Wednesday, December 29, 2010

White Label Burger @ Ai Fiori

Ai Fiori, the newest venture in the expanding Michael White empire, located in the brand spanking new Setai on Fifth Avenue, has unveiled a new burger - the White Label, courtesy of the ubiquitous Pat La Frieda gang. It could be that because I'm absolutely famished right now (and on my way to Shopsin's) that the video has got my drooling.

Tuesday, December 28, 2010

Thursday, December 16, 2010

Girl's Hair Catches Fire Live On Diddy's Ustream!

The National - Sorrow



Sorrow found me when I was young
Sorrow waited, sorrow won
Sorrow they put me on the pill
It's in my honey, it's in my milk

Don't leave my hyper heart alone on the water
Cover me in rag and bone sympathy
'cause I don't wanna get over you
I don't wanna get over you

Sorrow's my body on the waves
Sorrow's a girl inside my cave
I live in a city sorrow built
It's in my honey, it's in my milk

Don't leave my hyper heart alone on the water
Cover me in rag and bone sympathy
'cause I don't wanna get over you
I don't wanna get over you

Don't leave my hyper heart alone on the water
Cover me in rag and bone sympathy
'cause I don't wanna get over you
I don't wanna get over you

Frankie Valli & The Four Seasons - Beggin' (Pilooski Re-Edit)

Radiohead - My Iron Lung (Live at Reading Festival 1994)

Monday, December 13, 2010

Grinderswitch - Pickin' The Blues

Used as the theme tune for the late, great John Peel's BBC radio show, it was also included in the 1976 Festive 50 compilation.

Sunday, December 12, 2010

Skip Spence - Grey/Afro (Beck's Record Club)

Beck's Record Club is a super cool project that's been going on for some time now. Basically, it's an informal meeting of various people to record an album in a day. Many awesome interpretations have sprung from these meetings. Here's a sweet one for you. You should most definitely check out the rest of the goods.

Record Club: Skip Spence "Grey/Afro" from Beck Hansen on Vimeo.

Friday, December 10, 2010

Nate Appleman Is Now Making Burritos at Chipotle

We hardly knew yah, Nate. I've never had Chipotle. Maybe it's time to try one?

Via Grub Street:

What happened to Nate Appleman after he left Pulino’s? The answer is kind of extraordinary: A source told us that a week ago he started a corporate gig at Chipotle, and a call to the chef confirms that he’s working out of the chain’s Chelsea location. “I make burritos,” the Beard Rising Star chef says. “You can find me in the store making burritos day after day — that’s what I do.” Of course, it’s not that simple. Appleman says he’s “learning the system” with a larger goal in mind: Steve Ells has hired him full-time with an eye toward “improving the model, and focusing on cooking techniques and getting better ingredients.”

Appleman says that although he welcomed the opportunity to get out of the blogger spotlight (indeed when he heard from us, he told us “I’m not in the restaurant business anymore”), the main reason he took the gig is because it’s a larger-scale continuation of what he’s been doing his whole career, i.e., “finding good ingredients, raised the right way or grown the right way.” He tells us, “What led me to this was being able to make a change. I was just trying to figure out, ‘How can I make a difference?’ It’s one thing to be a really good chef and cook and it’s another to impact millions of people — from the farmers, ranchers, and everyone down to the 20,000 employees. As you get older and wiser, you’re looking for more fulfillment.”

Here’s hoping he finds it — this gig is pretty much the polar opposite of a star turn at a McNally joint. By the way, Appleman recently tweeted from D.C., where Chipotle is expected to open an Asian concept, but he says he won’t be involved in that.

Ryan Crosson feat. Elflein & Fox - Sunshine Wave (Original Mix)

Your weekend choon:

Wednesday, December 8, 2010

John Lennon - Watching the Wheels

(I chose to embed this video not because of the visuals, but because it was the best sound quality of the lot...)

Third and last single off of Double Fantasy:





People say I'm crazy doing what I'm doing
Well they give me all kinds of warnings to save me from ruin
When I say that I'm o.k. well they look at me kind of strange
Surely you're not happy now you no longer play the game

People say I'm lazy dreaming my life away
Well they give me all kinds of advice designed to enlighten me
When I tell them that I'm doing fine watching shadows on the wall
Don't you miss the big time boy you're no longer on the ball

I'm just sitting here watching the wheels go round and round
I really love to watch them roll
No longer riding on the merry-go-round
I just had to let it go

Ah, people asking questions lost in confusion
Well I tell them there's no problem, only solutions
Well they shake their heads and they look at me as if I've lost my mind
I tell them there's no hurry
I'm just sitting here doing time

I'm just sitting here watching the wheels go round and round
I really love to watch them roll
No longer riding on the merry-go-round
I just had to let it go
I just had to let it go
I just had to let it go

Monday, December 6, 2010

Carl Craig & Moritz von Oswald 'Movement 8' (c2 Version)

The seasons definitely play a role in the music I listen to at a particular moment in time. Sometimes that force is stronger than at other times. Today is the former. This has got a winter-vibe...at least for me. A dark and brooding storm that's cold and ominous is on its way...

Thursday, December 2, 2010

Jack White tries to close the gap between artists and fans

Recently, Jack White set up an Ebay auction for paid subscribers to his record label's (Third Man Records) membership program, known as The Vault. It's created quite a bit of backlash for the high amount that the wining bidders cast for limited edition vinyl versions of the self-titled White Stripes reissue (five in total).

In an effort for artists to fight back against flippers and scalpers, White retorts those who have voiced complaint at the high cost that Third Man Records directly sold and tries to elucidate his reasoning in doing this in the first place.

It's interesting to see a major player in the music industry try to stifle the huge resellers market (something that I've had to deal with many times when buying vinyl to my chagrin...I understand it's just a matter of supply and demand). In any case, Antiquiet has the whole lowdown here. Article is below:

****

In a rather immediate act of self-justification on Monday afternoon, Jack White responded directly to fans’ backlash against an eBay auction hosted by his own Third Man Records for one of five coveted copies of The White Stripes‘ first album reissue, on the double-colored vinyl edition set for extremely limited release in select stores and TMR’s Nashville store on Tuesday.

For nearly every TMR release, there’s an accompanying rare special edition. White’s voracious international fanbase spends batshit crazy amounts of money for these gems as soon as they hit eBay, fueling a black market ruled by “flippers,” record scalpers snatching up every triple-colored vinyl for quick, fat profits.

Yesterday, Mr. White decided to turn the situation to his advantage (if not the fans’), altering the dynamic of music profiteering in the process. Rather than challenge the futility of attempting to blockade the rampant inflation, he shifted the goods himself and stiffed the middleman.

