Dripping in funk-fuelled attitude, and with more than a touch of musical swagger, comes the brand new GotSome remix of Funk Cartel and Ultra Naté’s soulful summer single ‘Supernatural’ on Norman Cook’s Loaded / Skint Records. The fresh rework features newly recorded vocals by Ultra and is accompanied by its own remix video.
100% produced with the club circuit in mind, GotSome’s version of ‘Supernatural’’s original laidback groove brims with confident energy. “I love the original song by Funk Cartel & Ultra Naté but wanted to add my Bristol BASSLINE twist,” he explains. Completely at home within the instrumentation, using the delicate flute and horn sections and Ultra’s iconic vocal as shimmering juxtapositions against the unbridled strut of his bassline; this is a pumped-up, out-and-out invitation from the rising UK star to get off the side-lines and onto the dance floor.
Labelled one of Billboard’s ‘Greatest of All Time’ and the voice behind countless international hits including the #1 hit ‘Free’, ‘It’s Over Now’, ‘Rejoicing’, ‘If You Could Read My Mind’, ‘Automatic’, ‘New Kind Of Medicine’ and ‘Found A Cure’, the iconic Ultra Naté is beloved by music fans the world over. Coming off the back of a UK-wide Ibiza Classics tour with Pete Tong, Becky Hill, Vula and the Heritage Orchestra that has won rave reviews, her vocal and song-writing has provided fans with 30 years of pure anthems that continue to stand the test of time. “I’ve really been looking forward to ramping up the new year with this remix on ‘Supernatural’ by GotSome!” she said. “Like the gift that keeps on giving, a full remix pack is coming along with it! For this GotSome remix, I’ve written some new parts, layered vocal ideas and added further dimension to an already solid tune to – bring on the celebrations!”
Consisting of brothers Rory and Cameron, Funk Cartel are known for their rave ready releases and bringing life and soul to the underground sound, earning support from names like Joseph Capriati, Adam Beyer, Sam Divine and Danny Howard, and releasing on elrow, THUNDR, Bla Bla Music and now Skint Records.
“We have always had much respect for GotSome,” the pair commented, “and have been lucky enough to catch one of his sets in Ibiza’s Amnesia a few years ago. His remix brings a much-welcomed dance floor cut, which captures a high energy rhythm whilst maintaining a new wave funk to the bass-line which we appreciate! We also highlight the use of acid on the last drop which sounds great and would definitely do some damage on the dance floor! Big ups GotSome on the remix!”
You can now read the great interview we had with Ultra Naté. Enjoy!
WWD: Hi Ultra Naté, welcome to When We Dip. Can you tell us where you are right now and what you’re doing?
Hello, I’m just returning from gigs in the UK last weekend, currently home back in Baltimore. When I’m home I like to decompress, spend time with family and get some good sleep – while working on finalizing the nuts and bolts of my next album coming this spring.
WWD: Congratulations on the GotSome remix of ‘Supernatural’, it’s definitely a club banger! How did the remix come about?
It was in the plan to come out the gate for 2022 with a pumping remix and different attitude to suit various dancefloors. The label brought on GotSome to give it a Bristol beatdown with thumping bass and 4 to the floor energy. When we heard the rough mix, we decided to push it further and I wrote some additional vocal parts giving it even more distinction. It’s a great asset to the remix package!
WWD: The original single came out last year and saw you collab with the rising UK duo Funk Cartel. How did that collab happen, and what attracted you to working with them in particular?
My longtime friend and collaborator Kwame Kwaten from D-influence hit me up randomly one day a year and a half ago and said he had this great track for me from some new kids he’s working with out of Point Blank Music School. He said their vibe would be perfect for me. Kwame and I have always been great collaborators so I immediately trusted his opinion and insight and it was a great opportunity to work with some of the up-and-coming, new talent in the UK where I have always had great relationships and collaborations. When he sent me the track I immediately loved the groove and the dancing flute. It reminded me of the early days of house music, with musicianship still being a cornerstone of writing tracks, it wasn’t overprocessed with noise and filler. These elements made it very easy to write a song. I just sat down that afternoon and went with the first thing the track inspired from me, so I kind of wrote it in a free-thinking way. I wrote and sang melodies as they came off the top of my head. The word “supernatural” and the story of this overwhelming revelation that you have fallen in love with someone when you thought you had it all under control. You’re wondering what is this witchcraft you’ve done on me?! The song basically wrote and recorded itself in a 3-hour session at home one afternoon.
