ‘7.00am’ and ‘Digicality’ bristle with fresh, inventive ideas and more than enough bass to move your butt. And there are of course, all the singles – ‘Theme’, ‘Musical Melody’, ‘Rhythm Takes Control’ and ‘Weight For The Bass’. There are times when the sparkle fades, but this is one album other acts on their first LP outing could learn from. Plus which, I’ve got through the whole thing without mentioning that Unique are the originators of the thing they call the bleep. Damn. 7/10PC
Unique 3 - Jus' Unique | The Independent | Andy Gill
7th December, 1990Show
Jus' Unique (Ten Records DIZG98)
Released in the hackneyed double 12-inch formal, Unique 3’s debut album offers ten exercises in what they call “Bleep” music – a stripped-down variant on the ubiquitous acid-house keyboard groove. On the opening “Theme 3”, this initially seems to consist of desultory electronic noodling, rather like Rolf Harris at the Stylophone. Then as the next track begins, you realise they’ve printed the wrong speed on the label, and it was meant to be played faster. But played at the right speed, it’s not all that different – just faster.
Nevertheless, Bleep music isn’t without a certain appeal beyond basic terpsichorean invocations, the best of which is easily “Weight for the Bass”. In its purest, most refined state, on “Digicality” and “Code 0274” (Bradford, in case you cared), it involves the most rigorous return yet to Kraftwerk’s more minimalist undertakings, which is always welcome. Unfortunately, on several tracks they’ve elected to include some rather wearisome raps, the most ludicrous being the anti-drug reggae toast by Devon ‘Nuclear Weapon’ Bantaan on the track “Reality”, which condemns heroin, acid and Ecstasy but remains strangely silent on the subject of cannabis. “Use your money wisely”, counsels Devon the Nuclear Weapon, “Make sure your home is neat and tidy”. Which doesn’t amount to the most powerful anti-drug arguments.
7 Dec 1990
DMC KICKS BACK - Interview with Edzy (Unique 3)
12th November, 2008Show
DMC KICKS BACK
Edzy From Unique 3
Edzy from Unique 3 talks about being in one of the biggest dance bands of the past two decades...
Edzy, I used to stand on the stage at The Hacienda with my hands in the air, dripping with sweat with bulging eyes as Graeme Park spun 'The Theme', a record that still sounds fresh today. Just wanted to say thank you. What a record. How on earth did you make that? How did it all begin for you all those years ago, and woah, your 'Soundyard' club...?
"Mmmm... and because of that very same night that you still remember, twenty years later and on my wedding day, I managed to bully poor Graeme into fading a piece of music in from Jungle Book for my wife to walk up the aisle to - quite expertly I may add (well he HAS had some practice!) on a makeshift sound system that we'd set up in a freezing cold church in Edinburgh. By the way, I'm wiping a tear away as I write this, it seems been downhill since those eye bulging, halcyon days for ALL of us! But back to your question... 'The Theme' came about like so many other thousands of pieces of music - shoplifted keyboards, pawn shop drum machines and young pals with not very much else to do with their time, messing about with things that they definitely shouldn't be touching! We had some very talented people around our feet at the time - Cutz (my DJ partner) the most talented and natural DJ I've ever come across, MC JMP - by far the BEST voice on a mic I've ever heard (and I've heard a few). He would have wiped the floor with ANY US rapper at the time, but unfortunately he was uncomfortable in the role and simply didn't want to rap anymore. Soon after the initial success of Unique 3, he put the mic down, never to pick it back up again. Last but not least, Deadly D kept us honest in the studio and his Reggae Sound System schooling meant that we were quick in achieving that heavy bottom end sound that we became known for.
Also in our inner circle was The Mad Musician, that 'angry with the world voice' that you hear on the run-in of the original white label demos of 'The Theme'. The Mad Musician was a big driving force, musically, for Unique 3 in those very early days and for 'The Theme' in particular.
It was getting towards the back end of the 80's. For us, as very young DJs, US Hip Hop had just about nudged 80's Funk off the dance floor and, as DJs, we were starting to hear US import tracks that were physically picking up speed. The change in speed was obviously having a great affect on a newly drug consuming dance floor - the higher people got, the faster they wanted to be carried along by the music (I very clearly remember being shocked at playing my first 'fast track' at 118bpm!) - this new, faster stuff which was eventually to become House Music was exciting, was re-energising on what had become a very tired dancefloor.
