For a number of months now I have been listening to Uncle Dugs "Run Come Follow Me" Radio Show on RINSE FM (UK)- Every show is a history lesson when it comes to Oldskool Rave/Jungle/Drum & Bass. So I thought I should post a heads up for this weeks show.......another BANGER !!!
"Uncle Dugs Run Come Follow Friday show recorded live on Rinse FM on 25-11-2011
On this weeks show we had a bag of 92 classics right up till our special guest Mr Danny Donnelly of Sub Base, Boogie times and loads more popped in for this weeks interview..
We spoke about everything from before the shop and label days right through that whole rave period up till what he has done in recent years with the best seeling Pure & Euphoria compilation brands and now his career in writing and directing movies..
1. macka brown - dubplate style - labello blanco
2. dj edge - compnded - edge
3. dj seduction - higher now - impact
4. criminal minds - baptized by dub - white house
5. urban shakedown - some justice (concrete jungle mix) - urban shakedown
6. ratpack - searchin' for my rizla - big giant music
7. dance conspiracy - dub war - metamorphosis
8. mc lethal - the rave digger - network
9. doc scott - nhs (disco mix) - absolute 2
10. bodysnatch - euphony - big city
11. rufige cru - believe - reinforced
12. nookie - give a little love - absolute 2
13. menace makes 3 - do you feel what im feeling - danse city
14. urban hype - trip to trumpton - faze 2
15. sacred - keep it going - white
16. origination - break down - rudeboy
17. criminal minds - flynny's theme - white house
18. phantasy & gemini - never try the hippodrome - liquid wax
19. ragga twins feat junior reid - shine eye - shut up & dance
20. demon boyz - jungle dett (hardcore house mix) - tribal bass
21. brothers grimm - exodus (the lion awakes) - production house
22. jonny l - hurt you so - yo!yo!
23. code 071 - a london sumtin' - reinforced
24. guy called gerald - sunshine - juice box
25. awesome 3 - dont go - entity
26. acen - trip to the moon pt 2 (the dark side) - production house
Danny Donnelly interview
27. dj hype feat mc gq - roll the beats - sub base
28. dj hype - dubplate fever - sub base"
It's been quite a while since my last post - due to unplanned opertion to my back... all good now and what better way to return than with a masterful mix by Objekt.
"FACTs 300th mix comes from almost certainly our dance music newcomer of 2011, Berlin’s Objekt.
Objekt hasn’t released much in 2011, but that’s one of the reasons his emergence has been so welcome. In an age of oversaturation and overexposure, where people feel the need to upload their entire life stories to Soundcloud after two weeks of watching Logic tutorials, he’s the definition of someone who’s taken time to hone a craft (he’s actually worked as a programmer at Native Instruments for several years, which goes some way to explaining why his music is so sonically potent), and waited until they’re 100% ready before exposing their wares to the world at large.
And what an impact Objekt’s music has made. His first self-released single, ‘Tinderbox’ / ‘The Goose That Got Away’, was such an impressive amalgamation of half-step atmospherics and rickety techno drum programming that people were convinced it was the work of a more established producer under a new alias, while its follow up paired one of the year’s most stratospheric techno tracks (‘CLK Recovery’) with a B-side that proved that club-stopping dubstep drops don’t have to be stupid in 2011 (‘Unglued’). Combined with remixes for Call Super, Sbtrkt and Radiohead, and ‘Cactus’, a deadly dubplate that proved a highlight of Ben UFO’s recent mix CD for Rinse, he’s built up a small but powerful discovery with hints of STL, Mala, Peverelist and more to it already.
Objekt’s FACT mix is roughly in line with the music he’s released so far: underground techno full of staggered drums and inventive sampling, presented impeccably while never sounding too straight, smooth or unnatural. No tracklist provided, but there appears to be at least one unreleased Objekt cut in there for the spotters".
This Friday’s FACT mix comes from one of the brightest talents in UK house music, East London’s Ossie.
If you’ve listened to underground house favourite DJ Petchy at any point in the last eighteen months, there’s a good chance you’ll have heard Ossie’s ‘Tarantula’. A beauty of a track, built on gloriously natural percussion and slide rule synths, with the support of Petchy and others it became an anthem on Live FM and other London pirates, before being snapped up for full release by Lightworks, a new label formed by Reecha (Dirty Canvas/No Hats No Hoods) and Jon Rust.
This month, Ossie followed it up with arguably an even better second single, the vocoder-led ‘Set the Tone’ on Hyperdub. He also played a show-stopping closing set at our recent party at Cable; time, thought we, to ask him for a mix.
What’s key with Ossie’s productions is that instinctive, live sounding percussion he uses, and his love for natural drums also comes through in his FACT mix. Blended to perfection, they melt and slip into each other like butter. Download the mix below, and check page two for a short Q&A with Ossie.
Moloko – Sing It back (Ossie Remix)
Karizma – Groove A ‘K” Ordingly (Atjazz Remix)
FCL – Let’s Go
Ossie – The Power of Love
DJ Gregory & Sidney Samson – Dama S Salon
Plesurekraft – Tarantula (Ghooppee Remix)
Ossie – That’s Mine
Danny Marquez & Tuccillo – Mumba
Ossie – Set The Tone
DJ Gregory – Attend 1
Vikter Duplaix – Manhood
DJ Gregory – Traffic
Bopstar feat. Zara Mc Farlane – Chiaroscuro (Vudoo Reprise)
Marlon D – Jesus Creates Sounds
Ossie – Ossie Baba
On July 23 and 24, the Portishead curated ATP event, I’ll Be Your Mirror, rolls into town.
To celebrate the event, the legendary Bristol group have made a two hour mixtape that features the majority of the acts playing I’ll Be Your Mirror, including Swans, Godspeed You! Black Emperor, The Books, Factory Floor, DOOM, Grinderman and Company Flow.
* 00.00 “…They Don’t Sleep Anymore on the Beach…” / Monheim – Godspeed You! Black Emperor
* 13.19 We Carry On – Portishead
* 19.44 A Cold Freezin’ Night – The Books
* 23.04 Gazzillion Ear – Doom
* 27.15 You Fucking People Make Me Sick – Swans
* 32.20 Yang Yang – Anika
* 35.11 Real Love – Factory Floor
* 42.32 Infinity Skull Cube – DD/MM/YYYY
* 45.51 Untilted – Helen Money
* 51.42 “Four Spirits In A Room” Excerpt – Alan Moore & Stephen O’Malley
* 56.50 Plaster Casts Of Everything – Liars
* 60.43 8 Steps To Perfection – Company Flow
* 65.23 Written On The Forehead – PJ Harvey
* 68.49 Arabic Emotions – The London Snorkeling Team
* 71.27 Wulfstan – BEAK>
* 77.28 When My Baby Comes – Grinderman
* 84.09 Paris Signals – S.C.U.M.
