My Speedboat Is Faster Than Yours
Back in 1987, Mo & Benoelie were DJing for Ghent's youth every weekend, pla… Read Full Bio ↴Back in 1987, Mo & Benoelie were DJing for Ghent's youth every weekend, playing all sorts of music which was loved in those days. Back then they already reasoned that they should never shut themselves off from any style of music, that every blend, every genre, every movement was theirs for the taking. At first, they were being turned on by the strange and experimental sounds coming from the city's Boccaccio club. Over there, 12-inches were purposefully pitched down and extended, the result being a deep, metronomic, groove-laden experience, which later would be labelled as Belgian New Beat. Also back then, they made their first trip to Ibiza. Seeing Alfredo playing early electronic stuff mixed with all sorts of pop and funk at Amnesia, Mo & Benoelie really got hooked. Always open to new musical revolutions, they adapted all these sounds and experiences and took them to their new 300 capacity residency called the Fifty Five where they were playing every Saturday marathon sessions from 10pm till 8am.

A couple of years later, when there was only house music being played in clubs, Mo & Benoelie were being seen as the 'outsiders' in the Belgian club scene. They played 'other' stuff inbetween. They were not afraid of mixing stuff like The Residents, or The Cramps, or even campy disco inbetween the 'popular' 4/4 house & techno music. Soon they started to develop a loyal following, which would later result in a new scene in Ghent's diverse but booming nightlife.

New parties were being thrown at different locations, and all promoters were trying to find the most original one, because in Ghent there were no Clubs at all. You had 'Free The Funk' in an old glass factory, 'Pablo Eskimo Bar' in an old underwear factory, 'Belmondo' in a contemporary arts museum, 'PopLife' in one of the city's oldest concerthall..

The legendary R & S Records (that was also based in Gent) released "Free The Funk Compilation 1" back in 1995, which was an unmixed compilation with mostly instrumental, mid tempo electronic funk. Four follow ups and a lot of parties later, Mo & Benoelie programmed the first Eskimo compilation: "The Past Presents The Future, The Future Presents The Past" (2000). Their amalgamation of new beat, funk, dub, house, techno, party hip hop, new wave, edgy post-punk disco and more was a revelation to those bored of linear mix albums.

Several follow ups and a Sidetracks later, in January 2003, Johnno Burgess (Bugged Out!, Jockey Slut) decided to give the guys a break and invited them for a DJ slot at one of his Bugged Out! parties @ The End in London. Since then, they were being seen all over the world as the Glimmer Twins..

In 2004 they shortened their name into 'The Glimmers' for obvious reasons and released their highly acclaimed 'Remixed, Re-edited and F*cked Up' album for Eskimo Recordings (The White Box). A DJ Kicks in the famous series for !K7 Records followed (2005) and more recently they mixed their 'journey' in the amazing FabricLive series runned by top night club Fabric in London.

Meanwhile remixes have been done for Bloc Party, The Killers, New Order, Roxy Music, Isolee, Phoenix, Pop Del Arte, Snow Patrol, Calvin Harris, Shirley Bassey and The Chemical Brothers.

My Speedboat Is Faster Than Yours
The Glimmers Lyrics


We have lyrics for these tracks by The Glimmers:


Disco Infiltrator But all I know, is all I know Is the disco…
I'm A Man Well my pad is very messy, got whiskers on my…
Lovertits One day, your gonna have to go on with it Your…
Physical I'm saying all the things you like Making good conversation …





The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Comments from YouTube:

Damn Fool Idealistic Crusader

I appreciate you making a video entirely about Young, whose importance can never be over stressed and sadly is rarely mentioned let alone understood by anyone in this day and age. Without Young there simply would be no series. After Goldfinger the paradigm shifted and we have had the Young vs Hamilton approach ever since in how people approach Bond stories.
I would point out two other key members of the original team as being vital to the series identity and success: Norman Wanstall for his sound effects/design and Ted Moore who never gets credit for giving Bond its visual identity and has never been equaled by anyone since. Young found a perfect relationship with Peter Hunt and it is Hunt’s revolutionary editing that enforces the Young style and gives the films their unmistakable energy.

BelatedCommiseration

Meh...I dunno...I think its more like Peter Hunt saved Terence Young's film-making arse at times with his editing...hence all the sped up shots you get in his films and their often rather static nature, as Young doesn't seem to leave Peter Hunt a lot with which to work at times, leaving him no choice but to make the best of what he has got, hence jarring shots and pacing issues. Young's lack of using a master shot also, objectively, sort of makes him something of an amateur in terms of film making really and leads to his films having significant pacing issues; although Russia with Love is a big step up from Dr No and I think he learned more as he went along...that being said, there are precious few of the Bond directors who knew how to get as much from their actors and bring out so many great details and character moments as Young did, no question. I often think if we could somehow unite Terrance Young's gift for building character and dialogue, Guy Hamilton's gift for pacing and story telling plus Lewis Gilberts gift for showing big elaborate spectacle we would have the ultimate Bond film...which we kind of do get (to my mind) with Sam Mendes directing Skyfall...although God knows what happened with Spectre!

Damn Fool Idealistic Crusader

@BelatedCommiseration I can understand that point of view and do agree that Hamilton had a more polished and foundational approach to directing. However Young had an energy and a sense of excitement by doing this style in the first two films that Hunt accentuated. Young certainly knew how to do coverage and made more traditional films before this point. It also must be said that Dr. No was fraught with production troubles and the Jamaica shoot wasn’t really able to be finished properly due to bad weather and the the budget.

Timon Steup

Here's a little fun fact: Terence Young's first directing effort was Corridor of Mirrors in 1948 which incidentally was also Christopher Lee's first feature film, who would later play the villain Francisco Scaramanga in The Man With the Golden Gun (1974). Small world.

Eyebrow Cinema

Fascinating.

Emperor Leachy

Christopher Lee was also the cousin of Ian Fleming so even smaller world

Real Daftheed

@Emperor Leachy he apparently didn't like him, lol. Families, eh?

The Badfella

@Real Daftheed but apparently he said a lot of good things about him in Everything or Nothing. Documentaries, eh?

Jeff Melchior

I got a bruddah.

Jon Hazin

Looking at the Bond films through their directors is such an underrated avenue for analysis, especially for the pre-Brosnan films. Young, Guy Hamilton, Peter Hunt (kind of Young 2.0, honestly), Lewis Gilbert and John Glen are so distinct in style and tone, but still form something of a cohesive franchise. Martin Campbell and Sam Mendes are interesting too, for a more modern perspective. Any chance you'd look at some other Bond directors? Love the video!

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