873:""Probably A Robbery"'s rueful-vengeful jailbird narrative is as sharp as you’d expect but it also catches the thick, black humour that runs through a lot of British crime narratives – just as that title indicates, it’s as much a comedy record as a dance one. It’s also, while completely atypical, RSW’s best commercial shot, with a chantalong chorus and keystone-cops brass hook to sugar the swaggering, brittle beats and background string lurches. It hit the Top 40 at the low end in 1990 and stood out a mile, totally out of step with the times. Now its rolling, easy arrogance sums up this cocksure decade as certainly as anything else you could mention."
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territory throughout the album despite its "unusual orbit between genres." They concluded: "I can't even begin to imagine how exciting this must have sounded in 1989, at a time when
British music was in the doldrums and independent labels were so far out of sight that it was easy to believe that they didn't even exist; even now, it sounds like the kind of album that could spark a movement."
31:
732:
magazine described
Renegade Soundwave as "urposely subversive" and "calculatedly audacious," and felt they created "danceable audio barrages, a pummeling sound that conveys a slick, edgy urban hipness, often spiked with a humorous tw." He felt that, despite its reliance on samples, the music is "a
776:
as an "underground dance classic that, miraculously, still holds up." The writer felt the album "blew away the cobwebs" with its ability and willingness to "drag several different strands of dance into sound, most obviously hip-hop," and complemented the band for not straying from club music
550:
in
November 1989 and stayed on the charts for four weeks. Even more successful was second single "Probably a Robbery", which spent six weeks on the chat, peaking at number 38 in February 1990. "Biting My Nails" reached number 76 on the chart in July. Adam Higginbotham of
771:
felt the album saw
Renegade Soundwave suffer from "identity crisis," adding: "Unsure whether to produce rock songs, dance anthems or dub jams, they experiment with each and just come across confused." Writing in 2010, Sputnikmusic Emeritus writer Iai described
864:
ranked "Probably a
Robbery" at number 60 in his list of the "Top 100 Singles of the 1990s." In the accompanying write-up, he wrote that Renegade Soundwave were "well ahead of their time, and not just musically. Their tough
764:
said the album covered a lot of territory with a "unique sound aesthetic," and wrote that it featured "a solid focus on the audio terrorism possible from sampling" despite the presence of "subpar" rapping. Tony
Flecher of
349:. The band described themselves as a "by-product of punk," explaining: "It forged the way we think, though the sound is nothing to do with it." Their notorious first single, "Kray Twins" (1987), was released on
463:: "It's adult, adult music. Our angle is not the obvious angle. It's a lot more ambiguous. A lot more open. There's a lot more ideas going into it than just one singular one. It's sort of – objectionable."
290:, and remains their only charting album. Music critics noted the band's hybrid sound and disparate influences. Over time, the album has been regarded as an innovative release, and has influenced numerous
743:
felt that the "dance noise terrorists" create a "fashionably gloomy atmosphere for their slamming rhythms, but never approach the intensity level of truly menacing industrial beat outfits such as
753:
described
Renegade Soundwave as "an aggressive British trio that wants to attack faulty modern sensibilities and safe music by dragging you by your ear onto the dance floor." They felt that
557:
described "Probably a
Robbery" and "Biting My Nails" as appearing to show Renegade Soundwave "on the verge of widespread success as their aggressive sound began to reach a wider audience."
869:
experiments get some credit now for helping to spread the breakbeat virus through
British dance music, but their crim-glam stance now seems just as prophetic." He added of the song:
822:
as innovative for breaking musical barriers, and noted its influence and inspiration on "so many artists and producers." He continued: "A quick stomp through almost any current
439:. Vocals, dance breaks and guitars are employed more conventionally on "Biting My Nails" and "Probably a Robbery." The album samples from a diverse range of sources, including
913:(1990), which contained remixes of several songs from the former album, including "Pocket Porn", "Traitor" and "Blue Eyed Boy." In a 2006 interview, Asquith named both
830:
program will turn up a slew of direct descendants of 'Biting My Nails', 'Women
Respond to Bass,' and 'Probably a Robbery'." Iai felt the album was influential on
279:
sourced from disparate material. The album's lyrics concern social issues, with the band aiming to write lyrics that approach issues from unusual angles.