Paid subscribers of TMR’s The Vault were directed to an eBay page with open auctions for copies of the limited edition vinyl version of the self-titled White Stripes reissue. Within an hour, all 5 auctions were above $100 each, and a small shitstorm of comments began to erupt on The Vault, when, suddenly, Jack White joined the site’s chatroom with a handbasket-gripping introduction of “See you in hell?” and explained, quite simply, why the hell there were people paying 500 bucks for a record you have to crack open to listen to: “Supply & demand.”

The simple nature behind all the profiteering on eBay is that people pay as much as they can for a record they want. As Jack said, “nobody told them to buy it with a gun to their head.” The records are expensive because the fans make them expensive. When a fan tried to argue that people with “more money than sense” were to blame, Jack retorted: “Or are they just paying what the going rate is?” White explained: ”We sell a Wanda Jackson split record for 10 bucks, the eBay flipper turns around and sells it for 300. If 300 is what it’s worth, then why doesn’t Third Man Records sell it for 300? If we sell them for more, the artist gets more, the flipper gets nothing. We’re not in the business of making flippers a living. We’re in the business of giving fans what they want.”

Arguably sound logic. When Jack was pushed about the integrity of this move, he responded: “Integrity? What are we doing that doesn’t have integrity? You’re the ones telling us what they are worth.” Though it might not seem fair to make the colored vinyls so difficult to attain, as he put it, if everyone could get their hands on a limited vinyl, it wouldn’t be limited. For the people who aren’t able to, they have “the black vinyl UNlimited version.”

Closing the conversation, Jack reassured fans that “[Third Man] is on your side don’t forget,” and a promising “see you soon.” The money will roll right in, of course, and in today’s shifting music paradigm, it’s a fascinating thing to see such a highly renowned artist beating the devils at their own game. At least those with the pockets and arguable insanity to pay so much for the music will be directly funding the artist, and not the peripheral parasites feeding on fandom. But we’re not holding any illusions that the vinyl will ever see a record player.

Read the full context of Jack’s comments at The Little Room.

UPDATE: Jack later returned to the site and responded further, directly to reader comments, in a fiery exchange which you can read below, in all his unedited lowercase glory.

Fan: Alright? Is this a big FU or something to vault members?! I ran home all excited to see what was going to be posted and this is it?! Seriously this is a bunch of crap. I pay my membership and have really got nothing extrodinary for it in return really?

Jack: you’ve gotten NOTHING extraordinary in return? i’d have to disagree with you, as the records you’ve received you can ONLY get with a vault membership. i won’t bore you with online content and free giveaways, and first admission privileges, etc. but are you saying you aren’t getting rare records at a price that’s at least a third of what they go for on, oh i don’t know ….ebay?

Fan: Well I think it’s official this is my last Vault experience. Really nothing on here worth paying for anymore. Think you get something special with a message, but it’s really just a link to fan exploitation.

Jack: fan exploitation? really? if you don’t want it, DONT BUY IT. and if you do want it, don’t act like you DON’T want it. get in line like anyone else, hunt for it like anyone else. you act like we bury them in tunnels in vietnam for god sakes, you can get one randomly in the mail if your lucky, in line at a store if you’re lucky, in your hometown if you’re lucky, etc. who is guaranteed a rare hard to find record? only vault members and their quarterly subscriptions. there’s luck in every other version.

Fan: Fuck you, Third Man.

Jack: really? you think we deserve that? would you like us to just stop making limited edition records? you would go so far as to say fuck you to us? for what? we didn’t do anything to you but give you what you want. you’re a vault member obviously, for what reason? limited records you can’t get elsewhere? would you kindly send us those records back so we can sell them to some other fan who didn’t get to have them? don’t want a split colored limited edition record? then guess what? don’t buy one. don’t want them to be expensive? then guess what? don’t WANT them. it’s you and others wanting them that dictates the price and the entire nature of the idea.

make no mistake, we could make twenty thousand split color whatevers for you, and they’ll be worth 20 bucks, and you’ll pay 20 bucks for them, and you’ll never talk about them, desire them, hunt to find them, etc. why should ebay flippers, who are not real fans, dictate the price, make all the profit (taken from the artist and the label) and take the records out of the hands of real fans. there’s a guy who waits in a black suv down the block from third man who hires homeless people to go buy him tri colors when they are on sale. doesn’t even get out of his car. should he be charged ten bucks or two hundred? don’t be spoiled, don’t insult people who are trying to give you what you want. last quarter every vault member got a black and blue live record. a record you’re only supposed to get if you ACTUALLY GO to a live show at third man. are you pissed about that?

we’ve done giveaways, contests, auctions, etc. a lot of different ways for vault members to get first crack at limited records when we don’t have to. we do it because by being a member you’re supposedly making a statement that you’re a real fan who wants the music, and to be involved in collecting rare and interesting vinyl. from some of these comments i take it that a lot of you would like this to be all digital, available to anyone on amazon dot com, anytime. boring, lifeless, lazy, and redundant. don’t get mad at third man for giving you exactly what you’ve asked for. and seriously stop all of the whining, because what you communicate to us is that all of the trouble we go to isn’t worth it because nothing we do will make you happy. we’ll try to do back rubs door to door when we get a chance. sincerely the staff at third man records.

Monday, November 29, 2010

RZA Fireside Chat on Red Bull Music Academy Radio

Fireside Chat
RZA
Wu Music Group, New York

As the creative force behind the Wu-Tang clan, RZA needs almost no introduction. But we're going to attempt it anyway. Through his productions in the early nineties with Wu-Tang, RZA pioneered the east-coast underground hip-hop sound that went on to rule the scene for years. His rare musical combination of bleak, minimal, kung-fu-streaked soul was a breath of fresh air for those weary of the west-coast G-Funk sound prevalent in rap music at the time. After reaching remarkable chart success with Wu-Tang and solo Wu-members like Method Man, Ghostface Killah, and Ol' Dirty Bastard, the RZA turned his attention to even wider musical horizons. In addition to releasing records as his hedonistic alter ego, Bobby Digital, he began a prolific soundtrack scoring career, racking up credits for Jim Jarmusch, Takashi Okazaki, and Quentin Tarantino. Here, he sits down for a Fireside Chat, and waxes poetic on his inspirations, successes, and past and present projects. Bring da ruckus!




