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Billie Ray Martin is a German singer and songwriter, known for her single "Your Loving Arms", which reached the top 10 of both the UK singles chart (#6) and the Irish Singles Chart (#8) in 1995, and reached number one on the US Dance Club Chart. She was also one of the vocalists on the S'Express UK top 10 hit single "Hey Music Lover" (1989), and had UK top 40 hits as lead vocalist of Electribe 101 with "Tell Me When the Fever Ended" (1989) and "Talking with Myself" (1990), and as a solo singer with "Running Around Town" (1995) and "Imitation of Life" (1996).

Early life

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Born in Hamburg, West Germany, she grew up near Reeperbahn, St. Pauli, in the city's red-light district. She lived with her working-class grandparents, who exposed her to Elvis Presley and German schlager music.[citation needed]

Career

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Career beginnings

[edit]

In the early 1980s, Billie Ray Martin moved to Berlin. It was the time of electronic bands like Cabaret Voltaire, Throbbing Gristle and the early Human League, shaping Martin's conceptions of music. Simultaneously, she encountered the soul music of Martha Reeves and the Vandellas, Aretha Franklin and the Motown revival. In Berlin, she formed an eleven-piece soul and sixties-inspired band called Billie and the Deep.[2] Their live shows became very popular in Berlin in 1985–86.[citation needed]

After these experiences, Billie Ray Martin moved to London, where she placed an ad in Melody Maker reading "soul rebel seeks musical genius". The ad led to a meeting with four men from Birmingham who had been looking for a voice to add to their music,[3] resulting in the formation of Electribe 101. The band returned to Birmingham, where they recorded their first song, entitled "Talking with Myself", releasing it as a 12" single on their own Hipnotic label.[4] It was noticed by manager Tom Watkins (who managed Pet Shop Boys, Bros and East 17).[5] Electribe 101 signed with Watkins, and his label Phonogram Records.

Meanwhile, Billie Ray Martin had met DJ Mark Moore who invited her to the studio to work with his band S'Express. Martin contributed to three songs on their debut album Original Soundtrack: "Pimps, Pushers and Prostitutes", "L'Age du Gateau" and "Hey Music Lover" (retitled 'Music Lover' in the US).[6] The latter became the third S'Express single, and a top 10 UK hit (reaching No. 6), giving Martin her first Top of the Pops appearance. She traveled across Europe with the group for a number of TV appearances in support of the single.[citation needed]

Electribe 101's first single with Phonogram was "Tell Me When the Fever Ended" released in November 1989, reaching No. 32 on the UK charts,[7] and No. 23 on the Billboard Dance charts.[8] "Talking with Myself" was re-released in February 1990 with a Frankie Knuckles mix and became a hit reaching No. 23[9] in the UK and No. 8 on the Billboard Dance charts.[10] DJ and producer Marshall Jefferson refused to remix it as he felt it was "already perfect".[11] "Talking with Myself" remains a club classic and has appeared on countless Ibiza and chill-out compilations over the past 22 years. "Talking with Myself" was re-mixed in 1998 and reached No. 39 in the UK charts.[12]

Billie Ray Martin appeared on the cover of i-D Magazine, as well as weekly music/pop periodicals such as: NME, Melody Maker, Smash Hits, Record Mirror[13] and Number One.[14] NME described her style as looking like 'Cilla Black on Acid' when she made her first Top of the Pops appearance.[citation needed] A connection with Steve Nieve led to her being a guest vocalist with house band Steve Nieve and The Playboys, singing "Stay With Me" and "Chain of Fools", on the Channel X UK television series The Last Resort with Jonathan Ross.[citation needed]

Electribe 101's third single was entitled "You’re Walking" and reached No. 50 on the UK charts, prior to the release of their debut album Electribal Memories.[15] A live concert at London's The Town & Country Club (now The London Forum) was televised on ITV to coincide with the album's release.[citation needed] They also played at the Milton Keynes Bowl in support to Erasure.[16] Electribe 101 were then selected as the supporting act for the European leg of Depeche Mode's 'World Violation' tour, including several nights at both the Birmingham NEC and Wembley Arena.[citation needed] A fourth single was released – a cover of the Jesse Rae song "Inside Out",[17] the video of which was filmed in Paris.[citation needed]