1195:
538:, spending one week on the chart. It remains their only charting album. Original British CD copies feature "The Phantom" and "Ozone Breakdown" as
360:
Following the release of the similarly notorious "Cocaine Sex," which was released in a cocaine envelope, Renegade Soundwave switched labels to
518:, exemplifies the band's diverse tastes, and incorporates sinister sound effects, a pulsating bass line and a funky guitar riff reminiscent of
1688:
470:
on their song "By the Time I Get to Arizona." "Probably a Robbery" features a "rueful-vengeful jailbird narrative" that incorporates
1554:
546:
was preceded by several dance floor-orientated singles. "Space Gladiator" was the album's first single; it reached number 81 on the
1634:
1581:
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as being influenced by the album, while crediting the album's "nasal, boozy, quasi-Madchester rapping" as a large influence on
901:
757:
contains impressive samples, rhythm tracks and lyrics, but felt that "some of the material occasionally feels contrived."
325:) and Carl Bonnie, Renegade Soundwave emerged on the London music scene in the late 1980s, applying the musical styles of
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hit "Probably a Robbery" and dancefloor hit "Biting My Nails". Upon release, the album reached number 74 on the
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as they appreciated the greater eclecticism present in their catalogue. Their first release on Mute was the
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506:" (1966), and features lyrics about frustration over nightclub sets. A deconstructed cover version of
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342:
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delicious tangle of sensory overload that manages to be cunningly original." In his review for
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date from as early as 1986, as the band spent some two years recording material for the album.
354:
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8:
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475:
474:. Musically, the song features a brass hook, singalong chorus, brittle beats and backing
467:
350:
338:
251:, the material was recorded over several years, and displays the band's unique style of
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43:
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was Renegade Soundwave's debut album, and was co-produced by Renegade Soundwave and
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as the albums of which he is most proud of, and expressed an interest in remixing
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as a "landmark album" and felt it was "squarely in the mold of a tightly focused
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Formed by multi-instrumentalists Gary Asquith, Danny Briottet (both formerly of
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30:
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455:. The usage of several hip hop-oriented samples highlights the influence of
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for their unreleased album, and samples the introductory drum beat from "
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1532:(19th ed.). London: Guinness World Records Limited. p. 458.
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823:
1521:
1446:"Riding Mikes Bikes With Gary Asquith Of The Lavender Pill Mob"
797:
478:. "Murder Music" is a recording of a song Asquith wrote with
376:. Paul Kendall engineered the sessions. Some of the songs on
38:
933:
All songs written by Renegade Soundwave except where noted.
1080:. London: Guinness World Records Publishing. p. 304.
534:
was issued via Mute Records, and reached number 74 on the
785:
as a "masterpiece of genre-splicing breaks, samples and
247:
in February 1990. Co-produced by the band with producer
542:
that are unlisted besides on a sticker. The release of
282:
The album was promoted by three singles, including the
838:
naming Renegade Soundwave as their main influence and
842:
also borrowing from the album. They also identified
459:. The lyrics concern social issues; Asquith said of
435:
wrote that the "deadpan" vocals were similar to the
466:"Blue Eyed Boy" features a sample later re-used by
1078:The Guinness Who's Who of Rap, Dance & Techno
1665:
909:with a "stripped back dub" remix album entitled
1417:"60. Renegade Soundwave - "Probably a Robbery""
1194:: CS1 maint: others in cite AV media (notes) (
804:has been credited for influencing acts such as
1639:. Michigan: PageFree Publishing. p. 175.
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18:1990 studio album by Renegade Soundwave
1366:"Classic Album: Renegade Soundwave In Dub"
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1176:
1174:
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1036:
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760:Among retrospective reviews, John Bush of
29:
1399:(30–35). Sonic Options Network: 31. 1990.
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1146:The Virgin Encyclopedia of Nineties Music
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1133:
1131:
1129:
1071:
1069:
1067:
689:The Virgin Encyclopedia of Nineties Music
333:to electronic dance floor styles such as
1609:"Tom Ewing's Top 100 Singles Of The 90s"
1588:. Vol. 106, no. 24. p. 26
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1439:
1437:
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1184:(liner). Renegade Soundwave. Mute. 1990.