Playlist:

Wu-Tang Clan - Wu-Tang Clan Ain't Nuthing To F' Wit - Loud
Prince Rakeem - Sexcapades - Tommy Boy
Prince Rakeem - Ooh I Love You Rakeem - Tommy Boy
Genius - Life Of A Drug Dealer - Cold Chillin'
Genius - Phony As Ya Wanna Be - Cold Chillin'
Genius - Come Do Me - Cold Chillin'
Genius - Words From A Genius (Prince Rakeem Remix) - Cold Chillin'
Wu-Tang Clan - Protect Ya Neck - Loud
Wu-Tang Clan - Da Mystery Of Chessboxin' - Loud
Wu-Tang Clan - Method Man - Loud
Wu-Tang Clan - Wu-Tang: 7th Chamber - Loud
Wu-Tang Clan - Bring Da Ruckus - Loud
The Charmels - As Long As I've Got You - Volt
Wu-Tang Clan - C.R.E.A.M. - Loud
Wu-Tang Clan - The M.G.M. - Loud
RZA as Bobby Digital - Silkworm - Gee Street
Wu-Tang Clan - Reunited - Loud
Wu-Tang Clan - Triumph - Loud
Wu-Tang Clan - It's Yourz - Loud
Raekwon - Ice Cream - Loud
Method Man - Bring The Pain - Def Jam
Raekwon - 10 Bricks - Ice H2o
Capadonna - '97 Mentality - Razor Sharp
Genius / GZA - 4th Chamber - Geffen
Wu-Tang Clan - Get Them Out Ya Way Pa - Universal Motown
Wu-Tang Clan - The Heart Gently Sweeps - Universal Motown
Method Man - I'll Be There For You - Def Jam
Killarmy - Wake Up - Wu-Tang
Wu-Tang Clan - Clan In Da Front - Loud

Daniel Boulud on Letterman (1993)

Via Eater, a Daniel Boulud segment from 1993 has been unearthed. It's pretty freaking hilarious:

Foolish & Sly - Come A Little Closer

Just found a copy of this serious groover on ebay...nice one!

Four Tet - Sun Drums and Soil

This is a musically fun way to start off the week:

Sunday, November 28, 2010

Record Player by Helmut Smits

Yess!! Here's another vid I saw on Shopsin's webpage, and had to share. All y'all who know me knows this fucking cracks me up:

LP-bike from Helmut on Vimeo.

Perfect Catch

Saw this on Shopsin's webpage...and for some reason, I could watch this for hours:

Saturday, November 27, 2010

Friday, November 26, 2010

Florence and the Machine - Kiss with a fist (Live BBC Introducing)



You hit me once
I hit you back
You gave a kick
I gave a slap
You smashed a plate over my head
Then I set fire to our bed

You hit me once
I hit you back
You gave a kick
I gave a slap
You smashed a plate over my head
Then I set fire to our bed

My black eye casts no shadow
Your red eye sees nothing
Your slap don't stick
Your kicks don't hit
So we remain the same
Love sticks
Sweat drips
Break the lock if it don't fit

A kick to the teeth is good for some
A kiss with a fist is better than none

A kiss with a fist is better than none

I broke your jaw once before
I spilled your blood upon the floor
You broke my leg in return
So sit back and watch the bed burn
Love sticks
Sweat drips
Break the lock if it don't fit

A kick to the teeth is good for some
A kiss with a fist is better than none

A kiss with a fist is better than none

You hit me once
I hit you back
You gave a kick
I gave a slap
You smashed a plate over my head
Then I set fire to our bed

You hit me once
I hit you back
You gave a kick
I gave a slap
You smashed a plate over my head
Then I set fire to our bed

Wednesday, November 17, 2010

Layo & Bushwacka! mix for TimeOut Magazine

In anticipation of Layo & Bushwacka's impending appearance in New York City on Saturday, they've kindly hooked up a mix for TimeOut New York.

Layo & Bushwacka! mix by TimeOutNewYork

1. Barnt - “Collection” (Magazine)
2. Ronan Portela - “Mute” (Bla Bla)
3. Dj Koze - “Sbooty” (Cocoon)
4. El Mundo & Satori - Jazz Tango” (Catwash Records)
5. Javi Bora/Melohman - “Bambata” (2020 Vision)
6. Dole & Kom - “Darkness” (Material)
7. Superpitcher - “Black Magic” (Kompact)
8. H.O.S.H. - “Cash The Chord” (Diynamic)
9. Ida Engberg - “Owl’s Nest” (Truesoul)
10. Layo & Bushwacka! - “Black Jack Rabbit” (Plus 8)
11. Deadbeat - “Vampire” (Echocord)
12. Darabi - “ Top Drop( Roman Flugel Remix)” (Get the Curse Music)

Monday, November 15, 2010

PSA: My Birthday Jam @ Sullivan Room + Hall, Saturday, November 20 (Carl Craig, Layo & Bushwacka and Amp Fiddler + more!)



Sure, people bandy around the terms "massive" and "special" when referring to the various parties and ragers that are thrown and perhaps those sentiments are real for themselves...but look at that damn flyer and gaze upon the artists set to perform on that night.

I have the absolute honor and privilege to be a part of this special night and share the many, many records I've been buying lately. So come one, come all and let's all come together!


Saturday, November 20th

We've got an amazing night of music coming to both the Sullivan Room and its upstairs sister venue Sullivan Hall on Saturday, November 20th.

For one night, we'll have both the upstairs and downstairs rocking with two very special sets of guest artists. Upstairs, the legendary Planet E boss CARL CRAIG returns to Basic NYC after an incredible debut in April for our anniversary party. He's joined by the esteemed Detroit artist, musician and producer AMP FIDDLER for a special live collaboration. Downstairs, the Olmeto Records label heads and UK tech-house pioneers LAYO & BUSHWACKA! come back to New York for the first time in over two years. This will be their Sullivan Room debut and we've been looking forward to this for a long time.

Sullivan Hall (upstairs):
CARL CRAIG (Planet E / Detroit)
with AMP FIDDLER Live

Sullivan Room (downstairs):
LAYO & BUSHWACKA! (Olmeto Records)

with Basic NYC residents:
SLEEPY & BOO (basicnyc.com)

Sullivan Room guests:
Michael Vieira (Greater>Than)
Prawns & Bajaj (djprawns.com / bajajsahib.com)

Sullivan Hall guests:
Illich Mujica (Techtonic Division)
Mike Murphy
Paul Nahm (Good Radio Music)

hosted by Rob Rewind • Live visuals from VJ Mamiko Kushida & Tito Jimenez

Celebrating Birthdays for Paul Nahm and Illich Mujica! 2-for-1 drinks until 11pm

For guest list and VIP table reservations: email paulnahm@gmail.com

Where: Sullivan Room + Sullivan Hall (218 Sullivan St.)
When: 9pm - 5am
Price: email djpaulnahm@gmail.com for guestlist
Presale tickets: Link to wanttickets

Also, we’re giving away complimentary table service for Carl Craig and Layo & Bushwacka! at Sullivan Room and Sullivan Hall. To enter to win,
email djpaulnahm@gmail.com and name the city that was the setting of Layo & Bushwacka!’s Global Underground mix compilation. Good luck!