* 88.30 Lovers With Iraqis – Foot Village
* 92.18 Gratitude – Acoustic Ladyland
* 96.29 Violence – The Telescopes
* 100.01 Hannibal – Caribou
* 106.15 Walk In The Park – Beach House
"Gil Scott-Heron, who died on May 27 aged 62, was a composer, musician, poet and author whose writings and recordings provided a vivid, and often stinging, commentary on social injustice and the black American experience; his declamatory singing style, allied to the overtly political content of his work, made him widely recognised as one of the inspirational figures of rap music." (The Telgraph)
"Scott-Heron first came to attention with his 1970 recording The Revolution Will Not Be Televised, an attack on the mindless and anaesthetising effects of the mass media and a call to arms to the black community: “You will not be able to stay home, brother./You will not be able to plug in, turn on and cop out./You will not be able to lose yourself on skag and skip,/Skip out for beer during commercials,/Because the revolution will not be televised.”
Written when Scott Heron was just 18, it first appeared in the form of a spoken-word recitation, his impassioned incantation accompanied only by congas and bongo drums, on his debut album Small Talk at 125th and Lenox.
The following year Scott-Heron recorded the song for a second time, this time with a full band, for his album Pieces of a Man, and as the B-side to the single Home Is Where The Hatred Is.
The song went on to be covered, sampled and referenced in innumerable recordings, the title entering the lexicon of contemporary phraseology. In 2010 it was named as one of the top 20 political songs by the New Statesman.
Scott-Heron’s music reflected something of the militancy and self-assertiveness of such theorists and polemicists as Malcolm X and Stokely Carmichael. Over the course of some 20 albums he produced a series of sardonic and biting commentaries on ghetto life and racial injustice, including Whitey’s On The Moon, Home Is Where The Hatred Is, The Bottle (a lamentation about people squandering their lives on liquor, set to an irresistibly seductive Latin beat) and the anti-apartheid anthem Johannesburg. But anger was only colour in Scott-Heron’s music palette; songs such as Must Be Something and It’s Your World were moving affirmations of faith in the power of the human spirit.
A tall, rail-thin man with a wispy goatee beard and a countenance of prophetic gravity, Scott-Heron sang in a rough, declamatory voice that was once described as a mixture of “mahogany, sunshine and tears” and that always emphasised lyrical content over technique. The bass player Ron Carter, who played on Scott-Heron’s second album, Pieces of a Man, described it as “a voice like you would have for Shakespeare”.
His vocal style, and his political message, would be a major influence on such groups as Public Enemy and NWA, and would lead to his being described as “the godfather of rap”. It was a title that Scott-Heron himself always deplored: his music covered a far broader and more sophisticated emotional range than the crude rhetoric of so much rap music, which he dismissed on the ground that “you don’t really see inside the person. Instead, you just get a lot of posturing.” He preferred to describe himself as “a bluesologist”.
Gil Scott-Heron was born in Chicago on April 1 1949. He was named after his father, Gilbert Heron, a Jamaican who had settled in America, where his prowess at football (soccer) brought him to the attention of talent scouts from Scotland; in the early 1950s Gilbert snr played football professionally for Celtic and Third Lanark, earning the nickname “the Black Arrow”, before returning to Chicago. It was there that he met Gil’s mother, Bobbie, a librarian and an accomplished singer who had once performed with the New York Oratorial Society.
Scott-Heron would encapsulate his early years in a poem, Coming From A Broken Home: “Womenfolk raised me and I was full grown/before I knew I came from a broken home.” His parents separated when he was two, and he was sent to live with his maternal grandmother, Lillie Scott, in Jackson, Tennessee. Scott-Heron would credit his grandmother with being one of the primary influences on his life: “[She] raised me to not sit around and wait for people to guess what’s on your mind — I was gonna have to say it.”
Cultivating his interest in music and literature, she bought him a second-hand piano from a local funeral parlour and introduced him to the writings of the Harlem Renaissance novelist and poet Langston Hughes, who utilised the rhythms of jazz in his poetry and who became a major influence.
When Gil was 12 his grandmother died, and he moved to New York to be reunited with his mother, who brought up her son on her own. On the recommendation of his high school English teacher, Gil won a scholarship to a private school, the Ethical Culture Fieldston School, before going on to study at Lincoln University in Pennsylvania, where Langston Hughes had once been a student.
In his second year at university he was given leave of absence to write a novel, The Vulture (1970), a thriller about ghetto life, while working as a clerk at a dry cleaners. On graduation he published a second novel, The Nigger Factory (1971), about campus unrest, and a collection of poetry, Small Talk at 125th and Lenox.
By now Scott-Heron had begun performing his poetry in coffee houses and jazz clubs, where he was approached by the jazz producer Bob Thiele who, as head of the Impulse label, had recorded such artists as John Coltrane, Sonny Rollins and Dizzy Gillespie, as well as being the co-writer, with George David Weiss, of Louis Armstrong’s What a Wonderful World.
Thiele signed Scott-Heron to his own Flying Dutchman label, and released Small Talk at 125th and Lenox, a live recording of one of Scott-Heron’s club performances. The follow-up Pieces of Man brought him together on record for the first time with Brian Jackson, a keyboard-player, flautist and composer whom he had met at Lincoln University, and who would become his principal collaborator on nine albums.
With Jackson, Scott-Heron refined an intoxicating hybrid of jazz, Latin and Afro idioms that established him in the vanguard of black American music in the 1970s. The success of a single version of The Bottle in 1974 led to his being signed to a major label, Arista. He enjoyed further chart success in 1976 with Johannesburg and, in 1978, with the anti-drug song Angel Dust: “Please, children would you listen, Just ain’t where it’s at. You won’t remember what you’re missin’, but down some dead end streets, there ain’t no turnin’ back.”
These lyrics were to prove ironic, for by the end of the 1980s Scott-Heron was himself beginning to be undermined by drugs use. Between 1970 and 1982 he made 13 albums, but it would be a further 11 years before the release of his 14th, Spirits; the album’s centrepiece was a gruelling three-part explication of the hells of drug addiction, The Other Side. While he continued to perform intermittently, Scott-Heron became a notoriously unreliable figure.
Monique de Latour, a New Zealander photographer who met Scott-Heron in 1995 and lived with him for several years, described how he would frequently vanish for days on end without explanation, often retreating to one of a number of flophouse hotels in Harlem.
In the hope of shocking Scott-Heron out of his addiction, de Latour took to photographing him when he was comatose on drugs and hanging the pictures on the walls; but he refused to look at them. “He didn’t like to look at himself at all,” she recalled. “He didn’t like to look in the mirror.”
In 2000 Scott-Heron was sentenced to 18 to 24 months of in-patient rehabilitation for possession of cocaine and two crack pipes, but given leave to complete a European tour. After failing even to turn up at a subsequent court hearing he was sentenced to between one and three years in prison. Released on parole, in 2003 he was again charged with possession of a controlled substance after cocaine he had hidden in the lining of his bag showed up on an airport x-ray. And in 2006 he was sentenced to two to four years in a New York State prison for violating a plea deal on a drug possession charge by leaving a rehabilitation centre.