Previously for us, only Electro had had this effect on dancefloors. We wanted more of this new sound, enough of it to fill a full DJ set to kick up the crowd, but getting your hands on the stuff was basically an impossibility to achieve. Back in the early days, you could travel the length and breath of the country to find a record store upfront enough to be getting hold of any of this stuff (we used Spin Inn in Manchester). So through pure frustration, we resorted to making our own demos on chrome cassettes and playing them during our sets at our weekly Sunday night dance 'The Soundyard' in Bradford. Our Sunday night sessions were crazy. Coaches lined up and down the street from as far away as Scotland, Lancashire and as far south as London with a thousand people each week packing themselves into our club night. It was at 'The Soundyard' that we started dropping our home made tracks. Seeing a reaction to a piece of music that you've created is stronger than any drug and, with the success of our early bedroom demos, we were hooked!
The next step, getting plates and test pressings made was relatively easy for us through reggae sound system contacts. We knew chop shops that were pressing Reggae dubplates and raw vinyl and so, through that route, we were able to press up our very first records, then play and promote them as we drove up and down the country playing at underground dances.
The music industry back then was basically layers and layers of stagnated shit. It hadn't had a kick up the arse since the punks had turned it on it's head. Record Companies were run by tired old gets who'd sat on top of the their industry, looking down for far too long. They simply weren't prepared to stand for any of this new 'street/black (loosely termed) music' coming through and gave it little respect for the first few years - missing out on those magical early years. But, as with everything else, the beast was caught in the end and tamed and has since been made into a Multi Million Pound industry."
They were such exciting times for us all. Whizzing around the country checking into raves, illegal clubs and warehouses...
What are your favourite memories from back then? Best rave for instance?
"We had so very many wild nights and I've long since pickled my brain. My best memory was playing a do on Shaftesbury Avenue in London, Massive venue, can't remember the name but it was the week after we'd filmed our first video which I thought had been a bit too lame and wasn't 100% happy with. We walked out on stage in London to a massive full house of early ravers to do a live PA and everything about it was perfect apart from there were no cameras filming it - now THAT would have been the perfect video for the first single!"
You were one of the forerunners at the time that alongside crews such as LFO, Coldcut and Warp - who were you giving props to back then music wise?
"We were pally with LFO - the three (then 2) lads were studying in Leeds if I remember rightly and they were regulars at our Sunday night do. Nightmares On Wax were virtually family and Warp was still a record shop in Sheffield that we visited regularly. There were many crews forging forward, Gerald (A Called...) was a pal who came over from Manchester and played live at my Sunday night club around 1988 and for a long time, in ANY club, you couldn't hear either 'The Theme' or 'Voodoo Ray' unless the were mixed through. Trick DJs were a massive thing to us back then (same now I suppose) and so we used to go out of our way to find people like DJ Pogo and Cash Money for our events - we gave props to all the originators back then and they more than likely played at my Sunday night do."
'Activity' was the first dance track to ever sample the 'AMEN' break and went on to become one of the most sampled records ever whilst being cited as one of the very few original 'break-beat' tracks which laterspawned 'Jungle' then 'Drum & Bass' & paved the way for Nu-Skool Breaks. What do you think about that then?
"Not bad going eh - someone get me a beer!"
What music did you grow up listening to?
"I was lucky to grow up in an area of Bradford that was a heady cocktail of white, Afro Carribean and Second Generation Asian - you could walk down our cobbled backstreet and in that short walk from top to bottom hear anything from The Everley Brothers, The Drifters, Cream, Hendrix through to Judge Dread, Delroy Wilson, The Heptones and The Jamaicans blaring from the different houses. I was very lucky, my parents (even though white) were very big into obscure 50's Doo Wop, like The Impressions & rare 60's Soul like The Four Pennies, - I had access to an education from Acid induced guitar heroes to Motown classics and to Studio 1, Upset, Horse and Blue Beat from my close pals parents' collection next door and my house."