1008:Renegade Soundwave – production, writing
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1103:
1101:
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983:"Biting My Nails" (Instrumental) – 5:22
958:"Biting My Nails" (Renegade Soundwave,
423:, and "stalking" bass lines. Asquith's
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490:. The dance song "Biting My Nails", a
357:to an underlying throbbing bass line.
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395:into the band's distinctive style of
1553:Higginbotham, Adam (November 1990).
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905:(1992). Renegade Soundwave followed
427:vocals are nasal and reminiscent of
391:blends together different styles of
1689:Albums produced by Flood (producer)
1459:
1330:
1243:
13:
1475:"Renegade Soundwave: Soundclash".
1311:
1202:
987:
275:, stalking basslines and numerous
14:
1700:
1364:Briottet, Danny (30 March 2015).
1225:"Renegade Soundwave - Soundclash"
885:, writer Chris Knowles described
696:
658:
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1530:British Hit Singles & Albums
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337:, earning them comparisons with
1607:Ewing, Tom (31 December 1999).
1600:
1573:
1546:
1333:"Renegade Soundwave Soundclash"
1109:"Artist Biography by John Bush"
399:. The album draws from British
1263:"AllMusic Review by John Bush"
994:
530:Released on 20 February 1990,
383:
235:is the debut album by English
1:
1580:Flick, Larry (11 June 1994).
1444:Jones, Todd E. (April 2006).
1415:Ewing, Tom (6 October 1999).
1024:
1002:
970:Can't Get Used to Losing You
512:Can't Get Used to Losing You
7:
946:"Probably a Robbery" – 4:09
10:
1705:
726:In a contemporary review,
525:
1684:Renegade Soundwave albums
792:
578:
575:
317:Background and production
267:. The music incorporates
255:, taking influences from
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178:
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58:
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37:
28:
23:
1331:Kot, Greg (3 May 1990).
998:"Ozone Breakdown" – 6:46
952:"Space Gladiator" – 4:36
858:. In 1999, Tom Ewing of
812:In 1994, Larry Flick of
1633:Knowles, Clash (2003).
1528:Roberts, David (2006).
431:music, although writer
198:Released: November 1989
1076:Larkin, Colin (1994).
937:"Blue Eyed Boy" – 4:30
875:
809:
355:television documentary
207:Released: January 1990
955:"Murder Music" – 2:35
871:
836:The Chemical Brothers
800:
492:Genevieve Waite cover
353:and set samples of a
296:the Chemical Brothers
1555:"Dub Zone Breakdown"
1504:"Renegade Soundwave"
1294:"Renegade Soundwave"
995:"The Phantom" – 4:47
965:"Pocket Porn" – 3:45
747:." In their review,
566:Professional ratings
302:. The band followed
204:"Probably a Robbery"
1679:Mute Records albums
1636:Clash City Showdown
1190:cite AV media notes
940:"Lucky Luke" – 3:52
897:Meat Beat Manifesto
736:The Chicago Tribune
622:The Chicago Tribune
567:
498:and horn riff from
411:, and incorporates
351:Rhythm King Records
339:Meat Beat Manifesto
216:Released: July 1990
810:
565:
561:Critical reception
514:", also a hit for
313:later on in 1990.
241:Renegade Soundwave
140:Renegade Soundwave
126:Renegade Soundwave
44:Renegade Soundwave
1674:1990 debut albums
724:
723:
496:chord progression
397:alternative dance
228:
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213:"Biting My Nails"
195:"Space Gladiator"
170:
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76:Alternative dance
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1483:(1–6): 63. 1990.
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1292:Fletcher, Tony.
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949:"Traitor" – 3:55
895:," similarly to
881:to the music of
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548:UK Singles Chart
453:film soundtracks
343:Cabaret Voltaire
331:industrial music
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54:20 February 1990
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1337:Chicago Tribune
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1231:. 27 March 2010
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1153:. p. 330.
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1052:(2–5): 20. 1990
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988:CD bonus tracks
960:Geneviève Waïte
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925:with Briottet.