The band then set to work on their second album, with a provisional title of Electronic Soul. However, conflict with Watkins and Phonogram led to the album not being released. While seeking another label, the band broke up.[citation needed]

Solo: 1993–2002

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BRM's debut solo release was at the end of 1993 in collaboration with the British dance duo Spooky on a cover of the Throbbing Gristle song 'Persuasion'. Her second release was the 'Four Ambient Tales' EP with Dave Ball and Richard Norris of The Grid. She made an appearance on The Jonathan Ross Show, performing a cover of Ann Peebles’ "I’m Gonna Tear Your Playhouse Down" with Slash from Guns N’Roses on guitar.

With a new set of songs, she signed with East West Records, a subsidiary of Warner Music. In the US, Martin was signed to Seymour Stein's Sire Records. The first release with her new label was "Your Loving Arms" again with Dave Ball and Richard Norris of The Grid on production. The track reached No. 38 in November 1994. On a subsequent re-release the song peaked at No. 6 in the UK singles chart in May 1995, Martin once again appearing on Top of the Pops as well as various UK and European TV shows in support of the song. Further mixes by Todd Terry and Brothers in Rhythm helped the song reach No. 1. It also topped the Hot Dance Music/Club Play chart and eventually reached the top 50 of the Billboard Hot 100 and the top 20 of Radio & Records magazine's CHR/Pop airplay chart (ranking No. 76 on the 1996 year-end chart).

In February 1995, the Junior Vasquez mix of "True Moments of My World" was being played in clubs, but was not released as her next single. Instead, "Running Around Town" was chosen and reached No. 29 in the UK, as well as hitting No. 1 on the club charts. Her solo album entitled Deadline for My Memories was planned for an Autumn release, but was delayed until 1996. It included several songs originally destined for Electribe 101's second album. The album was preceded by extensive press coverage including a number of magazine cover stories. Martin also guested on BBC Two's ...Later with Jools Holland performing two songs from the album: "Hands Up And Amen" and "I Don't Believe". The album was preceded by a third single, "Imitation of Life", which reached No. 29. A video for the single was filmed in the docks and bars of Hamburg and featured members of Billie's family and friends. Deadline for My Memories was released at the end of January. Two further singles were released from the album: "Space Oasis", and the ballad, "You And I (Keep Holding On)". TV appearances continued, including a live MTV performance from Turkey.

Meanwhile, Martin continued to write songs for a projected second album, but left the Warner label and moved to New York, where she wrote with dance music producer, Fred Jorio. She signed with React Music Limited in the UK, and released the single, "Honey". The song hit No. 1 in the club charts but poor performance on the UK singles chart caused the cancellation of a planned second release. "Honey" debuted stateside courtesy of Nervous Records four years later. The song peaked at No. 1 on the Hot Dance Music/Club Play charts. During this time, she also recorded an album of soul and blues songs with the Jon Tiven Group in New York, but this album remains unreleased. A single and an EP of her drum and bass recordings were released by NY label Finetune recordings. The single was "Pacemaker" while the EP was entitled "Crime & Punishment".

In 2000, Martin travelled to Memphis, Tennessee to record her next album at the House of Blues studio. Her band was led by Marvell Thomas, son of Rufus Thomas, and featured members of Aretha Franklin's own band. Ann Peebles and Carla Thomas provided backing vocals, while Peebles did a duet with Martin on the album's title track "Eighteen Carat Garbage". The album 18 Carat Garbage was released on Martin's own Sonnenstahl Records label.[18] Four 12" singles on vinyl were initially released from the album: "Systems of Silence" was released on 2 January 2001 followed by "18 Carat Garbage" on 16 January 2001 and then "I've Never Been To Memphis" in March 2001 and the Motown inspired "Where Fools Rush In" in September 2001. In 2002, Sonnenstahl Records released the 12-track CD Recycled Garbage, a compilation of remixes of selected tracks from 18 Carat Garbage.

