The most popular game was house

•02/11/2015 • 2 Comments

506794House music – what Frankie Knuckles called ‘disco’s revenge’ – first began to appear in clubs like the Mud around 1986. Initially resisted by an underground scene accustomed to rare groove, go go and hip hop, it failed to gain a foothold in London at first and made more of an impact up north. But by 1988 and the arrival of acid house, house (together with the accompanying horrendous fashion choices and dance moves) was everywhere, and it was terrifying the tabloids. Those of us still after rare groove turned to the emerging acid jazz scene at places like Dingwalls and Jazzadelic, but most clubs were playing 4-to-the-floor. More significantly, house also supplanted the trashy pop that had previously dominated the playlists of resident DJs at every cheesy local disco from Staines to San Antonio.

House originated in Chicago as a term for music Frankie Knuckles was playing at The Warehouse in the early 80’s. Closely linked with the early techno coming out of Detroit, it soon spread east and splintered into myriad different sub-genres. In the UK, small record shops with dedicated racks of white label 12″s for each sprung up in backstreets and basements everywhere, and by the 90’s we had hard house, progressive house, garage house, disco house, deep house, funky house, tech house, ambient house, jazzy house, hip house, Italo house, latin house, soulful house, New York house, tribal house, handbag house, and even some imagined types – ‘euphoric’ house (Sean), ‘wafting’ house (Jankster), and ‘hardcore ecstasy’ (Harry). Meanwhile, the drum tracks on pop records began to sound more and more like house music, and of course every club track got at least one ‘house mix’.

imagesI always had most time for deep house (which I’ve written about before), but living with an insomniac DJ (Paul) who mixed disco and funky house all night, I couldn’t help but get into a few tracks (and by the ’90s the attire seemed to have gotten better too, skinny rib tees and vinyl jeans being a marginal improvement on day-glo and wallabees). The first mix below is an old one and is mainly this sort of funky house. Black Magic was a Strictly Rhythm record we all seemed to like (thanks to Dr Wilson for that one), and Brighter Days was the sound of the Notting Hill Carnival in 1993. The U.N.I. track is probably my favorite house track (traded with Neil for a very expensive afro single in the days before discogs…), the Greg Fenton track was one of Paul’s favorites, and a funky house mix wouldn’t be complete without something from Kenny Dope and Little Louis Vega (aka Masters At Work). Funky Guitar was one I got asked for constantly (whatever happened to scouser Giles?), while Tony Petchell’s Funk On Up came out of Cambridge and samples Earth, Wind and Fire’s Africano (heard here) and Get On Up by Jazzy Dee. For some reason, it always reminds me of a wild-eyed El Grito rapidly shifting mindset from dancer to vigilante in an illegal party at The Oak. The mix ends with Francisco Zappala, a track that got a lot of play with Gabs and Katie above that Mexican place on Castle Hill.

  1. Freedom (Make it Funky) – Black Magic
  2. Don’t Hold Back The Feeling – U-N-I
  3. Brighter Days – Cajmere
  4. Love Infinity – Greg Fenton
  5. Funk’n Space – Alex Neri
  6. I Can’t Stop the Rhythm – Masters At Work
  7. No Props 2 – Mateo and Matos
  8. Funky Guitar – TC92
  9. Funk On Up – The Undergraduates
  10. We Got To Do It – F. Zappala and DJ Professor


maxresdefaultNext is a new mix that reflects how ubiquitous house became in the ’90s: it’s a bunch of club classics that were played everywhere, with a couple of less well known tunes thrown in. I don’t remember when I first heard Gypsy Woman or Finally, but they were played constantly around 1991, and I do remember hearing Finally at a New Year’s Eve bash in Covent Garden when Tone and Ald stepped in to save me (after an uncharacteristic moment of chivalry) with a well-timed stranglehold on an aggressor who’d looked much smaller when he was further away. After that we get techno founder Kevin Saunderson’s Good Life – techno, I suppose, rather than house, but it reflects how close the two often were then. Then there’s two of the most overplayed records of all time from a few years later (I’ve just about become desensitized to Sophie Ellis Bextor but if I never heard Daft Punk’s Music Sounds Better again I wouldn’t miss it). A post in part inspired by Paul wouldn’t be complete if it didn’t include some Joey Negro tracks (he could do an entire night of Joey Negro productions/remixes); so we get a couple of those, including a nostalgia-inducing Devotion remix that thankfully lacks the rap (1991 again and the ‘entertainer’ wasn’t Bruce Forsythe but Mikee Dee Freedom). Basement Jaxx inevitably make an appearance, with the big Samba De Flora sample. The mix winds up with Music Is The Key from 1985, which some have called the first ever house record, and Urban Soul, a tune that felt like it was on permanent rotation in that house I shared with H, Jane, Sarah, and Nicky in ’91.