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536:UK Albums Chart
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366:Biting My Nails
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294:acts including
288:UK Albums Chart
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1613:Freaky Trigger
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943:"On TV" – 2:26
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457:golden age rap
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1298:Trouser Press
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1141:Larkin, Colin
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929:Track listing
926:
924:
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893:
888:
884:
880:
877:In comparing
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837:
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768:Trouser Press
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619:
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586:
583:
582:
574:
571:Review scores
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1650:. Retrieved
1635:
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1616:. Retrieved
1612:
1602:
1590:. Retrieved
1585:
1582:"Dance Trax"
1575:
1563:. Retrieved
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1511:. Retrieved
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1424:. Retrieved
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1373:. Retrieved
1369:
1342:20 September
1340:. Retrieved
1336:
1301:. Retrieved
1297:
1270:. Retrieved
1266:
1261:Bush, John.
1233:. Retrieved
1229:Sputnikmusic
1228:
1181:
1151:Virgin Books
1145:
1116:. Retrieved
1112:
1077:
1054:. Retrieved
1049:
1045:
1018:Paul Kendall
1014:– production
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653:Sputnikmusic
620:
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540:bonus tracks
531:
529:
488:Led Zeppelin
472:black humour
468:Public Enemy
465:
460:
388:
387:
377:
369:
368:EP in 1988.
365:
362:Mute Records
359:
347:Skinny Puppy
320:
310:
303:
281:
245:Mute Records
231:
230:
229:
183:
162:
154:
153:
39:Studio album
15:
1395:"Reviews".
1370:Music Radar
978:Mort Shuman
892:Sandinista!
867:electro-dub
840:Fatboy Slim
808:(pictured).
806:Stereo MC's
787:electronica
500:Eddie Floyd
445:Tchaikovsky
403:, American
393:dance music
384:Composition
308:remix album
253:dance music
184:Soundclash
1668:Categories
1646:1589611381
1182:Soundclash
1087:0851127886
1042:"Releases"
1025:References
1020:– engineer
923:Soundclash
915:Soundclash
907:Soundclash
887:Soundclash
879:Soundclash
856:Stereo MCs
820:Soundclash
818:described
802:Soundclash
783:Soundclash
781:described
779:MusicRadar
774:Soundclash
755:Soundclash
544:Soundclash
532:Soundclash
484:The Crunge
461:Soundclash
429:Madchester
421:breakbeats
413:tape loops
409:rock music
389:Soundclash
378:Soundclash
370:Soundclash
304:Soundclash
292:electronic
273:tape loops
269:breakbeats
237:electronic
232:Soundclash
155:Soundclash
142:chronology
81:electronic
24:Soundclash
1652:9 October
1618:9 October
1592:9 October
1586:Billboard
1565:9 October
1513:9 October
1508:UK Charts
1477:CD Review
1451:9 October
1426:9 October
1375:9 October
1303:9 October
1272:9 October
1235:9 October
1118:9 October
1056:3 October
1003:Personnel
974:Doc Pomus
902:Satyricon
883:the Clash
848:Leftfield
815:Billboard
750:CD Review
480:Rema-Rema
401:dub music
335:dub music
327:punk rock
306:with the
300:Leftfield
284:UK Top 40
265:dub music
62:1986–1989
1267:AllMusic
1143:(2000).
1113:AllMusic
980:) – 4:32
962:) – 3:54
832:big beat
762:AllMusic
745:Ministry
741:Greg Kot
585:AllMusic
516:The Beat
433:Greg Kot
119:Producer
59:Recorded
51:Released
41: by
1046:InMusic
834:, with
526:Release
476:strings
417:samples
405:hip hop
277:samples
257:hip hop
180:Singles
166:(1990)
159:(1990)
1643:
1559:Select
1536:
1397:Option
1157:
1084:
919:In Dub
911:In Dub
828:trance
793:Legacy
729:Option
579:Rating
576:Source
554:Select
520:Prince
311:In Dub
163:In Dub
90:Length
1561:: 106
1012:Flood
844:house
486:" by
441:Queen
374:Flood
249:Flood
182:from
130:Flood
107:Label
68:Genre
1654:2018
1641:ISBN
1620:2018
1594:2018
1567:2018
1534:ISBN
1515:2018
1453:2018
1428:2018
1377:2018
1344:2018
1305:2018
1274:2018
1237:2018
1196:link
1155:ISBN
1120:2018
1082:ISBN
1058:2018
917:and
854:and
846:act
824:rave
502:'s "
451:and
407:and
345:and
329:and
323:Mass
298:and
263:and
261:rock
239:act
112:Mute
972:" (
899:'s
852:EMF
826:or
789:."
510:' "
425:rap
1670::
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