Wednesday, November 10, 2010

The Clash - Magnificent Seven

From Wiki:

"The Magnificent Seven" is a song and single by the English punk rock band The Clash. It was the third single from their fourth album Sandinista!. It reached number 34 on the UK Singles Chart.

The song was inspired by raps by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & The Furious Five. Rap was still a new and emerging music genre at the time and the band, especially Mick Jones, was very impressed with it, so much so that Jones took to carrying a boombox around and got the nickname 'Whack Attack'. The song was recorded in April 1980 at Electric Lady Studios in New York City, built around a bass loop played by Norman Watt-Roy of the Blockheads. Joe Strummer wrote the words on the spot, a technique that was also used to create Sandinista!'s other rap track, "Lightning Strikes (Not Once But Twice)". "The Magnificent Seven" represents the first attempt by a rock band to write and perform original rap music, and one of the earliest examples of hip hop records with political and social content. It is the first major white rap record, predating the recording of Blondie's "Rapture" by six months.

“When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.” — Joe Strummer

Tony Orlando - Don't Let Go [1978]

Monday, November 8, 2010

Radiohead - The Trickster



Rust in the mountains
Rust in the brain
The air is sacred here
In spite of your claim

Up on the roof tops
Out of reach
Trickster is meaningless
Trickster is weak

He's talking out the world
Talking out the world

Hey
Hey
Hey
This is only halfway

Hey
Hey
Hey
This is only halfway

I wanted you so bad
And I couldn't say
All things fall apart

We wanted out so bad
We couldn't say
These things fall apart

We're talking out the world
Talking out the world

Hey
Hey
Hey
This is only halfway

Hey
Hey
Hey
This is only halfway

Truant kids- a can of
Brick dust worms who do not want to
Climb down from their chestnut tree

Long white gloves
Police tread carefully
Escaped from the zoo
The perfect child facsimile

It's talking out the world
Talking out the world

Hey
Hey
Hey
Ooh

Hey
Hey
Hey

Fatboy Slim - Next to Nothing

Track 12 off the Astralwerks US compact disc release of "Better Living Through Chemistry" - a highly influential record in my upbringing.

Thursday, November 4, 2010

Greg Wilson USA Tour Wrap-up

Read his accounts here.

This is his set from the final stop of the tour that took place in San Franciso:

SUNSET HALLOWEEN BOAT PARTY SAN FRANCISCO 31.10.10 (greg wilson live mix) by gregwilson

PSA: My Birthday Jam @ Sullivan Room + Hall, Saturday, November 20 (Carl Craig, Layo & Bushwacka and Amp Fiddler - oh my!)



Sure, people bandy around the terms "massive" and "special" when referring to the various parties and ragers that are thrown and perhaps those sentiments are real for themselves...but look at that damn flyer and gaze upon the artists set to perform on that night.

I have the absolute honor and privilege to be a part of this special night and share the many, many records I've been buying lately. So come one, come all and let's all come together!


Saturday, November 20th

We've got an amazing night of music coming to both the Sullivan Room and its upstairs sister venue Sullivan Hall on Saturday, November 20th.

For one night, we'll have both the upstairs and downstairs rocking with two very special sets of guest artists. Upstairs, the legendary Planet E boss CARL CRAIG returns to Basic NYC after an incredible debut in April for our anniversary party. He's joined by the esteemed Detroit artist, musician and producer AMP FIDDLER for a special live collaboration. Downstairs, the Olmeto Records label heads and UK tech-house pioneers LAYO & BUSHWACKA! come back to New York for the first time in over two years. This will be their Sullivan Room debut and we've been looking forward to this for a long time.

Sullivan Hall (upstairs):
CARL CRAIG (Planet E / Detroit)
with AMP FIDDLER Live

Sullivan Room (downstairs):
LAYO & BUSHWACKA! (Olmeto Records)

with Basic NYC residents:
SLEEPY & BOO (basicnyc.com)

Sullivan Room guests:
Michael Vieira (Greater>Than)
Prawns & Bajaj (djprawns.com / bajajsahib.com)

Sullivan Hall guests:
Illich Mujica (Techtonic Division)
Mike Murphy
Paul Nahm (Good Radio Music)

hosted by Rob Rewind • Live visuals from VJ Mamiko Kushida & Tito Jimenez

Celebrating Birthdays for Paul Nahm and Illich Mujica! 2-for-1 drinks until 11pm

For guest list and VIP table reservations: email paulnahm@gmail.com

Where: Sullivan Room + Sullivan Hall (218 Sullivan St.)
When: 9pm - 5am
Price: email djpaulnahm@gmail.com for guestlist
Presale tickets: Link to wanttickets

Also, we’re giving away complimentary table service for Carl Craig and Layo & Bushwacka! at Sullivan Room and Sullivan Hall. To enter to win,
email djpaulnahm@gmail.com and name the city that was the setting of Layo & Bushwacka!’s Global Underground mix compilation. Good luck!

Vincenzo - Young Mountain

MFSB - Love Is The Message (Danny Krivit Re-Edit)

Wednesday, November 3, 2010

Tom Middleton - November DJ Mix (Deep Liquatech)

Another hot mix, this time by Tom Middleton...who unfortunately lost 25 crates of records in a flooded basement...


Tom Middleton - November DJ Mix (Deep Liquatech) by tommiddleton

We Have Band - Divisive (Carl Craig Remix)

Yeah, I'm getting excited for Carl Craig:

Innersounds Meets International Feel (Interview)

Punted by Greg Wilson, I particularly liked this interview.


--------
September 18, 2010

The following is a transcript of an evening’s conversation with Mark from International Feel.

Mark operates as label owner and producer in charge of all output on the label. Mark was in Uruguay, I was in London.

There is a podcast which captures some of this if you want the Cliff Notes version.

Topics discussed that night ranged from label management to the future of music technology, music formats and many points along the way.

My thanks to Mark for his time and his patience, and to you for taking an interest in reading. If you are thinking of starting a new label or getting into the music business you will find some insights from a 20 year + career and they may just help you with the decisions you will face.

What are your thoughts on how the home studio set up has replaced the old style of studio for hire with technicians and professionals who knew how to mic a room or get a certain sound?

I think just on a person level (and I can’t remember who said this) but the only way to live your life is slap bang in the middle of a contradiction.

And I think that’s a really good place to be. And often when you talk about anything, whether it’s this, or geo-politics, or whatever, it may be the truth is always somewhere in the middle of two opposing extremes.

So I can think back to my own musical career and I can think about going into a studio in Sheffield in 1983/84 and part of it was the day out, buying sandwiches, the they had really nice easy chairs, and it was just an incredible experience. And those were the days where if you wanted a reverse re-verb effect the Tape Op literally swapped the tapes back to front. But then the down side to that was obviously that it was quite expensive and I had just started working so it was a case of saving up for a long while and the guy I was in the band with saving up for a long while. And then you’d get in the car and you’d be ten minutes on your way home and you’d be listening and you’d be going:

“Where’s the kick drum? We could hear it in the studio – but where’s it gone?!”