In 2010 there was a resurgence of interest in his work when he returned with his first studio album in 16 years, I’m New Here. The record had come about after an English fan and record producer, Richard Russell, had written to Scott-Heron and then visited him in prison on Rikers Island in 2006.
The record put Scott-Heron into an abrasively contemporary musical setting, placing his gruff, time-worn spoken-word recitations — including a reworking of the Robert Johnson blues Me and the Devil — in a setting of dark, down-tempo beats, loops and samples.".
To celebrate the phenominal career of Gil - Kirk Degiorgio has posted a new Sound Obsession show :-
Sound Obsession - Vol 59 - Tribute To Gil Scott-Heron
In a career spanning over two decades, Kirk Degiorgio has earned the tag of 'the producers producer'. From his humble beginnings in 1983 as an electro DJ to his As One productions for Clear, Mo' Wax and Ubiquity, Degiorgio has remained true to his love of everything soulful, edgy and funky. Inspired by a vinyl buying visit to Chicago and Detroit in 1990 Kirk sold all his records and put together ART Studios in the model of those he saw at Transmat and Metroplex. Kirk fused his vision of the Detroit sound with funk and jazz influences resulting in a succession of projects under the names Future/Past, As One, Offworld, Esoterik, Elegy and Super-A-Loof - only recently has he used his actual name for his purist techno releases on the New Religion label. He has remixed artists as varied as Azymuth, Coldcut, 4 Hero, Innerzone Orchestra, Papo Vasquez and many more. His collaborations include work with visionaries like Ian O'Brien, Tony Allen, Carl Craig, and Paul Randolph. From 1992 until 1997 Kirk's ART/OpArt labels released important early productions from B12, Carl Craig, Aphex Twin, The Black Dog, Photek and others. Kirk has also recorded several albums as As One, as well as working as producer, writer, and backing singer for the band The Beauty Room.
TRACKLISTING:
Gil Scott-Heron - On Coming From A Broken Home Pt.1 - XL
Gil Scott-Heron - The Revolution Will Not Be Televised - Flying Dutchman
Gil Scott-Heron - Lady Day And John Coltrane - Flying Dutchman
Gil Scott-Heron - Home Is Where The Hatred Is - Flying Dutchman
Gil Scott-Heron - The Needle's Eye - Flying Dutchman
Gil Scott-Heron - Pieces Of A Man - Flying Dutchman
Gil Scott-Heron - Did You Hear What They Said - Flying Dutchman
Gil Scott-Heron/Brian Jackson - Peace Go With You Brother - Strata East
Gil Scott-Heron/Brian Jackson - Song For Bobby Smith - Strata East
Gil Scott-Heron/Brian Jackson - Winter In America - Arista
Gil Scott-Heron/Brian Jackson - Ain't No Such Thing As Superman - Arista
Gil Scott-Heron/Brian Jackson - A Toast To The People - Arista
Gil Scott-Heron/Brian Jackson - A Lovely Day - Arista
Gil Scott-Heron/Brian Jackson - It's Your World - Arista
Gil Scott-Heron/Brian Jackson - The Bottle (Live) - Arista
Gil Scott-Heron/Brian Jackson - Racetrack In France - Arista
Gil Scott-Heron/Brian Jackson - We Almost Lost Detroit - Arista
Gil Scott-Heron/Brian Jackson - Better Days Ahead - Arista
Gil Scott-Heron/Brian Jackson - Third World Revolution - Arista
Gil Scott-Heron - Legend In His Own Mind - Arista
Gil Scott-Heron - The Train From Washington - Arista
Gil Scott-Heron - Morning Thoughts - Arista
Gil Scott-Heron - B Movie - Arista
Gil Scott-Heron - On Coming From A Broken Home Pt.2 - XL
Gil Scott-Heron - Who Will Pay Reparations On My Soul? - Flying Dutchman
The second half of XLR8R's two-part 200th podcast comes courtesy of another musical heavyweight, dubstep kingpin Mala (a.k.a. Mark Lawrence).
Whether operating solo or as one half of legendary outfit Digital Mystikz, the man helped put dubstep on the musical map in the mid-'00s, not only as a producer and DJ, but also as the co-founder of the genre-defining DMZ label and club night with Coki and Loefah. Along the way, he also found the time to start up his own Deep Medi imprint. His work has undeniably influenced an entire generation of bass-loving artists, including a large swath of those folks who regularly appear in XLR8R. These days, when he's not travelling the globe and reminding people of the power of sub-bass, he's still turning out new music—most recently last year's Return II Space album—and now he's kicking off a new mix series, Sound*System*Musik, the first chapter of which is this podcast for XLR8R. Over the course of its 45 minutes, Mala drops one low-slung, speaker-rattling tune after the next, many of them DMZ dubplates, and almost all of which seriously emphasize the dub end of the dubstep equation. He's a true master craftsman, someone who manipulates and massages low-end sonics with the precision of a surgeon, making his contribution to the XLR8R podcast series to true pleasure to behold.
01 Mala - Digital Mystikz "Livin' Different VIP" (DMZ)
02 V.I.V.E.K "Feel It" (Deep Medi)
03 Goth-Trad "Seeker"
04 Coki - Digital Mystikz "Ironshirt"
05 Mala "Enter Dimensions"
06 Kryptic Minds + Youngsta "Arcane"
07 Dark Tantrums "Unborn"
08 V.I.V.E.K "Big Bang" (Deep Medi)
09 Mavado "Dem A Talk (TMSV Refix)"
10 Coki "Revolution"
11 Jack Sparrow "Afraid of Me"
12 Mensah "Gambia"
13 The Dub Mechanics "The Clash"
14 Mala "Bad Spirits on Shoulders"
15 Digital Mystikz "Dun Stinky"
16 Commodo "Saracen" (Deep Medi)
17 Coki "Duppy Sour Sap"
18 Johnny Osbourne "Fally Rankin (V.I.V.E.K. Dub Version)" (Greensleeves)
19 Mala "Education" (DMZ)
20 Old Apparatus "Untitled Intro" (Deep Medi)
Apologies for not posting recently - have been distraceted by life outside the blogsphere...anyway i'm back with a FACT mix recently posted....its Oldschool/Jungle group 2 Bad Mice...... killer.
FACT mix 250 is a time machine. It’s destination? 1991, ’92, ’93, ’94.
This time machine has been built for us by 2 Bad Mice, the original nutters whose early productions – produced in collaboration with Rob Playford – constitute some of early rave’s finest musical moments, and midwifed jungle into life.
Founded in 1991 by Sean O’Keefe and Simon Colebooke, and, in a brilliant contraction of distant points on the map of English culture – dirty raves and bucolic children’s literature – they took their name (and that of their signature, breakthrough track) from Beatrix Potter’s The Tale of Two Bad Mice, about two good-f0r-nowt rodents who vandalise a little girl’s dollhouse. The moniker, with its connotations of mischief, mayhem and bare-faced cheek, was perfect for O’Keefe and Colebrooke’s concoctions of shifty breakbeats, impish vocal loops and earth-quaking sub-bass.
