While not as perfectly thrilling as Oooh, BFord 9 still definitely had its moments of invigorating house/techno heaven given a fine combination of dirt and sheen. Its biggest problem was that the opening numbers were the strongest, rendering it another in the long line of dance albums that fails to maintain its strength over its length. This said, those opening numbers were fantastic. "RU486" kicks it all off with a stiff beat and all the expected elements of 1992 U.K. electronics -- siren/bass rumbles, trebly melody line, and so forth -- but all fused together just right, with a perfectly nagging hook that constantly repeats and buries samples & cries. "Fetish," a co-production with fellow early-'90s dance figure Eon, continues the winning streak even more effectively -- a brutal burst of sound that sounds like the pissed-off cousin of 808 State's "Cubik" or Joey Beltram's "Energy Flash." Stuttered rhythm loops that sound like inhalation, abbreviated vocal samples, and that "stadium house" feeling a la the KLF certainly don't hurt. "Move-On" adds Ford's oddly winsome vocal to a fine combination of synth-string heaven and sped-up funk drum-loop fun (it's not jungle, but that was already in the air). "In Your Blood," mixed by CJ Bolland, takes a more minimal approach that builds and ebbs as it goes: more acid house, synth squelches, and hollow percussion loops that seek nothing more to demand your presence on the dance floor and after all, sometimes that's all you need. After that, things start to get less compelling, though there are some fun moments, such as the roughly campy "Sashay Around the Fuzzbox" and the slow funk crawl of "20, Park Drive." A number of remixes and alternate takes round out this uneven but still interesting disc.
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AllMusic Review by Ned Raggett