PopMatters is moving to WordPress in December. We will continue to publish on this site as we work on the move. We aim to make it a seamless experience for readers.


Miguel Migs: Nude Tempo One

Andy Hermann

Miguel Migs

Nude Tempo One

Label: Astralwerks
US Release Date: 2002-03-19

San Francisco's Naked Music has released a lot of fantastic house music over the last few years, but for my money their all-time greatest disc remains 1999's Nude Dimensions Vol. 1, mixed by a then little-known DJ from Santa Cruz named Miguel Migs. That set's sublime mix of kicked-back grooves and soulful, bittersweet songs put Migs on the map in a big way, and solidified Naked's reputation as America's preeminent deep house label.

Since that landmark release, Migs has kept busy producing and remixing tracks under his Petalpusher alias (he even remixed a track for Britney Spears, "Stronger", off Oops! I Did it Again). He also released another DJ set on the German label NRK's nite:life series, but for the most part, he's saved his DJ skills for the clubs, touring almost non-stop. But when Astralwerks teamed up with Naked Music last year, they wisely sent Migs back to the studio, where he's cooked up two releases for 2002 -- his Petalpusher artist debut, set for later this year, and Nude Tempo One, another DJ set that's almost, but not quite, as delicious as Nude Dimensions Vol. 1.

The biggest difference between Nude Tempo and any previous Naked Music release is its heavy use of dubbed-out vocals. Five of the disc's 16 tracks are identified as "dub" remixes, but many more than that feature dub's echoing, fractured vocal effects, giving the overall mix a spacey vibe that contrasts nicely with Migs' trademark bouncy basslines and four-on-the-floor beats. The slightly new sound is established early on with Hajime Yoshizawa's "Endless Bow", a dreamy soundscape of swirling synths and jazzy percussion. "Endless Bow" leads into a more conventional Naked Music track, Onda's "Happiness is Free", a great deep house tune featuring a tricky bassline and the sort of sexy, breathy female vocals the label is famous for. Migs' mixing skills are on full display as he segues effortlessly into a more uptempo remix of Blue Six's "Love Yourself". This tune, featured on Blue Six's debut album Beautiful Tomorrow, just gets better and better with each reinvention -- Migs himself served up a marvelously groovy breaks remix of it on Nude Dimensions Vol. 3, and here he presents an irresistibly bouncy version of it from the Italian duo Basti and Vincenzo, complete with a George Benson-style guitar/scat solo. For my money, it's Nude Tempo's best track.

From "Love Yourself", Migs travels into cheesier terrain, laying down Fusion Groove Orchestra's overly discofied "The Dream (Deep Dreamer Dub)" and then really going cornball with "Show You My Love", with an over-emotive David Ruffin Jr. (yes, son of the famous Temptation) snarling over a falsetto male chorus. Both tracks have great funky basslines and that classic four-on-the-floor house sound that keeps dance floors hopping, but those vocals are just a little too silly for all but the most dedicated old-schooler to stand. The Discorados' "Get Down" is a little more bearable, but it's still as steeped in old disco sounds as its title would suggest.

Things get more interesting again with a dub version of Derrick White's "Soul 2 Let Go", which cruises along on synths as dreamy as any meditation tape, even as its shuffling bassline urges you to move your feet. It gives the mix a nice bit of breathing room, before Migs shifts back into more high-energy terrain with Headstock's percussive, horn-heavy "Highly Strung" and the dub version of his own "You Bring Me Up", with the seductive voice of longtime Naked Music vocalist Lisa Shaw reverberating over a rising horn line and a thick, syncopated beat.

Migs wraps up the horns/Latin beat section of his set with an effectively brief piece of Batidos' "Tengo Sed" in an all-percussion remix by Batidos' own Ron Trent. Then he moves into his heavy hitters: back-to-back tracks from leading house producers Nathan Haines, Kerri Chandler, and Andy Caldwell. "Spiritual", from Haines' Reel People (in yet another dub mix), is a nicely breezy piece of cocktail house, but Om Records' Caldwell stumbles badly with the wretchedly cheesy "I Can't Wait", featuring the worst lyrics of Migs' entire set ("Hurry, hurry, don't be late / Don't make this love wait"). The unquestionable standout is Chandler's "Atmospheric Beats", which uses a classic breakdown filled with bubbly synths and layered horns to build the energy up to late-night levels. It's a simple but wonderfully assertive dance track.

Satin Souls, who have made nice contributions to previous Naked Music compilations, represent themselves well again with a dreamy version of "Aziza", another track that flirts with disco camp (with punchy keyboard effects straight out of Blondie) but manages to avoid going over the deep end into outright cheese. Migs then gives us a preview of Lisa Shaw's forthcoming solo debut with her track "Ultimate High". Shaw's voice has leant many a Naked Music track a certain kind of sensual authority, avoiding the usual house diva excesses in favor of a rich, throaty delivery that falls somewhere between Annie Lennox and Everything But the Girl's Tracey Thorn. Shaw's her usual smooth self here, making a solid piece of deep house soar with her unmistakable warmth. Migs cleverly loops a throaty Shaw hum into his final track, Mindflight's "Release", giving its simple, uplifting wash of organs and synths a distinctly Naked sound, and giving his set a satisfyingly rich finish.