How do feel about one of the bands that inspired The Chemical Brothers, your music got them in the studio and have made some of the best tunes EVER - you put the magic feeling into their heads and hearts... thoughts...?
"It's really cool that they included Unique 3 on their early album of tracks that inspired them to make music. What they've done is amazing and by sticking to their guns they've achieved the status that befits them. They're an inspiration to me and thousands upon thousands of others now."
Hip Hop obviously a major influence, 'Musical Melody' broke the Top 20... who are your hip hop gods?
My gym iPod only has UK Hip Hop on it at the minute. It's the only thing that kicks me up enough to pull my tired arse around a gym every morning. My Hip Hop Gods are those early pioneers like Duke Bootee, Bambaata, Chuck Chill Out and Red Alert but the one that stood out for me (and if it hadn't have been for his later 'commercial attempts' would still be wearing the crown) is Canada's greatest export - Curtis Jaleel."
What I like about your DJ sets is the diversity. Jackin' Electro House, Breaks, Drum & Bass... who are your favourite artists at the moment that you place onto the wheels of steel?
"Mmmmm, Jack of all trades, master of none - that's me!. There's so much strong and heavy produced Electro House (although I resent that the word 'Electro' has been kidnapped from it's TRUE form and applied to the latest mutation of House music). My sets are either a comfortable mixture of dirty, ELECTRIC House and deep bassline-driven Tech House (nothing changes there then) or a more Breaks led set depending on the event. Festivals are always an uncertain mish-mash of everything with a token Drum & Bass section at the end for good festival measure..."
Tell us about your Left of Centre radio show
"My radio career started on the pirates in the late 80's on Emergency FM and has bumbled along nicely for many years. More recently, I had a weekly show on London's 'House FM' but switched to the comfort of my recording studio (and not having to cross London and back every Sunday) and into a weekly slot on NSB Radio in 2006. Having had to commit to writing the last Unique 3 album, sadly I had to leave NSB Radio and park my 'Left of Centre' Radio Show up for while. Album done & with a little more time back to play with, you can now find my show on www.samurai.fm.
And your Mutate Records label...
"Mutate Records was born out of a complete disgust and total frustration at labels I was signed to at the time where basically, I was not getting paid. I wanted to create an outlet that was based around the artist's needs, NOT the label's wants. The days of pressing 1000 white labels and slam them into shops for a fiver was gone so the intent was predominantly a digital download label with the very odd exception. It was a partnership between myself and my long time friend (DJ/producer/promoter) Bobzilla whose art and design company www.tubbyphunk.com was a major source of creative goings on."
Best ever Unique 3 gig?
"Who can remember?! It was crazy times. Disused airfields, huge marquees thousands upon thousands of happy folk, flasks of mushroom tea. E's made by real chemists NOT second year chemistry students. I won't see the likes of those nights again I'm afraid!"
You've always stayed true to the underground, but come on, what's the cheesiest record you've put on your system when you've got back from a club to dance to?
"I've danced to some pretty outragious stuff on my way back down from a club, but unless you get a hold of the private videos, you'll NEVER get to know!!! Clubwise, I played a Bryan Adams track during my set at the Glade Festival which kicked up and I've dropped Abba's 'Dancing Queen' as a last track in a club set which I still hear mentioned of to this day."
Invasive Signals' is your second band album - 20 years of what you've lived, breathed and seen in the clubland. 'Serial Killer' with it's 808 Bass and superb guitar and synth riffs that send you back to thinking of dancing in a field, 'Take This Love' - what a hook and your sister's vocals and 'Shades of Grey' SOS getting real deep - all amazing. But it's been said that some of the tracks were written in the depths of a "drug-induced paranoia and despair". Sometimes being in that state of mind make the best records. Except if you're Pete Docherty. Did you write some of the material when you were unhappy?"