“To be honest, I wasn’t sure about the use of [the name] as I thought it slightly cheesy,” Colebrooke would later recall. “But the anticipation of what could happen with the release made us so excited that it was soon forgotten. Sean knocked up the collage style cover, a test press and promo run were done and we were ready to unleash our first release…”
Key to the power of 2 Bad Mice’s beats was their then third member and producer Rob Playford, in whose poky studio their tracks were laid down in a haze of spliff-smoke. By the time he went on to engineer Goldie’s Timeless, Playford was happily describing drum ‘n bass as the next prog-rock and privileging the album format as the genre’s optimum vessel of expression, but for us the work of his that will truly endure is the more raw, impromptu and altogether less self-aware fare that he produced with 2 Bad Mice and their other collaborative project, Kaotic Chemistry. Taking their cue from souch trailblazers as Shut Up and Dance and Shades Of Rhythm, 2BM and KC brought a hip-hop approach to rave, sampling rhythms and chopping them up and sanding them down into devastatingly lean and mean dancefloor detonators – it’s telling that their most seminal anthem was titled ‘Bombscare’. At times you could be forgiven for thinking otherwise, but the fact is that 2 Bad Mice, unlike so many of their peers, resisted the toytown cartoonishness that’s often part and parcel of ‘ardkore, while also remembereing to make their music fun – just listen to the rollercoasting keyboard vamps, chipmunked soul vocals and parping horns on ‘Hold It Down’. There’s obviously and innocence and naivety to their productions, and that’s part of its charm; at the same time, have you ever heard as deliciously dark-hearted and minimal as ‘Waremouse’?
In parallel to their work as 2 Bad Mice, O’Keeffe, Colebrooke and Playford were making music as Kaotic Chemistry, whose choice of titles and imagery made no secret of rave’s narcotic drive. The front cover image of the Five In One Night EP (which features the classic ‘Drumtrip’) depicted a typical coffee table scene, a hand at the edge of the shot holding a fag and chopping out a line of speed, discarded wrap just out of focus; the photo on the back showed the same table adorned with a pile of pills. If at this stage you were still doubting the inspiration behind the record, the whispered intonation ‘Ecstasy…Ecstasy…Ecstasy…’ that kicks off the title track soon dispelled it. The follow-up LSD EP (Moving Shadow, 1992) tightened up chaotic Kaotic Chemistry sound; the breaks are at once more polished and more punishing, the vocal loops are less comical and more genuinely disorienting, the overall production and manipulation of space terrifically advanced, not just on past 2BM/KC product, but compared to anything being made at the time. ‘Illegal Subs’, ‘Drum Trip II’, ‘Space Cakes’, ‘LSD’ – every track on this EP is exemplary, mingling mirth and menace as only early UK rave can. It really is one of the most essential 12″s of the era, and still sounds rabble-rousing today. All together now: “You are the people of chemistry / the people of physics / the people of civilisation / the people of music / the people of rhythm!”
After that spasm of future-rushing activity across ’91-’94, 2 Bad Mice went quiet, O’Keeffe and Colebrooke choosing to concentrate on other projects and, you know, life. O’Keeffe in particular has produced some extraordinary solo work, especially under his Deep Blue guise, beginning with 1993′s classic ‘The Helicopter Tune’ and continuing right up to the mid-noughties. Having sold in excess of 120,000 records on labels like Moving Shadow, 31 and Good Looking, these days his primary interest “techy, tribal and DEEP house”. But 2 Bad Mice are not dead, oh no.
For the past half-decade or so O’Keeffe and Colebrooke have been treating a new generation of ravers to the initimable 2BM sound. Joined by their old mucker Rhodesy, who remixed ‘Bombscare’ with Rob Haigh in ’94 and worked for Parliament Records and Kiss FM in subsequent years, for their modern-day sets 2BM stay true to their ’91-’94 sound; their sets are a living testament to the potency of the hardcore sound, which despite having created or mutated into myriad different strains of different dance music since, remains unbeaten in its ability to make euphoria and dystopia feel like natural bedfellows.
2 Bad Mice play the resurgent Glade Festival on June 10. Other acts on the whopping bill include Photek, Untold, Hyetal, Machinedrum, Ben UFO, Object and Pangaea. It’s worth noting that none – repeat, none – of these artists would exist in the form that they do without 2 Bad Mice, so whether your a craggy old-skool survivor or a fresh-faced rave debutante, be sure to go pay your respects and experience the party of your life while you’re at it. More information and tickets here.
And so….here we have 2 Bad Mice’s FACT mix. It’s out 250th episode, something of a landmark, and we’re delighted to have Sean, Si and Rhodesy behind the decks for the occasion. Mixed with deadly precision, it’s essentially a greatest hits of hardcore and early jungle, all killer and no filler. With the possible exception of last week’s Machinedrum workout, we’re hard-pressed to think of a 2011 FACT mix this year that we’ve enjoyed quite this much. Whether you know ‘Space Cakes’, ‘Rockin’ Down The House’, ‘Bombscare’ et al like the back of your hand, or whether it’s all new to you, we strongly urge you to batten down the hatches and get raving.
TRACKLISTING:
1. Underkut – “Both Ends” Mendoza
2. Da Juice “Hear The Angels” Torso
3. Walters & Allen “On De Ball” Mendoza
4. 2 Bad Mice “Bombscare” Moving Shadow
5. Kicks Like A Mule “The Bouncer” Tribal Bass
6. Code 071 “A London Sumtin” Reinforced
7. The Sorcerer “Odyssey” ADR
8. MC Jay J & DJ Devious D “Time Of Our Lives” Awesome
9. Kaotic Chemistry “Space Cakes” Moving Shadow
10. Chemical Company “Define the Beat” White Label
11. M17 “Rockin’ Down The House” Chill
12. DJ Phantasy & DJ Seduction “DJ’s Unite” Impact
13. Edge 1 “Compounded” Edge Records
14. DJ Tim & DJ Misjah “Access” (Rhodesy VIP) X-Trax
15. Urban Hype “Trip” (Renmix) Faze 2
16. Phuture Assassins “Future Sound” (2 Bad Mice Remix) Suburban Bass
Soul Mann and The Brothers / Bumpy's Lament // Pickwick International Inc.