That last line sounds like I'm describing wine, but that's as fitting a metaphor as any for Migs' sound, which has always had a sophistication and polish that a lot of club house music tends to lack. His target audience might be likened to old bar hounds who have graduated from drinking Budweiser to Bordeaux. Nude Tempo One isn't Migs at his premium vintage, but it still goes down smoother than many another house mix, and proves that Naked Music, under their new partnership with Astralwerks, hasn't lost its knack for finding some of the grooviest deep house in the land.

Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology provider that we have until December to move off their service. We are moving to WordPress and a new host, but we really need your help to fund the move and further development.





Jefferson Starship Soar Again with 'Mother of the Sun'

Rock goddess Cathy Richardson speaks out about honoring the legacy of Paul Kantner, songwriting with Grace Slick for the Jefferson Starship's new album, and rocking the vote to dump Trump.


Black Diamond Queens: African American Women and Rock and Roll (excerpt)

Ikette Claudia Lennear, rumored to be the inspiration for Mick Jagger's "Brown Sugar", often felt disconnect between her identity as an African American woman and her engagement with rock. Enjoy this excerpt of cultural anthropologist Maureen Mahon's Black Diamond Queens, courtesy of Duke University Press.

Maureen Mahon

Ane Brun's 'After the Great Storm' Features Some of Her Best Songs

The irresolution and unease that pervade Ane Brun's After the Great Storm perfectly mirror the anxiety and social isolation that have engulfed this post-pandemic era.


'Long Hot Summers' Is a Lavish, Long-Overdue Boxed Set from the Style Council

Paul Weller's misunderstood, underappreciated '80s soul-pop outfit the Style Council are the subject of a multi-disc collection that's perfect for the uninitiated and a great nostalgia trip for those who heard it all the first time.


ABBA's 'Super Trouper' at 40

ABBA's winning – if slightly uneven – seventh album Super Trouper is reissued on 45rpm vinyl for its birthday.


The Mountain Goats Find New Sonic Inspiration on 'Getting Into Knives'

John Darnielle explores new sounds on his 19th studio album as the Mountain Goats—and creates his best record in years with Getting Into Knives.


The 100 Best Albums of the 2000s: 60-41

PopMatters' coverage of the 2000s' best recordings continues with selections spanning Swedish progressive metal to minimalist electrosoul.


Is Carl Neville's 'Eminent Domain' Worth the Effort?

In Carl Neville's latest novel, Eminent Domain, he creates complexities and then shatters them into tiny narrative bits arrayed along a non-linear timeline.


Horrors in the Closet: Horrifying Heteronormative Scapegoating

The artificial connection between homosexuality and communism created the popular myth of evil and undetectable gay subversives living inside 1950s American society. Film both reflected and refracted the homophobia.


Johnny Nash Refused to Remember His Place

Johnny Nash, part rock era crooner, part Motown, and part reggae, was too polite for the more militant wing of the Civil Rights movement, but he also suffered at the hands of a racist music industry that wouldn't market him as a Black heartthrob. Through it all he was himself, as he continuously refused to "remember his place".


John Hollenbeck Completes a Trilogy with 'Songs You Like a Lot'

The third (and final?) collaboration between a brilliant jazz composer/arranger, the Frankfurt Radio Big Band, vocalists Kate McGarry and Theo Bleckman, and the post-1950 American pop song. So great that it shivers with joy.


The Return of the Rentals After Six Years Away

The Rentals release a space-themed album, Q36, with one absolute gem of a song.


Matthew Murphy's Post-Wombats Project Sounds a Lot Like the Wombats (And It's a Good Thing)

While UK anxiety-pop auteurs the Wombats are currently hibernating, frontman Matthew "Murph" Murphy goes it alone with a new band, a mess of deprecating new earworms, and revived energy.


The 100 Best Albums of the 2000s: 80-61

In this next segment of PopMatters' look back on the music of the 2000s, we examine works by British electronic pioneers, Americana legends, and Armenian metal provocateurs.


In the Tempest's Eye: An Interview with Surfer Blood

Surfer Blood's 2010 debut put them on the map, but their critical sizzle soon faded. After a 2017 comeback of sorts, the group's new record finds them expanding their sonic by revisiting their hometown with a surprising degree of reverence.


Artemis Is the Latest Jazz Supergroup

A Blue Note supergroup happens to be made up of women, exclusively. Artemis is an inconsistent outing, but it dazzles just often enough.


Horrors in the Closet: A Closet Full of Monsters

A closet full of monsters is a scary place where "straight people" can safely negotiate and articulate their fascination and/or dread of "difference" in sexuality.


'Wildflowers & All the Rest' Is Tom Petty's Masterpiece

Wildflowers is a masterpiece because Tom Petty was a good enough songwriter by that point to communicate exactly what was on his mind in the most devastating way possible.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.