Dynamite MC is called in for hosting duties here, but after also kicking off the Scratch Perverts’ ‘FabricLive 22’ and their ‘Watch The Ride’ mix from earlier this year, a shift from obligatory mic controllers is in order. From Dyna’s intro we’re treated to a tasty acapella of Lords of the Underground’s hip-hopper ‘What I’m After’ over the ‘Jelly’ beat by Krafty contemporary A. Skillz. Less effective is the rap classic ‘The Message’ cut with Milke’s breaks stormer ‘She Says’. Still, Krafty does manage some, er, crafty under-the-radar looping and tempo-raising to kick his mix into full breaks mode from there on out.
At the head of the pack is ‘Minimal’ by Hardy Hard & Lady Waks, a bitch-slap to techno and thus, ironically, most of the fellow ‘Fabric’ series. Krafty makes a poor choice of follow-up with Friendly’s ‘The Weekend Breaks’: drive-at-five breaks that can only bring to mind a stripe-shirted B&T tool raising his Smirnoff Ice to the track’s sole hook: “It’s the weeeeeeeek-eeeeeeeend!!!”
Krafty’s VIP mix of ‘Freakshow’ goes a long way in making it heavier and more danceable than the minimal-funkin’ original. A segue of sirens transitions it beautifully into the album’s best track, Plump DJs’ ‘Listen To The Baddest’, which only further cements them as the best producers in breaks, period. Ralph Robles’ ‘Takin’ Over’ salsa dances out of breakbeat before Dynamite MC whisks in Krafty’s mash-up of Joe Jackson’s new wave classic ‘Is She Really Going Out With Him?’ with DJ Assault’s booty bouncing vocal from Deekline & Wizard’s ‘One in the Front’. But the best part is Krafty’s devastating slam into the Tom Real & Rogue Element remix of ‘Twisted’ by Rob Le Pitch: absolute dancefloor wreckage.
Aquasky’s ‘Have A Good Time’ is a sour moment toward the end, with vocalist Acafool doing his best Ludacris impression since poor breaks producers probably can’t afford the real thing. Krafty’s use of Primal Scream’s 1994 cut ‘Funky Jam’ as the album closer doesn’t work quite as well as he imagined, either, as it feels like something you’d hear as the lights go up while doing the bitter/drunk/comedown shuffle toward the exits. At the very least, though, it’ll inspire you to throw the album in for another spin. That’s the beauty of this particular “FabricLive”: it feels like a genuine night out at a Krafty Kuts show, but one you can relive again and again.