Solo: 2003–current

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In 2003, Martin released a series of singles on her new Disco Activisto label, including the electronic music club hits "No Brakes on My Rollerskates" and "Dead Again". In 2005–06 she released collaborations with DJ Hell and Slam. The song "Je Regrette Everything" (written by Billie and Mikael Delta) appeared on DJ Hell's album NY Muscle (Universal Music). DJ Hell said of Martin "she's one of the living legends in modern music history and one of the best voices on planet earth".[19] "Bright Lights Fading" appeared on Slam's Year Zero album. Both this and "Je Regrette Everything" were subsequently released as singles. The Moroder-influenced solo single "Undisco Me" was released on Rebirth Records in April 2007, and reached No. 6 in the UK Dance Chart. Martin also began a second career as a disc jockey launching her own clubnight Komputerliebe in London and then Frankfurt.

In 2008, Martin formed a new band, The Opiates, with Robert Solheim producing. The Opiates made their live debut at Rough Trade, Brick Lane, London, in March, to coincide with the group's first release, the Anatomy of a Plastic Girl EP. In 2010, she released The Crackdown Project featuring her takes on the Cabaret Voltaire classic album, The Crackdown. 2011 began with the solo single "Sweet Suburban Disco". She corroborated with Hard Ton on the Sold Life EP, featuring a new song "Sold Life" and a cover of the Pierre's Pfantasy Club classic, "Fantasy Girl".

A second EP from The Opiates, titled Rainy Days and Remixes, was released in September 2011 as a prelude to their album Hollywood Under The Knife. A short UK tour including a performance at HMV on Oxford Street, London launched the album, which was packaged in imagery by Turner Prize winner Wolfgang Tillmans. The album got a four star review in Metro.[20] In February 2012, a remix collection entitled Hollywood Cuts was released.

2012 saw the release of a series of collaborations including "Make Me Feel" on Terranova's Hotel Amour album, and "Hyper Lust" on the new album from Motor. In September, Martin released a limited edition DVD entitled Five Takes (A Song About Andy), featuring five movies inspired by Andy Warhol's Screen Tests. The song "On Borrowed Time" is presented in five unique takes, with music by electronic producer and soul singer, Waterson.

On 3 February 2023, it was announced via Mary Wilson's Facebook page that "Soul Defender", written by Martin, would be released on 3 March 2023, which would have been Wilson's 79th birthday.

Discography

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Main article: Billie Ray Martin discography

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Billie Ray Martin

View on Grokipedia
from Grokipedia
Billie Ray Martin is a German singer and songwriter, born Birgit Dieckmann in 1970 in , renowned for her powerful, soul-infused vocals in . Raised on the edge of 's amid a family of harbor workers, entertainers, and music enthusiasts, she developed an early passion for before immersing herself in Berlin's underground scene during the . After relocating to , Martin joined the influential house group Electribe 101 in 1989, contributing lead vocals to their debut album Electribal Memories, which featured hits like "Talking with Myself" and "You're My World," blending with elements. Following the group's dissolution in 1992, she launched a solo career, achieving international success with her 1995 debut album Deadline for My Memories and its "," which peaked at number 6 on the UK Singles Chart and became a club staple in the mid-1990s scene. Martin's discography spans diverse electronic subgenres, including subsequent releases like the eclectic 18 Carat Garbage (2001), which incorporated trip-hop and drum'n'bass, and The Soul Tapes (2016), a return to her roots with live . She has collaborated extensively with producers such as (Faithless), BT, and David Holmes, appearing on tracks like "Running Around Town" (1995) and contributing to soundtracks and remixes across , , and pop. In recent years, Martin has continued to release music independently, including the 2016 single "The Glittering Gutter" with remixes by and , the 2022 release of Electribe 101's previously unreleased second album Electribal Soul, and a 4-CD Electribal Memories (2024) celebrating her Electribe 101 era with unreleased material. Describing herself as "a soul singer who ended up making electronic music," she remains a revered figure in club culture for her emotive delivery and genre-blending innovation.

Early life

Billie Ray Martin was born Birgit Dieckmann in 1970 in , . She grew up on the edge of the city's near the , surrounded by a family of harbor workers, entertainers, and music enthusiasts. Raised primarily by her grandparents, her mother worked in the district and had cared for during their early Hamburg performances. From an early age, Martin displayed a strong interest in music, beginning to sing at age two and making her first recordings at five. Her influences included 1960s soul music from her grandmother's collection of and records, as well as later artists like , , and electronic groups such as Kraftwerk. In the early 1980s, Martin moved to , immersing herself in the city's scene and becoming involved in the club circuit.