And there’s nothing you can do about it.

I’m a great believer in that old doctrine that it is very important for individuals to control the means to production, so on the one side you’ve got the old way of doing it, which is studios and the pros and cons of that, the other side of the coin is that any kid can buy a PC, get some cracked software, put up a myspace page and call themselves a “producer”. And that is a term that’s used far too liberally, and is used far too much in general terms. Inasmuch, as there’s a whole craft to writing music and recording music. For every John Lennon, Prince, Aphex Twin the other 99.9% of us, not “struggle” but we spend 80% of the time figuring out what we don’t want to achieve and do, and the other stuff comes in the 20% of the time, pretty much through learning a craft and dedication and hard work.

You’ve got to learn how a compressor works you’ve got to learn how a reverb unit works – it’s not vital – because at the end of the day if music is truly amazing and truly inspirational, nobody really gives a fuck about the sonics – it’s an interesting human condition. You know if you listen to Selected Ambient Works 1 by Aphex Twin there’s hiss and there’s all kinds of stuff – nobody ever remarks on that because of what it did at the time for music.

So, as in all things, there has to be a balance.

And I think it’s great now that I can have a little PC-I card I can slot into my Macbook and it’s got all the universal audio plug-ins on like the emulations of the Roland Space Echo and all the Urei 11 76 compressors and all of this kind of stuff and I think that is incredible, but it doesn’t become the be-all and end-all at the behest of a good idea. And I think if you’ve got a really good idea everything else is kind of irrelevant.

So, predominantly the studio has had its day for the majority of music other than rock music or band music where you need people in a room. Because something happens when there’s a group of people in a room, that doesn’t happen when a kid is sat in front of a computer. Equally, something good can happen in that environment as well. I think it is whatever works.

One thing I always try and do with a lot of the releases we do in the studio here, is try and get as good as sound as I can – but not get to the point where I am spending a day on a hi-hat because that kills creativity and it just leads to a migraine, and I am very lucky that I work with a guy who records under the name Lopazz for Get Physical, a guy called Stefan Eichinger, and he is also a mix and mastering engineer, and he has a beautiful studio in the South West of Germany and he mixes a lot of my stuff.

By mixing what he does is I send him stems and he takes those and puts them through an analogue deck to give them width and depth and a real nice panorama. And then he masters them on analogue equipment like the Manley stuff and he knows what he’s doing – there’s a big difference between him using Manley mastering equipment and me using it on a Universal Audio plug in card, ‘cause he knows how to operate it.

And that for me is the best of both worlds.

The fact that I can end this conversation and in two minutes have a full studio running on my laptop that is ten times more powerful than the studio I made my first album on as an artist in which was only 15 years ago.

That is incredible.

But it is like anything. Somebody sat in very dire financial circumstances would say money would solve all their problems, yet look at the outcome for many many many many lottery winners. Because they don’t understand what money is. Money is only a mechanism. Money will not buy happiness; money will buy freedom of choice – that can buy happiness. So all this beautiful technology can liberate the musician, but it is what they do with that liberation.

And I’ve spent a lot of time this year with the ipad controller, really looking at how I work, and looking at the work-flow behind what I do. And that in itself, particularly when you are as addicted to music technology and synthesisers as I am, is a very seductive thing.

I once read a thing about U2 and it said when they get stuck in the studio, The Edge will keep playing guitar overdubs, just to kind of keep a sense of momentum. And I could almost do that with music technology: I could keep investigating whether I should have that synth, this synth, what about this sound, how do I apply that reverb treatment, at the end of the day you’ve got to say

“Listen, are you a professional, or an amateur?”

And I don’t mean that as harshly as it sounds, I mean this is what I do for my living, and my income comes from topping up a catalogue of songs, producing and remixing artists and running a label. And so at some point I have to say to myself “Stop the fuck, and get to work and do some music”. Because of all these things, playing with plug-ins, auditioning plug-ins, demos of plug-ins can create a very undisciplined environment where quite literally you don’t make any music.

If you speak to the editors of Future Music or Computer Music magazines, the biggest thing they get in the mail-bags from people just doing it in the evenings and at weekends, is “I can never seem to finish tracks”

And I went through a whole period of that last year, I understand it, but ultimately you’ve got to almost nail yourself to the chair and say “Enough. Make music”.

And that can be done whether it’s in a big studio, a small studio, a project studio, or in front of a computer.

Are we losing some understanding of good musicianship? There has definitely been a change in the way people play and make music; do you feel we are losing something of the craft?

I was recounting a story last night about me ending up in hospital as a kid with a fake case of appendicitis to avoid piano lessons because my teacher was this 80 year old who would make me sit with a board behind my back to keep my back straight and smack the undersides of my wrists if my hands dropped down in position.

Can you imagine that today?

I think a lot of this comes back to learning a craft.

Music is like swimming with dolphins whether you are listening to it or making it – it is incredible therapy. Like looking at a large body of water with the sun cast upon it. But I think to do it and try achieve some level of professionalism or achieve some kind of career out of it, without wanting to put in the work is just a big disconnect.

You know what’s the definition of insanity? It’s doing the same thing twice and expecting a different result second time round. You literally have got to put something in to get something out. So I look at my own musicianship, if you like, and I know that I spent a large part of my early childhood learning the piano and thinking ‘The sun’s shining outside’, but I am really glad I did now, because can you imagine sitting down with the computer and these endless possibilities and not really understanding what a chord is? What counter-point is? What harmony is? And all of those things.

Again it is not necessarily an inhibitor, but I believe in all things we’re reaching a very key cusp of many things in many different areas of society; where we are almost at tipping point and lots of knowledge is being lost. I think there has to be more emphasis placed on oral history whether it’s family history or social history or music history. And I think we are seeing much poorer musicianship and we come back to the four people playing in a room and the instinctual, spiritual connection between them that produces something.

And I’ve got to be honest, 99% of modern dance music I hear I classify very simply as “ring tone music”.

Putting a group of samples together at a high tempo is not music and it never will be music and if that sells it is irrelevant, it is irrelevant to what I do, it is irrelevant to my life, it is irrelevant to the business life of the label.

And I totally and utterly choose to ignore it as much as I totally choose to ignore what a government does because I find it irrelevant to my life.

And so musicianship I think is important, it’s not the be-all and end-all, it is a shame that the craft is dying, it is a shame that people don’t understand how to engineer records properly, that they don’t understand arrangement. I was taught at great length by very talented people how to orchestrate – is that useful? 90% of the time no, but I tell you what it is a great get out of jail free card when you really need it and your back is up against the wall.