"I wrote ALL of it unhappily! Every last note and every single word. My life had changed rapidly and I'd lost something that was dear to me. I was battling my own addictions which had consumed me and which I knew I just had to shake off or face the loss of my sanity for good. I'd turned into all but a recluse and real basic things like being awake and eating were sometimes impossible. I started the writing process for 'Invasive Signals' and with every new note and pen stroke, I felt the weights that were crushing me lighten ever so slightly. Midway through the album project, I was DJing in Ibiza for seven weeks and was able to walk for miles and miles every day with a pen and pad, getting the words for the songs just right and emptying my head of all the crap that had previously troubled me along the way. The next album will probably be a right pissy affair if I don't manage to get someone to break my heart or worse and bring those creative dark clouds back!"
Tell us about your friendship with DJ Graeme Park, some mad nights eh? He once shaved my eyebrows off when I passed out...
"If I tell you about some of the days, nights and weekends that I've spent with that pal of ours, his wife will disown him, his Mam will write him out of the will, his two young sons will have to scrap their way through upper school and the police may even make a visit on his rolling farmstead and start digging certain parts of the plot up. We have had some fun mind and I just love being with him as I look 20 years younger and 30 years healthier when I'm at his side."
Ever trashed a hotel room after a club?
"Not since having been ordered to turn round by a promoter (we were already on the motorway going home) to meet him back at the hotel that we'd left. Seems the Hotel Manager had given him a couple of hours to 'tidy up' all the rooms we'd used the night before before he called in the police - pretty decent of him I suppose - although I'm quite sure that the manager was in the middle of the frivolities the night before. So I'm usually far too paranoid to leave a messy hotel room these days!"
What's next for you musically?
"I'm currently remixing something for Si Begg whilst working through a third Unique 3 album project for Mutate Records that should see light of day next year. Mutate Record's release schedule is looking very busy and there's a few Unique 3 single tracks in there running up to next summer, so it's all looking good."
Thank you dude, take care...
"Thank YOU dude and give my regards to your Ma and Pa - pioneers themselves x"
Unique 3 - Jus' Unique | Record Mirror | Davyyd Chong
1st December, 1990Show
There is infinitely more to Bradford’s Unique 3 than the mutant ‘bleeps’ they’re frequently associated with. Touching all bases from digital ragga to funky hip hop and blinding in every instance, this killer debut is a defiant twin-fingered gesture thrust in the face of pigeonholers.
The current single ‘Rhythm Takes Control’ sits contentedly in the midst of it all, but watch for the frightening bassline that threatens to knock you into next door’s lounge, let alone the middle of the following week. Three other ‘hits’ also show their faces, most notably a dizzying remould of the original tough-tone nightmare ‘The Theme’ and the fresh-fluted ‘Musical Melody’.
‘Reality’ stomps the Ragga Twins’ effort into the dust and has an excellent orator in Devon Bantaan. Lyrically, this reggae-hip hop hybrid shuns insular, drug-induced fantasy for the harshness of reality and global awareness. And, in effect, it flings the last handful of earth onto the coffin of acid culture. Good riddance too.
The natural, candid shots of the four members – Edzy, Deadly ‘D’, Cutz and JMP – and other Chill Posse people (with scribbled captions) on the sleeve are a refreshing change to studied moodiness and exemplify Unique 3’s healthy approach to music. An approach which makes ‘Jus’ Unique’ exactly that.
****½ Davydd Chong
Free Magazine Front Cover
1st March, 1990Show
Kiss FM's 'Free Magazine' Front Cover | March 1990
Mixmag Front Cover | issue 94
2nd November, 1990Show
Unique 3 - "This Isn't Music This Is A Physical Force"
Unique 3 - Edzy & Cutz @ New Edition Bradford
15th July, 1992Show
Edzy & Cutz @ New Edition Bradford
Unique 3 - Jus' Unique | Time Out | Isabel Appio
5th December, 1990Show
Unique 3: ‘Jus’ Unique’
In fact there are four of them, producing here a double album of ten 12 inch tracks splattered with the kind of niggling frequencies more usually picked up from amusement arcades, dripping taps, tone phones and the latest Nintendo computer game. As a club/dance sound it’s a Spartan, clinical affair, warmed with one or two average raggamufin chants. Apparently Unique 3 consider themselves such pioneers in the new ‘bleep house scene’ that they are already exploring the exciting possibilities of the impending ‘blip house scene’. Hmmm. Either it’s a case of Unique 3 being just too far ahead of their time or it’s that naughty old Emperor getting out his glad rags once again.