Career

Early career with Electribe 101 (1980s–1992)

In 1985, Billie Ray Martin formed the short-lived band Billie and the Deep in , an eleven-piece ensemble inspired by 1960s and sounds that gained popularity through live performances on the local club circuit. The group's sets blended classic influences with emerging musical elements, marking Martin's initial foray into professional performance before its dissolution in 1986. Following the band's end, Martin relocated to in 1988, where she sought collaborators for a new project by placing an advertisement in seeking musicians influenced by artists like Prince and . This led to the formation of Electribe 101, with Martin as alongside Birmingham-based electronic enthusiasts Joe Stevens, Les Fleming, Brian Nordhoff, and Rob Cimarosti, who handled production and instrumentation. The group, managed by Tom Watkins—known for handling acts like and —signed with and debuted in the burgeoning UK electronic scene. Electribe 101's debut single, "Talking with Myself," was released in October 1989 on Rhythm King Records, achieving moderate success before its 1990 reissue on Mercury peaked at number 23 on the UK Singles Chart. The band's sole album, Electribal Memories, followed in 1990, featuring soulful house tracks that showcased Martin's emotive vocals over layered electronic production and reached number 26 on the . Subsequent singles included "Inside Out," a cover of the Odyssey original that charted at number 69 in the UK in November 1990, and "You're Walking," which peaked at number 50 in September 1990, further establishing their groove-oriented sound. Outside the band, Martin contributed uncredited lead vocals to S'Express's "Hey Music Lover" in 1989, a track from their album that became a UK top 10 hit, reaching number 6 on the Singles Chart and highlighting her versatility in the acid house milieu. Electribe 101 disbanded in 1991 amid internal tensions exacerbated by management disputes with Tom Watkins, including disagreements over creative direction and contract terms that led to the shelving of a completed second album, Electribal Soul. Martin departed to pursue a solo career, while her bandmates reformed as Groove Corporation. The group's emergence coincided with the UK's and early scenes, where their fusion of grooves, psychedelic electronics, and soulful vocals influenced the evolution of electronic pop by bridging club culture with mainstream accessibility. Tracks like "Talking with Myself" captured the era's energetic warehouse parties and imports, contributing to the genre's shift toward more melodic, vocalist-driven expressions.

Solo breakthrough and early albums (1993–2002)

Following the dissolution of Electribe 101, Billie Ray Martin launched her solo career with the release of "Persuasion" in August 1993, a dark electronic cover of Throbbing Gristle's track recorded in collaboration with the British duo Spooky and issued on Guerilla Records. This marked her debut as a lead artist outside the band, showcasing a shift toward brooding, atmospheric house influences while highlighting her versatile vocal delivery. By late 1993, Martin had signed with Magnet Records, a London-based label, paving the way for her commercial breakthrough in the mid-1990s electronic scene. (user review confirming signing context) Martin's solo profile surged with "Your Loving Arms," initially released in October 1994 on Magnet Records and co-produced by Martin alongside (David Ball and Richard Norris). The track, blending soulful vocals with pulsating beats, exemplified her signature house-soul style and became a defining hit upon its 1995 re-release, peaking at number 6 on the UK Singles Chart and number 1 on the chart. Its success, driven by remixes from artists like and , established Martin as a prominent voice in the post-rave electronic landscape, though the original 1994 version had charted modestly at number 38 in the UK. Her debut album, Deadline for My Memories, arrived in 1996 on Magnet Records, peaking at number 46 on the after two weeks. The record fused Martin's soul-infused phrasing with and elements, drawing comparisons to influences like Kraftwerk and , and featured production from collaborators including BT and . Key singles included "Running Around Town," which reached number 29 in the UK and incorporated technopop rhythms, and "Imitation of Life," also peaking at number 29 with its gospel-tinged electronic arrangements. Critics praised Martin's for seamlessly bridging soul depth with dancefloor energy, though the album faced commercial challenges amid shifting tastes in the post-rave era. By the early 2000s, Martin encountered label instability, including limited promotional support from , prompting a pivot toward independence. This culminated in the 2001 release of her second album, 18 Carat Garbage, on her own Sonnenstahl Records imprint, where she took a hands-on role in production alongside Felix Huber and Lunatek. The self-financed project embraced experimental electronic textures, incorporating raw demos and soul samples recorded in Memphis, with tracks like "Where Fools Rush In" exploring introspective themes through glitchy beats and layered vocals. Accompanying releases included The 18 Carat Garbage Demos in 2002, offering unpolished versions of album cuts, and Recycled Garbage later that year, featuring remixes of four tracks by artists such as Ralf GUM. The single "," extracted from 18 Carat Garbage, charted at number 54 in the UK, underscoring ongoing commercial hurdles despite acclaim for her innovative fusion of soul and . Reviews highlighted the album's bold experimentation but noted its niche appeal in a market favoring more mainstream sounds.

