Erol Alkan’s Phantasy Sound label has meticulously reissued ‘Fools Are Friendly’, a previously obscure disco track by the Croydon-based duo Xclusiv, more than four decades after its initial release. This significant reissue not only brings a forgotten piece of British musical history back into the spotlight but also underscores the evolving methods of music discovery in the digital age and the enduring power of independent artistry. The track, originally surfacing in 1982 on the minuscule Le Maitre Music label, a venture remarkably established by Xclusiv through their family\u2019s pyrotechnics business, initially struggled to find an audience in the United Kingdom despite some airplay in Germany. Its rediscovery, decades later, on YouTube by acclaimed DJ, producer, and label head Erol Alkan, initiated a dedicated quest to unearth its creators and facilitate its rightful reintroduction to a global audience.<\/p>\n
The story of ‘Fools Are Friendly’ begins in Croydon in the early 1980s, a period of significant cultural and musical flux in the United Kingdom. Xclusiv, comprising sisters Karen and Maxine Wilson, emerged from this vibrant, if often overlooked, suburban landscape with a distinctive sound that blended elements of disco, funk, and early electronic music. Their venture into the music industry was remarkably self-sufficient and entrepreneurial, characteristic of the burgeoning independent spirit that was challenging the established major labels of the era. The sisters founded Le Maitre Music, a label whose unusual origins lay within their family\u2019s pyrotechnics company, illustrating a quintessential DIY ethos. This independent spirit allowed them complete creative control over their output, but also presented significant challenges in terms of distribution and promotion against a backdrop of highly competitive mainstream music.<\/p>\n
In 1982, when ‘Fools Are Friendly’ was first released, the UK music scene was a rich tapestry of post-punk, new wave, burgeoning synth-pop, and the lingering, evolving influence of disco. While disco\u2019s mainstream dominance had waned since its late 1970s peak, its rhythmic and melodic foundations continued to permeate various genres, particularly in underground club scenes and specialist radio. ‘Fools Are Friendly’ captured a particular moment, offering a sophisticated, groove-laden sound that, despite its quality, did not gain traction within the UK’s then-dominant musical narratives. Its limited airplay in Germany suggests a different receptivity to its style on the continent, highlighting the often-disparate musical tastes and distribution networks that existed across Europe. For many years, the track remained a rare artefact, known only to a handful of dedicated collectors and DJs who valued its unique qualities and elusive nature.<\/p>\n
The journey of ‘Fools Are Friendly’ from obscurity to global reissue is a powerful testament to the transformative potential of digital platforms in music archaeology. Decades after its initial release, the track found a new, albeit niche, home on YouTube. This platform, initially conceived for video sharing, has inadvertently become a vast, user-generated archive of rare and forgotten music, where enthusiasts upload obscure recordings, often with minimal metadata, creating an invaluable resource for sonic historians and ardent music diggers. It was in this digital wilderness that Erol Alkan, renowned for his eclectic taste and a career built on unearthing and championing unique sounds, stumbled upon ‘Fools Are Friendly’.<\/p>\n
Alkan, a DJ with an almost forensic dedication to discovering "secret weapons" for his sets, recognised the track’s inherent brilliance. His description of it as "a radio hit that somehow slipped through the cracks" perfectly encapsulates its potential and its unfortunate fate. For years, it became one of those coveted tracks in his collection, a gem shared only among a select few who understood its rarity and impact. However, Alkan’s appreciation extended beyond simply playing the record; he felt a profound responsibility to give it a wider platform. This led him on a dedicated mission, approximately 40 years after its original release, to track down the people behind Xclusiv.<\/p>\n
The search culminated in a call to the Wilson family’s original pyrotechnics business, a remarkable and somewhat surreal moment given the passage of time. The successful connection with Karen and Maxine Wilson was the pivotal step in this resurrection project. Phantasy Sound, Alkan\u2019s label, then embarked on the meticulous process of remastering the track. This involved locating the original master tapes, a critical step to ensure the highest possible audio fidelity and to preserve the artists’ original intent. The remastering process is a delicate art, aiming to enhance the sound for contemporary listening environments while retaining the authentic warmth and character of the analogue recording. This commitment to quality underscores Phantasy Sound\u2019s broader ethos, ensuring that ‘Fools Are Friendly’ sounds "better than ever" for a new generation of listeners.<\/p>\n
Erol Alkan’s role in this reissue cannot be overstated. As a DJ, producer, and label head, Alkan has cultivated a reputation as a tastemaker and a curator with an unparalleled ear for innovative and timeless music. His career, spanning iconic club nights like TRASH, his extensive production work for artists across various genres, and his own highly respected Phantasy Sound label, demonstrates a consistent commitment to pushing boundaries and celebrating musical diversity. His endorsement of ‘Fools Are Friendly’ is thus more than a simple reissue; it is a powerful statement about the track’s enduring quality and its place within the broader tapestry of electronic and dance music history.<\/p>\n