InfinitiRock / SpaceOut // Base Trip Records <-- free download
George Fitzgerald / Tell Me (Dubstep Refix) // White Label
Koreless / 4D // Pictures Music
Build An Ark / World Peace Now // Kindred Spirits
Raphael / Hommage a Kabylie // Selection Records
Mariella / Lovesick (MdCL Remix) // Tru Statement Records
Brotto / Perma Culture // Tea and Cake Records <-- free download
Luminiscent / Syntax // Independent
Busta Rhymes / Still Shining // Elektra Records
Frente Cumbiero / Pitchito // Strutt Records
Ofege / Amayo // EMI (Nigeria)
Kraftwerk / Atem // Vertigo
Bill Laswell & Jean Touitou / Cuban Beat // A.P.C
The KLF / 3am Somewhere Out Of Beaumont // KLF Communications
Ravi Shankar / Scenic Tour // World Pacific
Roy Budd / Main Theme - Carter Takes A Train // Castle Communications
Paz / The Buddha // Spotlite Records
Sabu Martinez / Wounded Knee // Pure Records
Sly and The Family Stone / Small Talk / Epic
Patrice Rushen / (She Will) Take You Down To Love // WEA Records
Martine Girault / Revival // FFRR
Orphies / Quiet... Aliens Talking // Realtime Records
Paperclip People / Remake (Basic Reshape) // Planet E
Theorem / Shift // M_nus
Master C & J / In The City // State Street Records
Madlib / The Ride (Nightcoastin' Instrumental) // Madlib Invazion
InfinitiRock / Castillian // Base Trip Records
4th Measure Men / 4 You (Maya Jane Coles Remix) // Defected
Napihedz / Jah Bless // Prime Numbers
Onmutu Mechanicks / Lupos Moon // Echocord
June Miller / Half Top Feel // Horizons
Calibre / Manchester Nights // Signature Records
Mobb Deep / Give Up The Goods (Just Step) (with Big Noyd) // BMG
Jeru The Damaja / Whatever // PolyGram Records
The Stepkids are three singer/songwriters. “A lot of what excites us about this band is this band itself,” says bassist and keyboardist Dan Edinberg. “It’s not either of us; it’s about creating an entity where the entity itself is what’s important.” As a result, every song on the Stepkids self-titled debut album is written with equal input from each member.
“All three of us write and all three of us sing,” says Jeff Gitelman, who resigned from touring as Alicia Keys' guitarist to concentrate full-time on recording the Stepkids self-titled debut album. Drummer Tim Walsh continues, “There's an equal split in the creative process. Any lyric, any melody, any idea could have been done by any of us.”
This approach comes from more than a decade of musical experimentation and experience. Raised on the East Coast jazz and R&B circuit, individual band members went on to share stages with 50 Cent and Lauryn Hill, tour internationally with indie punk band Zox, score movies and commercials and produce solo albums.
The Stepkids groove is a fusion of punk and jazz, West African and 1960s folk, neo and classic soul, classic funk and 20th century classical. The band produce, engineer and record themselves on a reel-to-reel.
There’s no singular icon, no singular sound, and no singular way of making it happen for the Stepkids. It’s psychedelia for the 21st century, where the focus is on the whole
Tyler, The Creator / Yonkers // XL
GraveDiggaz / 1-800 Suicide // Gee Street
The Notorious B.I.G / Who Shot Ya // Bad Boy
The Notorious B.I.G / The What // Bad Boy
The Notorious B.I.G / What's Beef // Bad Boy
The Notorious B.I.G / Things Done Changed // Bad Boy
Strong Arm Steady / Loose Girl (Electronic Drunk Demon Version) // Stones Throw
Dorian Concept / Her Tears Taste Like Pears // Ninja Tune
Guem Et Zaka Percussion / Le Serpent // Harmonia Mundi France
Moritz Von Oswald Trio / Structure 1 // Honest Jons Records
Cooly G / Floating // Dub Organizers
Fatima / Red Light // Eglo
Owiny Sigoma Band / Wires (Theo Parrish Remix) // Brownswood
Cosmin TRG / Negligee // Rush Hour
Radiohead / LotusFlower // Self Released
Ghostpoet / Cash & Carry Me Home (Ean Remix) // Brownswood
Koreless / MTi // Pictures Music
D'Marc Cantu / Set Free // MOS Holland
Boddika / Bodikka's House // [Naked Lunch]
Gill Scott-Heron and Jamie xx/ I'll Take Care Of U (Special DJ Version) // XL Recordings
Actress / Gershwin // Nonplus Records
Radiq / Luv N Pain // Deep Raw and Real pt 3
Virgo Four / I Have Always Wanted // Rush Hour
Raphael / Archangelo // Heavenly Sweetness
Kelan Phil Cohran and Legacy / White Nile // Captcha Records
The East Side Symphony / Hot Pants Road // Trans Air
Those Shocking Shaking Days / Panbers 'Haai' // NowAgain Records
William Onyeabor / Why Go To War
GraveDiggaz / Nowhere To Run, Nowhere To Hide // Gee Street
Johnny Clarke / Don't Trouble Trouble
Chrissy Murderbot / Da Vibe Iz So Rite (ft. MC Zulu - Rashad & Spinn Remix) // Planet Mu
DJ Roc / Let's Get It Started // Planet Mu
Kahn / Helter Skelter // Punch Drunk
Photek / This City (DJ Extended Version) // Photek Productions
Virgo Four / Let The Music Play // Rush Hour
Totally Enormous Extinct Dinosaurs / Waulking Song (2 Bears remix) // Greco Roman
Photek is BACK... with a new EP and more to come, according to his interview with Benji B in this weeks 'Exploring Future Beats' radio show......
Two hours of only Photek tunes on this weeks Benji B show. In hour one we get classic drum&bass tunes and in hour two we get the newer dubstep and house productions from Photek.
Photek - Avalanche EP (2011)
Side 1 "Avalanche"
Side 2 "101"
"Rupert Parkes brings himself up to date with two sides of Dubstep and deeper Tech House on his revived Photek Productions label. On A-side 'Avalanche' the drums are crisp, the bass is heavy and the synths robust, turn over and '101' twista the lines between Tech House, Breaks and Trance. The digital version also includes a remix from Boddika" (BOOMKAT RECORDS)
“Photek joins Benji to explore more future beats – bringing with him a bag full of exclusives.”
There are few more important techno producers than Detroit's Carl Craig. Not only has he ceaselessly pushed the genre forward with his pioneering productions, but his label Planet E has been responsible for releasing countless forward-thinking and now classic techno cuts.
This year Planet E celebrates its twentieth birthday and to mark this occasion, Carl Craig completes an Essential Mix For Radio 1 - check it here
.
TRACKLISTING:
Dimitri Kneppers — The Kick Off (c2 Entranced)Planet E Communications
Martinez — Mzuzu Chant Cadenza Anonym — Go Deeper (Kenny Larkin Remix)
Sushitech
Anthony Shakir — The Floor?ller (Skudge?s Floor Killer Vers)Rush Hour
Sawf — Slim (DVS 1 Four by Four Mix) Perc Trax Strip
Steve & Das Glow — Calcium BNR Trax
Faze Action — In the Trees (c2 Rmx) Juno
Robert Hood — Family M-Plant
Carlo Lio — Black Sci+Tec
A. Mochi — Alpha Figure
Recloose — Can?t Take It (Milton Jackson Vers)Planet E Communications
Kenny Larkin — Glob (Ben Klock Vers) Planet E Communications
Agoria — Speechless (feat. Carl Craig) In?ne
Vozendiano — There?s A Light (Rolando Remix)Be As One
Robert Hood — Power to the Prophet M-Plant
Carl Craig — Angel (Jerome Sydenham Dub) Planet E Communications
Ben Klock — Sub Zero Ostgut
Tun Clark — Clip Planet E Communications
Snuff Crew — Kings Cross International DJ Gigolos
Kenny Larkin — You Are Planet E Communications
Oliver Dodd — Minos Clink
Architectural — Architectural 03.2 Architectural
Moodymann — Dem Young Sconies Planet E Communications
Ramadanman & Appleblim — Void 23 (c2 Edit) AUS Music
"In 2011 Carl Craig's Planet-E will be 20 years old. To celebrate, he is dedicating the year to releasing selected music on Planet-E; including albums, new remixes of tracks from the depths of the Planet-E back catalogue and unreleased tracks.