Later career, collaborations, and recent projects (2003–present)

Following her early solo albums, Billie Ray Martin transitioned to independent releases and selective collaborations, maintaining a focus on electronic and soul-infused while navigating the challenges of the streaming era as an independent artist. In , she issued BRM New Demos, a collection of raw, experimental tracks that showcased her evolving songwriting in a DIY format, distributed through her own channels. This set the tone for her self-reliant approach, emphasizing personal expression over major-label backing. Key partnerships marked the mid-2000s, blending Martin's vocal prowess with electronic producers. Her collaboration with on "Je Regrette Everything" (2005), a melancholic electro track co-written with Mikael Delta, appeared on Hell's NY Muscle and highlighted her ability to infuse torch-song emotion into club-oriented sounds. Similarly, "Bright Lights Fading" (2006) with Scottish duo Slam, featured on their Soma Records release, fused rhythms with Martin's soulful delivery, earning praise for its atmospheric depth. In 2007, her solo single "Undisco Me," a Giorgio Moroder-inspired electro-disco track on Rebirth Records, peaked at No. 6 on the Dance Chart and No. 20 on the chart, underscoring her enduring club appeal. By the late 2000s, Martin revived side projects and pursued solo ventures. In 2008, she reformed The Opiates with producer Robert Solheim, debuting live at London's Rough Trade and releasing material that explored darker, synth-driven pop. This led to their 2011 album Hollywood Under the Knife, a critically noted work with artwork by , delving into themes of fame and excess through glitchy electronics and Martin's introspective lyrics. Later independent efforts included The Berlin Years - 1 (2014), a digital release of live recordings from her pre-Electribe 101 band Billie and the Deep, capturing raw 1980s performances at 's venue. In 2016, The Soul Tapes, produced by Jon Tiven and inspired by the Hi-Records sound of and , fulfilled Martin's long-held dream of a pure soul album, recorded in New York with additional sessions in . That year, she also released the single "The Glittering Gutter," featuring US club mixes by and . Collaborations continued with "Make Me Feel" alongside Terranova on their 2012 album Hotel Amour, a sultry cut, and "Hyper Lust" with Motor that year, a pulsating track on CLR Recordings. Recent years have seen Martin balance archival projects with new creative output, often shared via social media. In 2023, she co-wrote "Soul Defender," a posthumously released dance single performed by Supremes co-founder Mary Wilson, blending uplifting house elements with soulful vocals. In March 2024, she released Electribe 101 - The John Peel Session and Electribe 101 - Demos and Rarities on Bandcamp, featuring previously unavailable live BBC recordings from 1989 and early demos. The 2024 deluxe 4CD reissue Electribal Memories of Electribe 101's debut album, managed by Demon Music Group, included unreleased demos and remixes, celebrating the band's legacy. In a 2022 interview, Martin announced plans for four new solo albums, drawing from diverse influences like ambient and soul, with vocal recordings for these and other projects documented in her 2024–2025 social media updates. Live activities remain sporadic, with occasional tours and media appearances sustaining her profile amid independent challenges. She guested on the True House Stories in 2021 (with follow-up discussions in 2023–2024 episodes), reflecting on house music's evolution. No major tours are scheduled for 2025, but remixes of her classics persist, such as Trent Emporio's reworking of "," released early that year. Operating without major support, Martin has adapted to streaming by focusing on niche electronic-soul fusion, prioritizing artistic control and direct fan engagement over broad commercial metrics.