WWD: We also heard that you have a single called ‘I Can Dream coming out on David Morales’ upcoming album ‘Life Is A Song’. You’ve known David for a long time, what’s your relationship like and what did you try to bring to the song that encapsulates everything you know and feel about him?
David and I have lived parallel lives to a large degree, so we are kind of like twins in a way. We’ve always had an immediate understanding and respect for each other’s art as well as who we are as people. We both understand the passion for this music and this global dance scene. We love and respect the authenticity of which we approach everything we do, whether it is writing, recording DJing, performing – all of the many facets this genre of music has evolved into. I wrote “I Can Dream” during a writing camp at David’s home years ago in Long Island before he moved to Italy. David’s energy behind the scenes is always chill and relaxed, the complete opposite of what he’s like in the DJ booth obviously! Our good friend and engineer Steve Barken was also part of the weeklong session, and we just spent the time writing music, recording ideas every single day, getting the most out of the time because we both had tremendous schedules. From those sessions we came up with quite a few songs that we have used for our previous album projects. Last summer, David went back in and put the sauce on finishing the production on “I Can Dream”. When you work with people whose talent and integrity you respect it is easy and it flows, it makes the music business make sense when you can collaborate with creative and dynamic people. It’s really how we have thrived through the years in an ever-changing landscape like the music industry.
WWD: We’re guessing you get a LOT of requests to collaborate on projects or provide vocals. For you, what’s the special something that you look for, that can spark your creative interest?
Well first I’m never really interested in just “providing vocals”! For me that feels disposable and is a nowhere street as an artist. I am asked quite often to collaborate from people all over the world. I’m selective however, because I don’t feel it benefits me to be everywhere with everyone and out all the time. The music I put out needs to make sense, it needs to appeal to who I am as a person and the messaging I want to put out in the universe. It also depends on what sparks my creative interests and where I am in my life, am I working on an album project or am I interested in releasing singles for specific projects individually. There are a lot of different ways to approach these things but all of it makes this genre of music exciting and filled with infinite possibilities.
WWD: How does your own writing process start and develop? Do you have a proven go-to trick when it comes to creating a hit, or is every single song different?
Unfortunately, there is no trick to creating a hit or everyone would do it all the time! The most important thing for me is to do what I love. It’s important to not be afraid to lean left, experiment and go into new places that may not be proven or tried and true. It’s important to move in different spaces. I think through that process you define yourself and the listener comes to learn, love and respect the individuality of your voice, in terms of who you are. When it comes to writing I don’t have a specific process other than not belaboring a song that is not coming together. I’ve learned to let it go and walk away from it for a while. I’ll come back with a fresh ear or fresh perspective and hear something different possibly. But the process may start with a backing track and I write whatever it inspires off the top of my head, it may start with an idea, thought, sound or a lyric germinating in my head, I may write a song from the ground up in my home studio alone or in a collaborative session with cowriters. I think what’s most important is to be nimble and flexible to these different processes. Most importantly it’s important to value your voice. Being an artist in any industry means you must have the courage to put yourself and your ideas out for public scrutiny and criticism, that takes a lot of strength. It’s important to believe in what you put out there but also be open to the evolution of that idea. That’s pretty much my process. In terms of a hit, there are so many other factors in the minutiae of releasing records that can prevent a great record from becoming a hit or elevate a mediocre record into becoming a hit. But that part is the record business, so it’s not so simple as to say, write and produce a great record…get a hit. There are a whole lot of other processes that must happen in that chain.
WWD: You’ve been in the music industry for 30 years now, which is no small feat, and you’ve obviously managed to keep your artistic autonomy, which again in this industry is an achievement in itself. How do you think you’ve managed that? I was very blessed to be given a great head start with an amazing team around me at the very beginning of my career.