It is sad to see the knowledge going and it is sad to see kids calling themselves producers and filling my soundcloud drop box with fucking demos that are a pile of shit! (laughs)…

But music making is great, I can sit down at a piano or synthesiser and play for ages and have great fun with no pretence in that moment of coming out with a song. I suppose my bone of contention is with all the kids that just want to make digitally sampled shitty inorganic ringtone crappy music and then get it mastered as loud as possible, that’s not where we should be at, we should be at more womb-like organic approach and not at this spiky, digital loud buzzy samples that we downloaded of the internet on cracked software – that’s not music that’s zeros and ones and there’s a big difference.

I think it’s acceptable to use drum samples (it’s being bloody convenient if we are being honest) and I’m not talking about drum loops necessarily, but I would never really programme a conga when I have got 200 conga loops that have been recorded in a good room and I can add vinyl noise to it if I want, but I would never consider beyond the percussive elements for using samples there’s just no point.

So what’s the future of music technology as you see it? Some Japanese producer friends of mine reckon we should get back to tape cassette and away from digital – and yet you have some information about the ipad controller that you have been working on; so where is it all going?

Well the only track I have ever written that a mastering engineer has never touched was one that I recorded to an old cassette tape because at the time the DAT machine was in for repair – and the engineer said ‘That just sounds perfect I’m not going to touch it’ (laughs)…

I think in a lot of ways technology is very seductive and enticing, but it’s a bit like when you first get a synth.
As a kid you want to press one key and hear Armageddon or the orgasm or Heaven’sGates, as you get older, you want to get a good compressor, you want to make sure you have a good soundcard, you want to make sure that you have good cabling with good connectors. That you have great speakers, that your studio is set up so well ergonomically it’s like an extension of your arms and hands.

And so in a way whilst I don’t want to dissuade future technology – I think we are almost there.

The synthesiser hasn’t been bettered since the mini Moog, compressors haven’t been bettered since Bill Putnam, you could argue the same for the Pultech EQs and the Urei EQs and amplifiers. I use Abelton now all the time having originally used Logic, and I think Abelton – as a studio tool – has a fair way still to go and I’m lucky enough to be chatting with those guys and hopefully having some input about how that can work as more of a studio tool and not just as a specific live performance tool. But pretty much everything is there.

And I’m not sure how much further we want to take it - we come back to the thought that a good idea is a good idea – and that is timeless.

The ipad interface was very much the last piece of jigsaw for me. I’m at the stage where I can programme a synth with my eyes shut, I know how to work Abelton as it currently stands with my eyes shut – well 90% - apart from the odd little tip and trick that you always seem to chance upon. And in addition to that all I have spent this year doing – apart from making music and running the label – is looking at how to enhance and streamline my work-flow, and the ipad application is very much the end point of that process.

And where I’m at now (and I’m very much nearly at the end of this particular process also) is how to build a second portable studio that’s extremely compatible with the fixed room studio, so that I can work between the two, because I’ve noticed on a personal level since I’ve been in Uruguay all my good ideas have originated from a laptop and sat not in a studio. They have all been finished in the studio; but all the good ideas have never been originated there because I think you can sit there and look at the computer, and sit in the room and go ‘Hmmm what shall I do then?’ whereas it’s better just to be sat reading a book and have an idea and just whip a laptop onto your lap with a little mini keyboard and get that basic sketch down.

So the ipad right now for me has taken everything I wanted in a controller – like the bouncing balls sequencer from the Tenori-On, a clip launcher that shows forty-eight tracks in one go, the way devices are controlled, the specific mini moog editor for the synth I use the most, and it’s kind of like apart from Abelton’s work-flow enhancements, where else can technology go that it could be really exciting, because again, there are people that are far more interested in the technology than in the making of the music, and I have periods when I’m like that, but at the same time it’s equally important to get a balancing act and I think that for me; technology is going to keep going and computers are going to get faster and smaller just like mobile phones did and the ipad’s going to get more powerful and there’ll be DAW software inside the ipad within a couple of years for absolutely sure, there’ll be an Abelton probably in there, there’ll be a Logic or Garageband in there.

Will it aid music creativity?

No.

Technology in the short term has just about run its course in practical, useful terms, and I have no desire really to investigate it much more. I’m at a point now where I’ve spent 7 or 8 months making not that much music and doing a lot on studio ergonomics and acoustics and designing – being the only Alpha and Beta tester on the bloody ipad interface – so I am now very ready to actually compile a new body of work, quite quickly and quite intensely, knowing that I have developed the technology, practically and on a personal level to take it as far as I think it can currently go at the moment.


Link to interview here.

Nate Appleman and Pulino's split

Via Eater:

Tuesday, November 2, 2010, by Lockhart

Chef Nate Appleman, who built major buzz for himself in San Francisco before hopping to New York City and taking the job as the founding chef at restaurateur Keith McNally's Bowery pizza play, Pulino's, has left the restaurant, as just confirmed to Eater by Appleman himself moments ago. "It was a mutual split," Appleman said in an email. "I loved my time there and appreciate the whole organization." The news broke to the Pulino's staff at a team meeting at 3pm this afternoon.

Eater hears that McNally has already filled the slot in the kitchen with a chef from his Morandi kitchen; we've contacted McNally but have not yet heard back. The news of Appleman's departure is not a shock, nor would be McNally naming a relative unknown to the post, as has been his modus at many of his restaurants in their early days. It would also explain the recent changes to Pulino's pizza crust and its pizza-slicing technique. Needless to say: DEVELOPING...
Update: Oh that Morandi chef? That would be Tony Liu, one of McNally's institutional chefs who came to Morandi in May 2008 after a long stint at August.


----------

I was wondering about the change in the pizza slicing, as I was there two weeks ago and the slices had changed to a traditional cut. Appleman was still manning the kitchen at the time...

Hopefully Appleman sticks around in NYC.

Tuesday, November 2, 2010

Muallem - Holland Tunnel

The Revenge - Live @ VOLT Festival

The Revenge - Live @ VOLT Festival by warmhq

In preparation for the Warm 11th Birthday on Saturday October 9th at Corsica Studios in London, The Revenge has let us share with you this exclusive live mix from August when he warmed up for Mr Ricardo Villalobos at Volt Festival in Amsterdam. Enjoy!