  1. Gypsy Woman (La Da Dee) – Crystal Waters
  2. Good Life – Inner City
  3. Finally – CeCe Peniston
  4. Groove Jet (If This Ain’t Love) – Spiller
  5. Music Sounds Better With You – Stardust
  6. The Ghetto – Bob Sinclair
  7. Body To Body – The Men From Mars
  8. Samba Magic – Summer Daze
  9. (I Wanna Give You) Devotion (Joey Negro remix) – Nomad
  10. Music Is The Key – J. M. Silk
  11. Alright – Urban Soul



Beat Instrumental

•10/06/2014 • 4 Comments



When hip hop started at Sedgwick Avenue in the Bronx in 1973, Kool Herc’s ‘merry go round’ was all about extending breaks – the parts of the records Grandmaster Flash called unreasonably short. It was instrumental to begin with, and the rapping came later. The tradition continued with B-side dubs, which like many disco and garage dubs were often better than the vocal versions. Plus of course there are all those cut-ups and instrumental hip hop records that never had a rap in the first place.

Public Enemy probably win the prize for the most creatively named dub mixes, and the three mixes here all feature at least one of these, along with some seminal instrumental hip hop tracks and a few rap classics. First up is a brand new mix. The PE dub here is the super heavy Prophets Of Rage dub. Then Ken and Lou take a break from house music to rework the monster drums from Schooly D’s PSK What Does It Mean (heard here) and the eerie funk of The Lafayette Afro-Rock Band’s Darkest Light. Jazzy Jeff cuts up Donald Byrd, and Original Concept weigh in with a track from a Def Jam sampler that first introduced the new label (that was a long time ago…). Next we get the dub Wyn and Jiva always demanded, the flip side to Spoonie G’s Godfather (the original is in the third mix). After another PE instrumental, it’s back to rap, with a bunch of old school tracks, including a nice use of Brunswick’s Light My Fire backing track by Dr-Dre-produced Above The Law and the UK’s Overlord X (first heard round Ol’s in the days long before Delicious Digital), as well as some bedroom sampling from a pre-trip-hop Automator.

  1. Prophets Of Rage (Power Version) – Public Enemy
  2. Just A Lil’ Dope (remix) – Masters At Work
  3. Brand New Funk (Instrumental) – DJ Jazzy Jeff and Fresh Prince
  4. Pump That Bass – Original Concept
  5. The Godfather (dub) – Spoonie G
  6. Can Truss It (Instrumental) – Public Enemy
  7. All For One – Brand Nubian
  8. Untouchable – Above The Law
  9. Nonviolent – Automator
  10. Bad – Overlord X
  11. Raw (remix) – Big Daddy Kane
  12. We Got The Funk – Automator
  13. It Takes Two – Rob Base and EZ Rock


ubbNext is a mix I posted before. In this case, the PE dub is Caught, Can We Get A Witness, which like Bomb The Bass’s Beat Dis is constructed around the wah wah intro from Son of Shaft (heard in my Back On The Streets mix). The much better B side of Chad Jackson’s dreadful Hear The Drummer Get Wicked A side uses a nice sample of EW&F’s Moment of Truth (heard in this mix – thanks to Dr Monk for turning me on to that one). Coldcut’s brilliant Beats & Pieces follows (possibly the first cut-up I heard), which is based around Led Zeppelin’s classic When The Levee Breaks beat and memorably combines The Chubukos/Afrique’s House of Rising Funk and Vivaldi scratches. Pleasure’s Joyous break is the basis for the next track (the original is in this rare groove mix), there’s a nod to the Financial Times from DJ D*zire, and Grandmixer D St cuts up Herbie Hancock. Then I play Rakim over the top of De La Soul sampling Hall & Oates (the original is slipped in there too), some more classics from the Native Tongues, and something from High Wycombe’s finest hip hop outfit, Caveman. The mix ends with some familiar Jackson Sisters and Badder Than Evil samples.

  1. 716 Lesson – Scott Down and DJ Cutler
  2. Caught Can We Get A Witness (Pre Black Steel Ballistic Felony Dub) – Public Enemy
  3. Pump Up the Volume – MARRS
  4. The Boca Breakdown – Boca 45
  5. High On Life – Chuck Jackson
  6. Beats and Pieces – Coldcut
  7. Flex With The Posse – Rythm Mode D
  8. No MC No Comment – DJ D-Zire
  9. Leave Home – Chemical Brothers
  10. American Mega-Mix – Herbie Hancock
  11. I Can’t Go For That – Hall and Oates
  12. Say No Go (Bonus Beats) – De La Soul
  13. Follow the Leader (Acapella) – Eric B and Rakim
  14. Doin’ Our Own Dang (Do It To The JB’s) – Jungle Brothers
  15. Watch Me Now – Ultramagnetic MCs
  16. On The Run – Jungle Brothers
  17. One To Grow On (Growin Like Weeds) – UMCs
  18. Pages And Pages – Caveman
  19. Warrior – MC Wildski
  20. The Chase – DJ Food