My first production team of the Basement Boys was an atmosphere of non-judgment and creative experimentation in the very early days of garage / underground house music. That platform allowed me to write and record my inspirations without fear and without interference from outside forces. My first record deal with Warner UK was garnered by Cynthia Cherry who came from the same underground culture I was from. Having allies like Cynthia Cherry and Peter Edge as A&R Directors, secured my deal and again gave me the space to learn and grow – this doesn’t happen in this industry as much anymore. It was in the days of A&R development where you saw the raw talent and potential of a new artist and positioned the person to be able to evolve and hopefully succeed. Once I started officially recording for a major label, I was introduced to Bill Coleman as he was starting his Peace Biscuit Management company. The Peace Bisquit team have been an integral part of my development from the very beginning and a huge factor in the longevity that I have been able to see. We’ve gone through the fire and back, together all these years – that’s been the secret sauce.
WWD: If you could give yourself one piece of advice when you were starting out, knowing all that you know now, what would it be and why?
Trust your art… Because I sort of unknowingly stumbled into this career as a kid fresh out of high school, I spent many of my early years in awe of what was happening around me and trying to figure out “how” this was happening?? I was of the mindset that there was a specific order of operations and experience one came into the music business with and because I had none of those prerequisites, I often felt like a quiet observer of my career. I was on autopilot in a way, thank goodness I was a club kid, I translated a lot of my club life into my music platform, which to a large degree “was” trusting my art, but the fully realized intention was not there yet. That came with time and experience, which also goes back to the conversation regarding artist development, because new artists, when they are young and finding themselves, need that time to reach their full potential. This is the reason I always feel so blessed to have had such an amazing group of people supporting me through that period of growth and discovery. It can really make or break and artist.
WWD: As well as 30 years in the industry, this year is also 25 years of ‘Free’, which to this day is still an absolute anthem. How do you feel about the track quarter of a century on? Do you still enjoy singing it – and actually do you have to sing it when you perform? Do you ever get tired of it?
Well, I can hardly believe this year marks 25 years since I put that song out. And I still love singing it and yes, I definitely have to sing it!! But why would I not want to when it still inspires me so much. It is a constant reminder of how amazing our lives can be when we live in our purpose. It is also such a significant story for so many people, how can you not want to share in that moment over and over again!
WWD: You recently went on tour with Pete Tong and the Heritage Orchestra specifically to perform ‘Free’. How were those performances?
That was pretty epic! It certainly made my whole year! Life is but a series of experiences and memories, my goal is always to make both tremendous, and that was tremendous! Every night I tried to slow down my mind and take in the sight and the sound of everything. I wanted to freeze it all in time. It’s been one of my bucket list things to perform with an orchestra in arenas, it’s so powerful to have that moment come to life. You just want to capture it and put it in a bottle. Pete, Jules, the whole orchestra, all of the backing singers, the production teams, just amazing!! Even more amazing was that it was happening in the midst of this pandemic and still moved like a well-oiled machine with no drama and all love amongst everyone.
WWD: ‘Free’ has been picked up by almost every DJ performing out over the last two years for obvious COVID-reasons. Do you feel that there’s a new generation of music fans who now identify with the song for completely different reasons?
There are definitely newer generations loving this song. I don’t know how drastically different their reasons are though, I think everyone, to a degree feels some sort of need for a mantra that speaks to their soul. I’m happy that “Free” has been that for so many and can be that for the generations to come. The specifics of the individual’s story or the generations stories, may evolve and change but on a basic level, everyone wants their story told and everyone needs to feel inspired and empowered so no matter how you shape a song like “Free” it will be your story, it will be your inspiration.
WWD: Are you doing anything special to mark the anniversary of ‘Free’?
Oh yes, I am all about a celebration for any reason! But this is a great reason!! I can’t say just yet as it is too early in the planning stages but it’s coming together and will see light just before or after I drop my new album in late spring/early summer.
WWD: Thanks Ultra, we hope to see you soon!