The first album release of 2011 will be 20 F@#&ING Years - We Ain't Dead Yet - a best of Planet-E compilation featuring artists including Carl Craig, Recloose, Martin Buttrich, Kenny Larkin and Basic Channel, to be initially released on February 22nd digital only (PE/RA/Beatport/C2 website/PE website/iTunes).
CD TRACKLISTING
1. Moodymann - Dem Young Sconies
2. Attias - Analysis
3. Martin Buttrich - Full Clip
4. Lazy Fat People - Club Silencio
5. Recloose feat Dwele - Cant Take It
6. Quadrant - Hyperprism
7. Jona - Altiplano
8. Gemini - A Moment of Insanity
9. Paperclip People - Clear & Present
10. Urban Tribe - Covert Action
11. Balil - Nort Route
12. 69 - Jam The Box
13. 4th Wave - Electroluv
14. Innerzone Orchestra - Bug in the Bassbin
15. Urban Tribe - Repeating Decimal
16. Future/Past - Clinically Inclined
17. Flexitone - Pulse of Revolution
18. Carl Craig - Dominas
19. Niko Marks - Chune
20. Naomi Daniel - Stars (DJ Dos Mix 2)
21. Tres Demented - Demented or Just Crazy
22. Ican - Pa Mi Gente
23. Tres Demented - Shez Satan
24. Kenny Larkin - You Are - C2 rmx*
25. Tribe - Living in a New Day - C2 rmx
*previously unreleased
Beginning in March will be a monthly vinyl / digital remix package release from the Planet E and Carl Craig back catalogue. Artists including Luciano, Ricardo Villalobos, Dubfire, Richie Hawtin, Loco Dice, Seth Troxler, Kevin Saunderson, Francois K, Mad Mike Banks, Dennis Ferrer, and others have selected their favourite track from the Planet E back catalogue to remix and release. First up will be a Luciano remix of Recloose's 'Can't Take It', with monthly remix releases to follow". (skiddle.com)
Babylon excerpt
Aswad / Warrior Charge // Chrysalis
Boom & The Voltsong / Stepping Up To Zion // Goldage
Ijahman Levi / I Am A Levi (Extended) // Basic Replay
Shackleton / Deadman // Honest Jons Records
Tribe / Tunnidge // Deep Medi Musik
Radiohead / Feral // Self-released
Kode9 & The SpaceApe / Otherman
Untold / Just For You (Mosca Remix) // Hot Flush
House Of Jezabel // Rush Hour
Rick "The Godson" Wilhite / In The Rain // Still Music
Julio Bashmore / Ribble To Amazon
Johnwaynes / Cut Out (City Raw) feat. Disconine // Compost Black Label
Motor City Drum Ensemble / Monorail (John Roberts remix) // MCDE
Braille / The Breakup // CD-R
Gill Scott Heron / Home (Jamie XX remix) // Young Turks
Syreeta / Black Maybe // Motown
Oh No feat. Roc C / Move Pt. 2 // Stones Throw
Bilal / For You // Interscope
The McCrary / Emerge // Ubiquity Records
Sergio Ricardo / A Fabrica // Soul Jazz Records
The Panthers / Malkaus // Sublime Frequencies
Chris Powell / I Come From Jamaica // BMI
Black Sugar / The Looser // Secret Stash Records
Bakey Ustl / Untitled // Unthank
FaltyDL / St. Marks (Sepalcure remix)
Objekt #1 // White
Boddika / Warehouse // HotFluh
Steffi / Manic Moods
Levon Vincent / Polar Bear Make Nice With That Sea Lion // Deconstruct Music
2562 / Aquatic Family Affair // When In Doubt
The Oliverwho Factory / Galactic Transit // Rush Hour Recordings
For their 226th podcast, FACT are incredibly proud to present a mix by legendary jungle and house producer, Rupert ‘Photek’ Parkes.
Renowned for his impeccable drum programming, Photek had already been releasing singles for several years when, in 1997, he released Modus Operandi, his legendary first album and a record remarkable as much for its atmosphere, restraint and measured, ice-tipped grooves as its potential to send dancefloors wild.
Having established himself as one of the kings of the jungle (ahem), Parkes would go on to experiment with house music (most notably on 2001 single ‘Mine to Give’, featuring Robert Owens), as well as soundtrack work, and collaborations with artists as disparate as Goldie and Nine Inch Nails.
2011 has seen Photek back with a vengeance that fans haven’t seen in years, releasing a new EP this month, Avalanche, and working on remixes for Daft Punk and Ray LaMontagne as well commissioning mixes of his own material by Boddika, Breach and Addison Groove. According to his people, there’s more new Photek material to come, and so what better time for a FACT mix than now. Billed as an “influences mix” by Parke, it’s an expert selection of bleep techno, classic house, hip-hop and more, with highlights coming from LFO, Mr. Fingers and The Soulsonic Force. (FACT MAGAZINE)
Tracklist:
1. Sueno Latino – Sueno Latino (DFC)
2. Mr. Fingers – Can You Feel It (Trax)
3. LFO – LFO (Leeds Warehouse Mix) (Warp)
4. Renegade Soundwave – The Phantom (Mute)
5. Easymo – Nightmare (D-Zone)
6. Afrika Bambaataa & The Soulsonic Force – Planet Rock (Tommy Boy)
7. Nightmares on Wax – Dextrous (Warp)
8. Leftfield – Not Forgotten (Hard Hands Remix) (Outer Rhythm)
9. Joey Beltram – Energy Flash (Transmat)
10. Meat Beat Manifesto – Radio Babylon (Nothing Records)
11. Liberty City – Some Lovin’ (Murk)
12. Funky Green Dogs from Outerspace – Reach for Me (Murk)
13. Reese & Santonio – Rock to the Beat (FFRR)
14. Richie Rich – Salsa House (FFRR)
Here is the new episode from the 'Hold Box Flat' crew.....