Discography

Studio albums

Billie Ray Martin's studio albums reflect her evolution from dance-oriented pop to more experimental and soul-infused works, often self-released after her early major-label efforts. Her discography emphasizes vocal-driven arrangements, blending electronic elements with personal themes of love, introspection, and musical heritage. Deadline for My Memories, released in October 1995 in Europe and 1996 in the UK on Magnet Records, comprises 13 tracks that fuse house-soul with technopop and torch ballads, exploring themes of love, memory, and emotional vulnerability. The album peaked at number 46 on the , marking her solo breakthrough with standout singles like "." In 2001, Martin self-released 18 Carat Garbage on her Sonnenstahl Records label, a 12-track experimental electronic pop album recorded in Memphis and produced by Billie Ray Martin and Felix Huber, delving into soul influences amid innovative soundscapes. Critics praised its bold fusion of genres and vocal-centric creativity, highlighting tracks like the title song for their understated horns and lasting appeal. This shift to independent production underscored her move away from major labels toward more personal artistic control. Martin's 2016 album The Soul Tapes, also on Sonnenstahl and available via , is a 10-track project produced by Jon Tiven, inspired by Hi-Records' classic era and featuring original songs alongside covers in a rhythm-and-blues style. Reviewers noted its deep emotional soulfulness and departure from dance roots, emphasizing Martin's vocal depth in non-conventional arrangements.

EPs and compilations

Billie Ray Martin's extended plays often served as experimental platforms for her evolving electronic and ambient influences, bridging her early solo ventures with more introspective or remix-focused works. Her debut solo EP, (1993), collaborated with duo Spooky on Guerilla Records, featuring dark, tracks that marked her transition from Electribe 101, including the title track's original and remixed versions exploring persuasion-themed lyrics over pulsating beats. Similarly, 4 Ambient Tales (1993) on Apollo Records delved into gentle ambient blues, co-produced with , offering four instrumental pieces that tested atmospheric soundscapes away from vocal-driven dance. Later EPs emphasized remixes and niche collaborations. Your Loving Arms (The Remix EP) (1994) on collected various club reinterpretations of her breakthrough single, highlighting its enduring appeal in house scenes through mixes by artists like . Crime & Punishment (1999), presented under Billie Ray Martin with producer Sonnenstahl on Finetune Recordings, comprised four tracks blending with thematic explorations of , serving as a creative outlet during a transitional phase. The 2000 EP Four Ambient Tales on Stahl2 Records revisited her ambient roots with reissued and new material, including tracks like "Planet of the Blue," reinforcing her interest in instrumental, mood-driven releases. More recent efforts, such as Sold Life (2011) on her independent setup, featured raw, personal tracks distributed digitally. Compilations in Martin's catalog provide retrospectives, often remixing past works or archiving visuals and rarities, primarily through indie and digital channels like and Demon Music. Recycled Garbage (2002) on Sonnenstahl Records compiled 12 remixed tracks from her 18 Carat Garbage era, including and Ralf Gum versions of "18 Carat Garbage," recontextualizing her and output for a cohesive listening experience. The Videos 89-98 (2008), a DVD on , gathered music videos from her Electribe 101 days through solo hits like "," offering visual insights into her 1980s-1990s aesthetic. Demo collections like The 18 Carat Garbage Demos (2002) and BRM New Demos (2003), both self-released on Sonnenstahl, previewed her evolving indie sound with raw electronic and sketches, bridging her major-label past to later vocal-focused works. The 2014 archival release The Berlin Years - 1 (Billie and the Deep Live at KOB 1986), issued digitally via Sonnenstahl, captures early live recordings from her club days, reflecting raw and electronic influences with a focus on atmospheric vocals and nascent songwriting. As a limited digital collection, it serves as a transitional document of her formative sound. A significant retrospective, Electribal Memories (2024), released as a 4CD by Demon Music, expands on Electribe 101's 1990 debut album with unreleased demos, single edits, remixes, and the John Peel Session, curated by Martin to honor her foundational influences; limited signed editions include prints and are available via Amazon UK, with half-speed mastered vinyl variants. These releases, frequently issued on independent labels or platforms like , underscore Martin's commitment to archival accessibility and stylistic experimentation beyond full-length albums.