5 Dec 1990
UNIQUE 3 - ACTIVITY | Record Mirror review
6th April, 1991Show
An interesting little package commencing with ‘Activity’, its mellowsome beats wind ‘round a spiral staircase. ‘Jus’ Unique’ is hot on its tail, with a heftier kick from the boot of L Double E. ‘Fury In Force’ clags and chimes in all the right places while ‘Reality’ closes with a reggae toaster. Make mine a ham and cheese, mate.
6 Apr 1991
Unique 3 - Activity | Rage Magazine review
10th April, 1991Show
‘ACTIVITY EP’ (Ten)
Except for the ragamuffin reality, no value for money here spot pickers, just a bunch of over indulgent bleep freaks who’ve only just learnt how to count to three.
10 Apr 1991
Unique 3 | Activity | Carribean Times
2nd April, 1991Show
Unique 3, previously unique only in the sense that they were four, have their new single Activity released this week. Originally available on undredited while label, the track “kicked up” and made a number of underground charts. It comes with Jus’ Unique featuring L Double E, Fury In The Force and Reality.
2 April 1991
Unique 3 - Weight For The Bass | Mixmag Advert
1st May, 1990Show
Unique 3 - 'The Theme' gave basstones a new meaning 'Weight For The Bass' /'Musical Melody' - music for the new dance age ...
Unique 3 - The Theme Mixmag advert
1st October, 1990Show
Unique 3 - "Best described as new age Hip-Hop, stands as a testament to the new spirit of risk and adventure"
Unique 3 - The Theme Record Mirror Advert
1st October, 1990Show
Unique 3 - The Theme - Commitment to the Underground
Unique 3 - Mark Bell of LFO - Top 3 tracks | Record Mirror
12th September, 1992Show
Mark Bell (LFO) - I still listen to it (Unique 3 - The Theme) today. It's just ... phew ...!
Unique 3 - The Theme | Mixmag Chart
1st January, 1989Show
Unique 3 - The Theme (Promo)
Unique 3 - The Theme Mixmag Update Chart
15th July, 2011Show
Unique 3 - The Theme
Unique 3 - The Theme | Dangerous Dancing compiled by John Mayoh | issue 77
1st January, 1990Show
Number 1 in this top 10
Unique 3 "The first & hardest on the UK House scene"[Pete Tong - Radio 1]
"This isn’t music, this is a physical force" [Mixmag]
"The new age, [Unique 3] stand as a testament to the new spirit of risk and adventure" [Paulo Hewitt NME]
"The Theme’ gave bass tones a whole new meaning"[Music Mag]
"Commitment to the underground" [Record Mirror]
Unique 3 has been cited by such luminaries as The Chemical Brothers, Coldcut, Goldie & LFO as inspiration, Unique 3’s early 80’s ’Bleep House’ creating the start point for House Music as we know it today & the thousands of House Records that followed & imitated it.
Unique 3s groundbreaking early UK Hip-Hop bridged the gap from US Hip-Hop into a vibrant new sound that was to change music forever: 'Activity' by Unique 3 was the first dance track to sample the AMEN break & went on to become one of the most sampled records ever whilst being cited as one of the very few original ’break-beat’ tracks which later spawned ’Jungle’ then ’Drum & Bass’ & paved the way for Nu-Skool Breaks.
The inclusion of Unique 3's - 'The Theme' on both The Chemical Brothersalbum of tracks that inspired them to make music: 'Brothers Gonna Work It Out' & on Warp Records collection of early House tracks that inspired them to set up their world famous label, an album aptly titled:'Inspirations', stands testament to this. - Virgin/10 Records Press Department
Unique 3 were recently reminded of their major role in the creation of earlyHouse Music scene when 'The Theme' was voted the number 1 track played at the The Hacienda in the ’90s, voted number one by the world famous Deejay team who played there!
Unique 3 broke the national top 20 with their left-field UK Hip-Hop track- 'Musical Melody' (not an easy feat back then) & enjoyed 4 top 5 club chart hits & 2 club no.1’s.
Unique 3s Deejay sets are legendary, switching from jackin electro house to breaks to rollin drum & bass.