TRACKLISTING:
Ochieng / Olieu // Honest Jons Records
Mizz Beats / Bit Road // Eglo
Eric Lau / Star Trekking // Kilawatt Music
Madlib / Louder (Blast Your Radio Theme) // Madlib Invazion
Dimlight / Circadiam // Stonesthrow
Praezisa Rapid 3000 / Thin Air Bottled to Garbage Cans // Doumen01
Lapalux / There Are Monsters In The Bed // Pictures Music
Demdike Stare / Bardo Thodol
Objekt #1 // White
Sepalcure / Taking You Back // Hot Flush
Pangaea / Won't Hurt // Hessle
Funkystepz / Hurricane Riddim // Hyperdub
Braille / The Year 3000 Is Gonna Be Alright // CD-R
Marcellus / Perception // Deeply Rooted House
Romanthony / The Wanderer (Club Anthem) // I Play Vinyl
Hundred20 / Upper Alley // MCDE
Peven Everett / I Can't Believe I Loved Here
Red Shape / Future Shock // Delsin Records
Star Band de Dakar / Sala Bigue
Santos Junior / N'Gui Banza Mama // Analog Africa
Afro-Soultet / Torrid Zone // Luv N' Haight
April Fulladosa / Sunlit Horizon // Luv N' Haight
James Blake / I Never Learnt To Share // Atlas
Old Apparatus / Untitled // Deep Medi
Forrest Swords / Hjurt // No Pain in Pop
Arkist / Rendezvous Home // Applepips
Untold / Sweat // Hotflush
Kelis / Brave (Dark Sky Remix) // CD-R
Jet Letts & Sumera / iDark Woman
Cubic Zirconia / Night & Day (feat. Bilal) // LuckyMe
Eddy meets Yannah / This Is Love (Rainer Truby Remix) // Compost Black Label
Martin Buttrich / Stoned Autopilot (C2 Version) // Planet E
EVS / DT08 // Tube 10 Recordings
Morphosis // White
Having caused a storm on the forums since late last autumn, the anonymously titled UK bass anthem-in-the-making ‘Sicko Cell’ will see a release soon on Loefah‘s hugely on form Swamp81 imprint (via FACT).
Having been caned by the likes of Oneman, Loefah, Bok Bok, Jackmaster et al, the origin of the track is still under wraps (though current favourites seem to be either Steve Oneman or Loe himself). ‘Sicko Cell’s “I’m the information / cocaine powder” refrain and 808 bass has caused devastation on dancefloors throughout the capital, with a photo posted on Swamp81′s tumblr account confirming it will be Loefah’s label releasing the track as Swamp014.
The keen-eyed amongst you will also notice that 2 of the preceding releases will be a 12″ from New York’s FaltyDL, plus a double pack from Instra:mental’s Al Bleek in his Boddika guise, as Swamp010 and Swamp 011 respectively.....
"We’ve been nagging Andy Butler to record a FACT mix ever since the release of his debut single as Hercules & Love Affair, ‘Classique #2′. Four years later, and the boy’s come good.
In fairness, it’s been a busy half-decade for the New York producer and DJ. Hercules & Love Affair’s debut album, released via DFA in 2008, saw he and his band rocketed into cult/pop stardom, and by God did they tour that album hard – in 2008-9 you couldn’t even go down the newsies for a packet of crisps without catching a H&LA live show en route.
Hercules & Love Affair’s new album, Blue Songs, is out this week on Moshi Moshi, and things have changed. Recorded with Patrick Pulsinger in Vienna, and to some extent eschewing the brassy disco tropes that defined the band’s debut, it finds Butler delving deeper than ever into his ’86-’94 house obsession – lead single ‘My House’ is a loving homage to Chicago and New York’s overlapping 4/4 golden eras, while ‘It’s Alright’ is a beatless cover of the Sterling Void jam – but also developing the range of his songwriting, even singing himself on the agreeably frail title track. This an album that expertly juggles ecstasy and heartbreak, the melancholic and the celebratory. With Nomi Ruiz and Antony Hegarty absent this time around, Butler and his trusty sidekick Kim Ann Foxman have recruited young pup vocalists Aerea Negrot and Shaun Wright, both of whom maintain the tears’n'mascara diva-ishness of their predecessors while bringing a palpable and infectious enthusiasm to proceedings.
So why is Butler so preoccupied with classic house? Even his recently minted record label, MR INTL., is dedicated to new productions hat evoke and allude to that bygone era.
There was an elegance, subtlety, a sophistication to that music,” he explains over the phone. “It was fine art. The depth and substance is unparalleled. I don’t think anything goes as deep as those early Murk records, for example. Nor do you get the opposite. You don’t get to hear people go off in the way Tyree did, you know, going off but classily.”
FACT mix 218, it’s fair to say, goes off classily. Butler – a killer DJ who knows his shit and then some – builds it around classic cuts from the likes of MK and Praxis, but also includes a couple of recent cuts from Hercules and Kim Ann that show how his crew are trying to take that sound forward today. There’s nothing blue about this selection, we can assure you." (FACT MAGAZINE)
Tracklist:
Jax – No.1
MK – Give It To Me (Dub Mix)
? – Shake Your Booty
Serge Santiago – It’s A War
? – Shake Your Booty
Kim Ann Foxman – Creature
React To Rhythm – Whatever You Dream
Praxis feat. Kathy Brown – Turn Me Out
Orlando Voorn – Paradise 3001
Raven – Forever Together
Humanoid – Cry Baby
Hercules & Love Affair My House
Meat Beat Manifesto Announces European Tour Dates!
Friday, 21 January 2011 18:03
At long last, what you've been waiting for: The 2011 European Tour Dates for A.C.I.D.!
April 4 - St. Gallen, CH @ Grabenhalle
April 6 - Paris, FR @ Divan Du Monde April 7 - London-Camden, UK @ The Purple Turtle April 8 - Brussels, BE, AB @ Domino Festival w/Blixa Bargeld
April 9 - S-Hertogenbosch, NL, W2 @ FAQ Music Festival
April 10 - Berlin, DE, Volksbuhne am Rosa @ Luxemburg-Pla
THE PURPLE TURTLE (CAMDEN, LONDON)
BRING IT ON - Tickets are not yet available on their venue's website....
Sun Ra - The World Is Not My Home (Jazzman JM.079)
Tracklisting:
A A Foggy Day
B Mayan Temple
C October
D Blues On Planet Mars
E Disco 2100
F Sky Blues (Live)
(Limited edition of 999. )
3 x 7" singles on clear vinyl with a glow in the dark slipmat, in hand numbered, hand-printed gatefold sleeve.
From Jazzman Label:
Following the unprecedented success of our previous Sun Ra triple pack (JM.073 – The Shadows Cast by Tomorrow) which sold out worldwide within 24 hours of release, here is the second and final installment of our foray into the intriguiing, beguiling and mythical world of the Sun Ra 45. The triple 45 set includes 6 sides of Sun Ra in his various incarnations spanning three decades.