Selected singles and collaborations

Billie Ray Martin's breakthrough solo single, (1995), became her biggest commercial success, peaking at number 6 on the UK Singles Chart and number 1 on the chart. Produced by and featuring remixes by , the track blended , , and pop elements, earning widespread radio play and establishing her as a prominent voice in the 1990s scene. Subsequent singles from her debut album Deadline for My Memories included "Running Around Town" (1995), which reached number 29 on the UK Singles Chart, and "Imitation of Life" (1996), also peaking at number 29 in the UK. These releases highlighted her versatility in electronic soul, with remixes by artists like amplifying their club impact. Later solo efforts like "" (1999) topped several international dance charts, supported by remixes from and others, though it only reached number 54 on the UK Singles Chart. In 2008, "Undisco Me" peaked at number 20 on the chart, paying homage to Giorgio Moroder's style and reinforcing her enduring presence in electronic music. A 2025 remix of "" by Trent Emporio revived the track for contemporary dancefloors, available digitally and on streaming platforms. In 2024, Martin released the single "The Glittering Gutter" independently, featuring es by and . Early in her career, Martin featured on S'Express's "Hey Music Lover" (1989), which hit number 6 on the UK Singles Chart and number 6 on the US chart, marking her initial foray into high-profile collaborations within the acid house movement. Notable later collaborations include "Je Regrette Everything" with (2005), a track that garnered acclaim in European club circuits, and "Make Me Feel" with Terranova (2012), featured on the album Hotel Amour and praised for its electro-disco fusion. In 2023, Martin wrote "Soul Defender," a track released posthumously by Mary Wilson, produced by Paul Brewer and emphasizing empowering themes in . Across her career, Martin has released 26 singles as lead artist, many achieving success on dance charts and through influential remixes that underscore her impact on electronic and genres.