Alkan\u2019s personal connection to the track, having used it as a "secret weapon" in his DJ sets, illustrates a deeper engagement than mere commercial interest. This practice of DJs unearthing obscure records and integrating them into their performances is a long-standing tradition in dance music culture, a form of sonic archaeology that keeps musical heritage alive and introduces new generations to forgotten sounds. His decision to pursue the reissue reflects a dedication not just to his label’s output but to the preservation of musical legacy. Writing on Instagram, Alkan expressed his profound admiration for the record and the independent spirit of Xclusiv: "First of all, I totally love this record. It came out in 1982 on a tiny label attached to a fireworks shop in Croydon. A completely independent release by two sisters, Karen and Maxine Wilson." He further highlighted the meticulous effort involved, stating, "We found the master tapes and carefully remastered the tracks so they sound better than ever. 44 years later, Phantasy is proud to announce its first reissue of a record I didn’t have a hand in." This last point is particularly significant, marking a departure for Phantasy Sound by reissuing a track where Alkan wasn’t involved in its original creation or mixing, signaling a broader mandate for the label to act as a custodian of musical history.<\/p>\n
The reissue of ‘Fools Are Friendly’ offers several compelling insights into the music industry, cultural preservation, and the evolving landscape of music discovery.<\/p>\n
Firstly, it shines a light on the invaluable role of independent labels<\/strong> like Le Maitre Music. In an era dominated by major record companies, countless small, artist-run, or niche labels provided platforms for diverse sounds that might otherwise have been ignored. These ventures, often fuelled by passion rather than profit, were crucial incubators for creativity, allowing artists like Xclusiv the freedom to explore their unique artistic visions. While many of these independent releases faced insurmountable challenges in distribution and marketing, their existence forms a vital part of music history, representing the grassroots innovation that often precedes mainstream trends. The rediscovery of ‘Fools Are Friendly’ validates the artistic merit of such ventures, proving that true quality can transcend commercial success and temporal boundaries.<\/p>\n Secondly, this event underscores the critical importance of cultural preservation<\/strong> within music. So much music from past decades remains uncatalogued, un-digitised, or simply forgotten, existing only on fragile physical formats. Reissues like this are not merely commercial exercises; they are acts of cultural preservation, ensuring that valuable artistic expressions are not lost to time. They provide opportunities for artists who may have been overlooked in their prime to finally receive the recognition they deserve, and for new audiences to connect with music that remains fresh and relevant despite its age. The remastering from original tapes is a key aspect of this preservation, guaranteeing that the sonic integrity of the original work is maintained and enhanced for future generations.<\/p>\n Thirdly, the story highlights the profound impact of digital archaeology<\/strong> and platforms like YouTube in shaping contemporary music discovery. In an age of algorithmic recommendations, the human element of "digging" for music remains vital. Dedicated collectors, DJs, and enthusiasts contribute to a vast, informal archive online, where obscure tracks can circulate for years, slowly building a legend before catching the attention of influential figures. YouTube, Bandcamp, and various online forums have become indispensable tools for unearthing these lost gems, democratizing access to music that was once the exclusive domain of vinyl collectors and specialist record shops. This digital ecosystem allows for a continuous re-evaluation of musical history, constantly unearthing forgotten masterpieces and challenging established canons.<\/p>\n Finally, the reissue carries significant implications for the artists themselves<\/strong>. While not explicitly detailed in the original report, one can infer the potential impact on Karen and Maxine Wilson. To have their work, created independently over four decades ago, rediscovered and championed by a respected figure like Erol Alkan, and then meticulously reissued by a prominent label, offers not only renewed recognition but also potential financial benefits after a long period. It validates their early efforts and artistic vision, bringing their music to a global audience far beyond what was conceivable in 1982.<\/p>\n The reissue of Xclusiv’s ‘Fools Are Friendly’ by Erol Alkan’s Phantasy Sound is more than just the release of an old record; it is a vivid narrative of persistence, passion, and the unpredictable pathways of musical legacy. It is a powerful reminder that true artistic merit can lie dormant for decades, waiting for the right moment and the right curator to bring it back into the light. This story celebrates the independent spirit of artists like Xclusiv, the tireless dedication of figures like Erol Alkan, and the democratizing power of digital platforms in preserving and enriching our collective musical heritage. The track is now available for listening and purchase on Bandcamp and other digital music platforms, ensuring its rightful place in the annals of disco and electronic music history.<\/p>\n","protected":false},"excerpt":{"rendered":" Erol Alkan’s Phantasy Sound label has meticulously reissued ‘Fools Are Friendly’, a previously obscure disco track by the Croydon-based duo Xclusiv, more than four decades after its initial release. This…<\/p>\n","protected":false},"author":4,"featured_media":7114,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[547],"tags":[4189,4185,1565,88,41,4188,4186,4187,90,597,4190,2063,2458,89],"class_list":["post-7115","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-electronic-edm-club-culture","tag-alkan","tag-croydon","tag-disco","tag-edm","tag-electronic","tag-erol","tag-fools","tag-friendly","tag-house","tag-lost","tag-phantasy","tag-reissued","tag-sound","tag-techno"],"_links":{"self":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/comments?post=7115"}],"version-history":[{"count":0,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/posts\/7115\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media\/7114"}],"wp:attachment":[{"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/media?parent=7115"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/categories?post=7115"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/empire-music.net\/index.php\/wp-json\/wp\/v2\/tags?post=7115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Chronology of a Rediscovery<\/h3>\n
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