The Album Leaf - Asleep

Monday, November 1, 2010

The Rolling Stones - Beast Of Burden




I'll never be your beast of burden
My back is broad but it's a hurting
All I want is for you to make love to me
I'll never be your beast of burden
I've walked for miles my feet are hurting
All I want is for you to make love to me

Am I hard enough
Am I rough enough
Am I rich enough
I'm not too blind to see

I'll never be your beast of burden
So let's go home and draw the curtains
Music on the radio
Come on baby make sweet love to me

Am I hard enough
Am I rough enough
Am I rich enough
I'm not too blind to see

Oh little sister
Pretty, pretty, pretty, pretty, girl
You're a pretty, pretty, pretty, pretty, pretty, pretty girl
Pretty, pretty
Such a pretty, pretty, pretty girl
Come on baby please, please, please

I'll tell ya
You can put me out
On the street
Put me out
With no shoes on my feet
But, put me out, put me out
Put me out of misery

Yeah, all your sickness
I can suck it up
Throw it all at me
I can shrug it off
There's one thing baby
That I don't understand
You keep on telling me
I ain't your kind of man

Ain't I rough enough, ooh baby
Ain't I tough enough
Ain't I rich enough, in love enough
Ooh! Ooh! Please

I'll never be your beast of burden
I'll never be your beast of burden
Never, never, never, never, never, never, never be


I don't need no beast of burden
I need no fussing
I need no nursing
Never, never, never, never, never, never, never be

Dan Black - Symphonies (Duff Disco Remix)

Air - Surfing On A Rocket (Joakim To The Smiling Sun Remix)

Thursday, October 21, 2010

PSA: My Birthday Jam @ Sullivan Room + Hall, Saturday, November 20 (Carl Craig, Layo & Bushwacka and Amp Fiddler - oh my!)



Sure, people bandy around the terms "massive" and "special" when referring to the various parties and ragers that are thrown and perhaps those sentiments are real for themselves...but look at that damn flyer and gaze upon the artists set to perform on that night.

I have the absolute honor and privilege to be a part of this special night and share the many, many records I've been buying lately. So come one, come all and let's all come together!


Saturday, November 20th

We've got an amazing night of music coming to both the Sullivan Room and its upstairs sister venue Sullivan Hall on Saturday, November 20th.

For one night, we'll have both the upstairs and downstairs rocking with two very special sets of guest artists. Upstairs, the legendary Planet E boss CARL CRAIG returns to Basic NYC after an incredible debut in April for our anniversary party. He's joined by the esteemed Detroit artist, musician and producer AMP FIDDLER for a special live collaboration. Downstairs, the Olmeto Records label heads and UK tech-house pioneers LAYO & BUSHWACKA! come back to New York for the first time in over two years. This will be their Sullivan Room debut and we've been looking forward to this for a long time.

Sullivan Hall (upstairs):
CARL CRAIG (Planet E / Detroit)
with AMP FIDDLER Live

Sullivan Room (downstairs):
LAYO & BUSHWACKA! (Olmeto Records)

with Basic NYC residents:
SLEEPY & BOO (basicnyc.com)

Sullivan Room guests:
Michael Vieira (Greater>Than)
Prawns & Bajaj (djprawns.com / bajajsahib.com)

Sullivan Hall guests:
Illich Mujica (Techtonic Division)
Mike Murphy
Paul Nahm (Good Radio Music)

hosted by Rob Rewind • Live visuals from VJ Mamiko Kushida & Tito Jimenez

Celebrating Birthdays for Paul Nahm and Illich Mujica! 2-for-1 drinks until 11pm

For guest list and VIP table reservations: email paulnahm@gmail.com

Where: Sullivan Room + Sullivan Hall (218 Sullivan St.)
When: 9pm - 5am
Price: email djpaulnahm@gmail.com for guestlist
Presale tickets: Link to wanttickets

Also, we’re giving away complimentary table service for Carl Craig and Layo & Bushwacka! at Sullivan Room and Sullivan Hall. To enter to win,
email djpaulnahm@gmail.com and name the city that was the setting of Layo & Bushwacka!’s Global Underground mix compilation. Good luck!

Wednesday, October 20, 2010

Sarah Chang - Bruch Violin Concerto No. 1 - 3rd Movement

I went to hear Sarah Chang perform the Bruch Violin Concerto No. 1 last night at Carnegie Hall. It'd been awhile since I last saw her perform. This is the last movement of the concerto that was taped earlier this year. I like the sense of urgency of the piece.

Friday, October 15, 2010

Scarlet Begonias

"Scarlet Begonias" is a song written by the Grateful Dead. Here's a live version performed by them:



And here's a live version performed by Sublime:

Thursday, October 7, 2010

Arcade Fire - Sprawl II (Mountains Beyond Mountains)

The penultimate track on their third full-length album "The Suburbs":



They heard me singing and they told me to stop,
Quit these pretentious things and just punch the clock,
These days, my life, I feel it has no purpose,
But late at night the feelings swim to the surface.
Cause on the surface the city lights shine,
They're calling at me, "come and find your kind."

Sometimes I wonder if the world's so small,
That we can never get away from the sprawl,
Living in the sprawl,
Dead shopping malls rise like mountains beyond mountains,
And there's no end in sight,
I need the darkness someone please cut the lights.

We rode our bikes to the nearest park,
Sat under the swings, we kissed in the dark,
We shield our eyes from the police lights,
We run away, but we don't know why,
And like a mirror these city lights shine,
They're screaming at us, "we don't need your kind."

Sometimes I wonder if the world's so small,
That we can never get away from the sprawl,
Living in the sprawl,
Dead shopping malls rise like mountains beyond mountains,
And there's no end in sight,
I need the darkness someone please cut the lights.

They heard me singing and they told me to stop,
Quit these pretentious things and just punch the clock.

Sometimes I wonder if the world's so small,
Can we ever get away from the sprawl?
Living in the sprawl,
Dead shopping malls rise like mountains beyond mountains,
And there's no end in sight,
I need the darkness someone please cut the lights.


----------


And here's a live version:

Wednesday, October 6, 2010

Theo Parrish - BBC Radio 1 Benji B's Soulful Beats - 27-09-2010

Theo Parrish - BBC Radio 1 Benji B's Soulful Beats - 27-09-2010 by R_co

Track List:

Benji B

01. [002:00] – Barrington Levy – The Vibes Is Right
02. [006:05] – Billy Love – Can’t Keep Running Away
03. [012:10] – LCD Soundsystem – 45:33 (Theo Parrish’s Space Cadet Remix)
04. [018:45] – Theo Parrish – Lost Keys
05. [021:30] – Theo Parrish – I Can Take It
06. [028:30] – Theo Parrish – Black Horizon
07. [032:35] – Black Bottom Collective – Invocation (Theo Parrish Remix)
08. [039:10] – Theo Parrish – Twin Cities
09. [048:15] – Theo Parrish – When I’m Gone
10. [053:50] – ?? – ??