CHRIS POWELL - I Come From Jamaica / Country Girl Blues 7" (JBJ.1012)
Tracklisting:
A) I Come From Jamaica
B) Country Girl Blues
"New from Jukebox Jam comes something else - a wild Carib-Jazz flavoured R&B gem flipped with a big and brash big city Jump Blues number! A neat pairing of two of Chris Powell‘s hottest sides! The top side ‘I Come From Jamaica’ is a totally unique early exotic RnB jam, whilst ‘Country Girl Blues’, is a delicious RnB dancehall mover aimed at shakin’ hips & shufflin’ feet!
Bandleader Chris Powell was a relatively busy in Philly through the late 40s and 50s, cutting a raft of Jump sides and a number of crooning big-band ballads for the Columbia, Okeh and Grand labels.
Amidst his releases for Okeh lies this curious novelty - ‘I Come from Jamaica’, unlike anything else Powell recorded and similarly out of sorts with much of the contemporary R&B sounds of the day. From the off, as we hear odd percussive sound effects over an off kilter latin rhythm, it’s clear that we are in experimental territory. What follows is a sheer delight - an exotic, jazzy, Caribbean themed dancer which ALWAYS turns heads! This also showcases the first known recorded work of the influential jazz trumpeter Clifford Brown…" (Jazzman Records)
LEE MOSES - Reach Out, I’ll Be There / Day Tripper 7" (JM.079)
Tracklisting:
A) Reach Out, I’ll Be There
B) Day Tripper
"It was 1966 when lead singer Levi Stubbs of the Four Tops belted out the original version of Reach Out, I’ll be There, reaching No. 1 in the RnB charts in the process. And deservedly so, because this Motown gem is widely regarded as one of the best songs ever recorded. So much so that it’s attracted a variety of cover versions, including everything from disco (Gloria Gaynor) to punk (Snuff), from psych (Merrilee Rush) to new romantic (Human League). That’s all very well, but in my considered opinion the BEST cover version has to be that from little-known soul singer & guitarist Lee Moses.
The problem with a cover version arises from its contradictory nature. The song itself has already been created, so how to create something that’s the essentially the same, but different? And then how to make it distinctive, and better? One way is to choose a different style, such as the punk/disco/psych versions mentioned above. Back in 1967 Lee Moses did just that – and he chose RAW, HEAVY FUNK as his theme. And wow did he succeed! It’s easy to make a mess of a cover because comparisons are always going to be made with the ‘superior’ original. But I think it’s fair to say here that Moses blows the Four Tops into orbit. He rips the Beatles to shreds too, check Day Tripper on the flip for a mind-blowing example of how to put some passion and soul into what was essentially a plod-along pop song. If you want to hear how to do a cover version, take a lead from Lee Moses – put some fire, soul, heat n guts into it, and do it better!" (JAZZMAN RECORDS)
Billy Byrd - Lost In The Crowd / Silly Kind Of Love 7" (Soul7.018)
Tracklisting:
A) Lost In The Crowd
B) Silly Kind Of Love
"Big Tune!!! Top drawer modern soul with an irresistible thumpin' beat that’s RARE RARE RARE, now out on our SOUL7 label for all to hear! Another quality double sider and with Billy Byrd’s throaty vocals appearing on two class songs. Produced by Georgia native Calvin Arnold, known for his funk output, perhaps it was his influence that gave this record such a solid, intense rhythm? Yes it’s the beat that really counts, few records of this nature have such an incessant, heavy groove that has so much appeal to the dance floor. Back in the ‘70s when it was first released the record went nowhere, and it’s remained extremely scarce ever since. Why such low sales? Was ‘Lost on the Crowd’ ahead of its time? We certainly think so, and NOW is the time to put that right!"
DYNAMIC CORVETTES - Keep Off The Grass 7" (Ru Jac / tr126)
Tracklisting:
A). Keep off the grass
B) Its a trap
"Here we have another sought after funk 45 which gets a proper re-issue treatment. The Dynamic Corvettes recorded those two sides in 1971 for Rufus Mitchell's Ru-Jac Records label out of Baltimore, Maryland. Between 1963 and 1972 Mitchell put out more than 50(!) 45 r.p.m. singles on his label. Most artists recorded soul music, but some were jazz musicians or hybrids of the two. An interesting side note is that a young Joe Quarterman spent time writing for many Ru-Jac artists in the 1960s." (Sounds Of The Universe)
THE 6 DEGREE SOUTH - Loving You (Is To Far Out) 7" (FRY 008)
Tracklisting:
A) Loving You (Is To Far Out) (part 1)
B) Loving You (Is To Far Out) (part 2)
"The Six Degree South's deep funk anthem 'Loving You (Is To Far Out)' is commonly acknowledged as a masterpiece of its genre. Not just for the amazing drumming, the sultry female vocals, or the doom-laden horns - but because they pulled off what so many R&B groups of the early 70s tried (and failed) to do... they combined the sinister 'end-is-near' dark psychedelia of the late '60s, with the funkiness and dance floor punch of early '70s street funk - creating a weaponised hybrid brand of funk that sounds fresh and exiting
To read Lois Black's lyric 'My hot pants are just a part of me' on paper suggests a cash-in novelty tune of the era, but contrasted with the stark and relentless funk of the backing track it becomes absolutely transportational!
A nomadic group, spending most of the 70s playing one-nighters at military bases and residencies at ski lodges (!) with no real home-base - the band had previously been classed as impossible to locate. Funk DJs and collectors had been on their trail for over a decade when a chance phone call in 2009 found a member living in Atlanta. Which brings us to the legitimately licensed and uber-anticipated reissue of this genre-defining deep funk jewel, here at long last it's the Six Degree South!" (Fat City Records)
"We are really proud to present the first single of the Imperial Tiger Orchestra with 2 exclusive tracks recorded in our own larsen studio ! They play ethiopian groove instrumentals, just as Mulatu Eskete or Getatchew Mekurya did during the late sixties & early seventies ! They already released a self produced mini album, and a 12” on Mental Groove Records. They were the big sensation on stage during the last “Musiques Ethiopiennes”festival in Addis Abeba (organized by Francis Falceto the originator of the classic Ethiopiques compilations series). They also played with the likes of Melaku Belaye, Selamnesh, Zinash or Mesele Asmamaw, & we now impatiently wait for their first long player !!" (Larsen Records)
Madvillain: Avalanche & Victory Lap
Madlib: Two from Rock Konducta
MED: Even Though & Play with You
Dam-Funk feat. GT: Rest in Peace
Dam-Funk: I Wanna Do Some Things Wit U
Steve Arrington: Good Feeling & Higher
Jonti Dan AKA Danimals: Hornets Nest & Christmas Worm
The Stepkids: Shadows on Behalf & La La
James Pants: Kathleen & Beta
Vex Ruffin: Walking Sideways & Avalanche
Myron & E: Let Me See You Do It & On Broadway
CX Kidtronik feat. Jon Wayne: The Buddykrak
CX Kidtronik feat. 4 5th: She’s A Murderer
J. Rocc: Rocchead's Delight & Supersound
Anika: Terry & No One's There
Mayer Hawthorne: Drums (Demo)
Bryant K Steward: Daisy’s Grow
Unknown Artist: Same Thing Tomorrow