References

  1. https://www.allmusic.com/artist/billie-ray-martin-mn0000067267
  2. https://musicbrainz.org/artist/c4af6041-f886-491a-81dc-c4c8245c4bd5
  3. https://www.discogs.com/artist/967010-Birgit-Dieckmann
  4. https://www.gigslutz.co.uk/interview-billie-ray-martin-speaks/
  5. https://www.iheart.com/artist/billie-ray-martin-13147/
  6. https://www.discogs.com/artist/12986-Electribe-101
  7. https://www.allmusic.com/artist/electribe-101-mn0000791911
  8. https://www.billieraymartin.com/
  9. https://ra.co/dj/billieraymartin/biography
  10. https://www.songwritingmagazine.co.uk/interviews/interview-billie-ray-martin
  11. https://www.nzherald.co.nz/bay-of-plenty-times/lifestyle/music-review-billie-ray-martin-the-soul-tapes/JWYK7FURAQABZEFXJTF2TYSM7Q/
  12. https://superdeluxeedition.com/news/electribe-101-electribal-memories-4cd-deluxe-set/
  13. https://www.theaudiodb.com/artist/131378-Billie-Ray-Martin
  14. https://superdeluxeedition.com/interview/electribe-101s-billie-ray-martin-talks-to-sde/
  15. https://www.electricityclub.co.uk/tag/electribe-101/
  16. https://www.officialcharts.com/artist/25738/electribe-101/
  17. https://markmoore.com/album/s-xpress-hey-music-lover/
  18. https://banbantonton.com/2022/03/11/electribe-101-electribal-soul-electribal-records/
  19. https://5mag.net/features/billie-ray-martin-electribal-soul-electribe-101/
  20. https://theshfl.com/guide/1990s-UK-Dance-Music
  21. https://www.discogs.com/master/20980-Billie-Ray-Martin-Spooky-Persuasion
  22. https://www.discogs.com/artist/9704-Billie-Ray-Martin
  23. https://www.amazon.co.uk/Deadline-Memories-Billie-Ray-Martin/dp/B0000262Z9
  24. https://www.discogs.com/master/75225-Billie-Ray-Martin-Your-Loving-Arms
  25. https://www.officialcharts.com/songs/billie-ray-martin-your-loving-arms-1/
  26. https://www.discogs.com/release/193301-Billie-Ray-Martin-Your-Loving-Arms
  27. https://www.billieraymartin.com/biog/
  28. https://www.allmusic.com/album/deadline-for-my-memories-mw0000183996
  29. https://www.amazon.co.uk/Deadline-Memories-Billie-Ray-Martin/dp/B01MFE3I0B
  30. https://www.discogs.com/release/266194-Billie-Ray-Martin-18-Carat-Garbage
  31. https://billieraymartin.bandcamp.com/album/18-carat-garbage
  32. https://www.discogs.com/release/355905-Billie-Ray-Martin-18-Carat-Garbage-Demos
  33. https://www.discogs.com/release/293057-Billie-Ray-Martin-Recycled-Garbage
  34. https://www.discogs.com/release/9897485-Billie-Ray-Martin-New-Demos-2002-2003
  35. https://www.discogs.com/release/391917-Hell-Feat-Billie-Ray-Martin-Je-Regrette-Everything
  36. https://www.discogs.com/release/426033-Slam-Featuring-Billie-Rae-Martin-Bright-Lights-Fading-Death-In-Vegas-And-Alex-Smoke-Remixes
  37. https://www.musicvf.com/song.php?id=79968
  38. https://www.electricityclub.co.uk/the-opiates-hollywood-under-the-knife/
  39. https://whitehotmagazine.com/articles/interview-with-billie-ray-martin/2387
  40. https://www.discogs.com/release/6017040-Billie-Ray-Martin-Billie-And-The-Deep-The-Berlin-Years-1-Billie-And-The-Deep-Live-At-KOB-1986
  41. https://www.billieraymartin.com/product/billie-ray-martin-the-soul-tapes/
  42. https://www.discogs.com/master/1022052-Billie-Ray-Martin-The-Glittering-Gutter-US-Club-Mixes
  43. https://open.spotify.com/track/2oHycObziWUfHxvks7jbkx
  44. https://open.spotify.com/track/6Vo5MVKEo9d0oCLxg8N19W
  45. https://www.udiscovermusic.com/news/mary-wilson-unreleased-soul-defender-song/
  46. https://billieraymartin.bandcamp.com/album/electribe-101-the-john-peel-session
  47. https://billieraymartin.bandcamp.com/album/electribe-101-demos-and-rarities
  48. https://superdeluxeedition.com/interview/electribe-101s-billie-ray-martin-on-their-lost-second-album/
  49. https://truehousestories.com/guests/episode-050-059/billie-ray-martin-electribe-101/
  50. https://www.youtube.com/watch?v=gjyqiGfHoTc
  51. https://www.discogs.com/master/75187-Billie-Ray-Martin-Deadline-For-My-Memories
  52. https://www.discogs.com/master/75228-Billie-Ray-Martin-18-Carat-Garbage
  53. https://www.amazon.co.uk/Carat-Garbage-Billie-Ray-Martin/dp/B00005CCW0
  54. https://www.discogs.com/master/993742-Billie-Ray-Martin-The-Soul-Tapes
  55. https://www.soulandjazzandfunk.com/reviews/billie-ray-martin-the-soul-tapes-sonnenstahl-records/
  56. https://popdose.com/album-review-billie-ray-martin-the-soul-tapes/
  57. https://billieraymartin.bandcamp.com/album/persuasion
  58. https://www.discogs.com/release/152013-Billie-Ray-Martin-Spooky-Persuasion
  59. https://www.discogs.com/master/75165-Billie-Ray-Martin-4-Ambient-Tales
  60. https://www.discogs.com/release/335472-Billie-Ray-Martin-presents-Sonnenstahl-Crime-Punishment
  61. https://billieraymartin.bandcamp.com/album/recycled-garbage
  62. https://www.discogs.com/release/1188880-Billie-Ray-Martin-The-Videos-89-98
  63. https://www.discogs.com/master/75232-Billie-Ray-Martin-18-Carat-Garbage-Demos
  64. https://www.discogs.com/master/1142372-BRM-New-Demos
  65. https://billieraymartin.bandcamp.com/
  66. https://www.officialcharts.com/songs/billie-ray-martin-your-loving-arms/
  67. https://www.musicvf.com/song.php?id=11491
  68. https://www.officialcharts.com/songs/billie-ray-martin-running-around-town/
  69. https://www.officialcharts.com/songs/billie-ray-martin-imitation-of-life/
  70. https://www.officialcharts.com/songs/s-express-hey-music-lover/
  71. https://www.umgcatalog.com/mary-wilson-reigns-supreme-with-new-single-soul-defender/
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