Theo Parrish

01. [060:55] – Sizzle – Love Is All Around (Re-Edit)
02. [064:30] – J.T.C. – In The G
03. [066:35] – Telex – Raised By Snakes
04. [068:55] – Soft Machine – Isle Of The Blessed
05. [070:30] – Soft Machine – Panoramania
06. [077:05] – ?? – ??
07. [078:10] – Tulio De Piscopo – Stop Bajon (Theo Parrish Remix)
08. [090:20] – The Fatback Band – Wicky Wacky (Jamie 3:26 Edit)
09. [098:55] – Marcellus Pittman – Razz 09
10. [105:45] – Theo Parrish – Sketches Pt 3 E
11. [114:30] – The Perfect Circle – The Hands Of Time
12. [120:15] – Seawind – Free
13. [124:00] – War – Keep On Doin’
14. [127:15] – No I.D. (Dion Wilson) – ?
15. [131:40] – Patrice Rushen – Settle For My Love (ID Version)
16. [137:10] – Led Zeppelin – Trampled Underfoot
17. [141:50] – Chris & Cosey – Gardens Of The Pure
18. [144:40] – ?? – ??
19. [149:20] – Mim Suleiman – Mingi
20. [153:25] – Leron Carson – Dedicated
21. [158:35] – ?? – ??
22. [161:50] – Eddie Palmieri – Azucar (Parts 2 & 3)
23. [166:40] – United Vibrations – RA!
24. [170:05] – ?? – ??
25. [173:50] – Hamilton Bohannon – South African Man
26. [176:35] – ?? – ??

Sasha & John Digweed Live @ Simons Gemini Party, Gainesville, Florida - 27-05-1996

6 hours and 30 mins of Sasha & Digweed from over 14 years ago:

Sasha & John Digweed Live @ Simons Gemini Party, Gainesville, Florida - 27-05-1996 by R_co

01. Andrea Mendez With Dem Girlz - Bring Me Love (Mark Picchiotti Mad Boy Dub)
02. ID female wail
03. Housey Doingz - Curly Wurly
04. ID spooky female vocal
05. ID instr male vocal -split-
06. ID instr
07. N-Tribe - Phreakwave (pt1)
08. Sasha - Arkham Asylum
09. Nu Colours - Special Kind Of Lover (A & G Division The Great Divide Dub III)
10. DJ Inertia vs DJ Speedy - Hypnotica
11. Blue Amazon - And Then The Rain Falls (Blue Amazon Original Mix)
12. ID instr
13. Transa - Prophase w/ Transa - Interphase -split-
14. Pablo Gargano - Inside Your Mind (ID Mix)
15. Future Breeze - Islamic Nights
16. Robert Miles With Katia - Red Zone (pt3) -split- [Joe C "Give it up for DJ John Digweed...On the decks right now, DJ Sasha!"]
17. The Arc - Echobeach (Original Mix)
18. Allium - M.O.T. Venture (Hold Your Pillow)
19. S 'N' S - Conflicts
20. Snap! feat Rukmani - Rame (Resistance D Remix) -split-
21. U96 - Club Bizarre (Ken Doh Mix)
22. JP & Taylor - Digital Discourse
23. Paragliders - Share Of Bitterness (Peppermint Mix)
24. ID male "Welcome" [appregio bassline]
25. ID male whisper "Afrika" or "Nautica" [heavy kick drum]
26. Reefa! - Decadence (Scope Remix)
27. Natural Forces - Legacy (Yum Yum Acid Mix) -split-
28. Slacker - Flying
29. Tilt - My Spirit (Original Tilt Dub)
30. ID male "Good Evening All the People Of The Universe With Free Minds"
31. ID [breaks]
32. Chakra - I Am (John Digweed & Nick Muir Bedrock Dream Dub)
33. Chakra - I Am (John Digweed & Nick Muir Bedrock Mix)
34. Konya - Come On (Original Full Vocal Mix)
35. Hong Kong Trash - Cactus Funk (Eat Your Windpipe Mix)
-split-
36. Amethyst - Futura
37. ID instr
38. ID female wail
39. Castle Trancelott - The Gloom (Trancedub)
40. Hong Kong Trash - Cactus Funk (Down By The River Style Mix)
41. Mozaic - Rays Of The Rising Sun (Ramp Worshipful Dub)
42. Astral Projection feat DJ Jorg - Mahadeva (Original Mix)
43. Alex Reece feat Carmen - Candles (Blue Amazon Angel Of The North Vocal Mix) -split-
44. ID [breaks & acid trance]
45. Andy Ling - Calling Angels (Analogue Heaven Mix)
46. ID instr
47. BBE - Seven Days & One Week (Club Mix)
48. Angeles - The Keeper
49. Evolution - Your Love Is Calling (The Mix)
-split-
50. Digital Blondes - Antheum (Free Mix)
51. Ready For Dead - Ready For Dead (Ambient Mix)
52. Brother Grim - Radiate (Electroliners Remix)
53. Goldie vs Rabbit In The Moon - Inner City Life (Rabbit In The Moon Vocalic City)
54. Delta Lady - Anything You Want (The Delta Belter Vocal Symphony)
55. Subliminal Cuts - Le Voie Le Soleil (Way Out West Dub Mix)
56. Yazz - Abandon Me (Ramp Vacancy Mix) -split-
57. ID instr [acidy]
58. ID female "?? Life" [acidy]
59. ID instr [Oakenfold Goa Track]
60. Vernon - Vernon's Wonderland (Original Mix)
61. ID
62. ID female echoed [piano at break]
63. ID instr female wail [heavy riff/ piano]
John Digweed Mumbling At End "You've Got Two More Records Tonight...This Is One Of Em"
64. ID

Jimmy McGriff - Step One / Red Sails In The Sunset

Jimmy McGriff was a world-class organist who's career spanned several decades. Here's two of his tracks. So cool...so groovy...



Monday, October 4, 2010

Mr. Nice [Trailer]

An excellent read, Mr. Nice, the true story of the one and only Howard Marks, has been adapted to film and will be released on October 8, 2010 in the UK. Not sure when the film will be released in the States, but it undoubtedly will introduce the inimitable Marks to a whole new audience.

The Cars - Let's Go



She's driving away with the dim lights on
She's making a play and she can't go wrong
She never waits too long
She's winding them down on her clock machine
And she won't give up 'cause she's seventeen
She's a frozen fire
She's my one desire

CHORUS
And I don't want to hold her down
Don't want to break her crown
When she says, let's go
I like the nightlife baby
She says, I like the night life baby
She says, let's go!

She's laughing inside 'cause they can't refuse
She's so beautiful now, she doesn't wear her shoes
She never likes to choose
She's got wonderful eyes and a risque mouth
And when I ask her before, she said she's holding out
She's a frozen fire
She's my one desire

CHORUS

I like the nightlife baby
She says, I like the nightlife baby
She says, let's go!