radio-raheemLast up is a mix from the vaults, some classic hardcore hip hop. It starts with an NWA comment on South Central policing. Then there’s Kurtis Mantronik’s incredible King of the Beats, arguably the best and hardest hip hop instrumental. He also produced T La Rock and the Joyce Sims track, which was on permanent rotation summer of ’87. After some milder stuff from the UMCs, it’s back to The Godfather and Caveman. The PE dub here is You’re Gonna Get Yours, which combines Dennis Coffey’s Gettin’ It On and Captain Sporm’s Super Sporm (this is my second copy – DJ Bennett destroyed the first ‘scratching’ when ‘looking after’ my records when I was travelling years ago). There’s more from NWA, and two tracks from Lady Love. EPMD sample Eric Clapton’s I Shot The Sherriff, and a pre-De La Soul Prince Paul appears with Stetsasonic, commenting on anti-sampling by sampling Lonnie Liston Smith’s Expansions. The mix ends with the classic PE track always on Radio Raheem’s stereo in the movie Do The Right Thing – Fight The Power – which samples the J.B.’s Hot Pants Road.

  1. Sa Prize – NWA
  2. King of The Beats – Mantronix
  3. Breaking Bells – T La Rock
  4. Lifetime Love – Joyce Sims
  5. Never Never Land – UMCs
  6. See More – Kool Rock Brothers
  7. The Godfather – Spoonie G
  8. Brother In Action- Caveman
  9. You’re Gonna Get Yours (Dub/Terminator X Getaway version) – Public Enemy
  10. Straight Outa Compton – NWA
  11. I’m Bad – LL Cool J
  12. Strictly Business – EPMD
  13. Mama Said Knock You Out – LL Cool J
  14. Talking All That Jazz – Stetsasonic
  15. Give The Drummer Some – Ultramagnetic MCs
  16. Fight The Power – Public Enemy



39 Steps, 12 inches

•07/12/2014 • 3 Comments

rich invite_2_2Back in the 00’s, Walker and I used to put on a party about once a year at bar called Positively 4th Street (sadly now gone). It was an interesting venue, with a long bar upstairs a bit like something out of Wong Kar-Wai’s In The Mood For Love and a candle-lit sweatbox downstairs where the dance floor was. We had some good nights there, and there was always some drama. The two drunkest Swedes ever to walk the earth (quite an achievement) showed up once; a crazy Scot tried his hand at cab-surfing outside; there were occasional tears on the dance floor; and one party culminated in a giant bout of whipping, using bamboo switches conveniently placed around the dance floor. But most importantly, lots of people from back in the day would turn up to drink and dance, and it was always great to see them.

Saul and I always DJ’ed, occasionally joined by McDisco, Robin (see below), Tom or Jankster, playing mainly funk and disco. For these sorts of nights – when it’s a party crowd rather than punters there just for rare 45s/jazz, and the sound system usually leaves a bit to be desired – I always think 12″s work best (praise be to Tom Moulton for his 1974 discovery that the sound is louder and richer when spread over more than 7″ of vinyl). Disco is an obvious choice, but what I really like are funk 12″s, the tracks that sneaked into the new format before the 4-to-the-floor beat took over and the sound became more ‘produced’. I felt this approach was vindicated when someone (Lorraine?) shouted, “Liked your music…much better than that fucking Harry Potter!”

To me, the ultimate record in this category is Catch A Groove by Juice, which has a monster breakdown that only appears on the 12″, but I put this in an earlier mix so haven’t included it here. Similarly, Jim Burgess’s 1978 remix of Herman Kelly’s Dance To The Drummer’s Beat would probably also be there if I hadn’t already put it in an earlier mix, as would The Bar-Kays’ Holy Ghost (in this mix). There were plenty of others to put in though, and it’s always fun working out how to put them together (the complex arrangements and unclicked beats limit you to a few bars for beat matches and/or quick cuts/fades).

In_The_Stone_EWFThe first mix is from a while back and was made to highlight just this sort of 12″. T-Connection’s Groove To Get Down has a monstrous break for a 12″ single and always sounded to me like the funk record Crosby, Stills and Nash would have made (Dark Star notwithstanding). The intro to EW&F’s Africano you’ll recognize from countless sampled records, and maybe it’s sacrilege but I prefer Platinum Hook to George Clinton. If Tony Rallo (thanks Neil) doesn’t make you tap your feet, you have no soul (or at least no rhythm). And remember Dazz = Disco + Jazz,  Cameo weren’t Chic, and Timmy Thomas wasn’t James Brown. Jimmy ‘Bo’ Horne’s Spank rounds off the mix, the track that would provide the basis for the warehouse classic Sixty-Nine by Brooklyn Express.

  1. I Get Lifted – Sweet Music
  2. Groove To Get Down – T-Connection
  3. Africano – Earth, Wind & Fire
  4. Standing On The Verge Of Getting It On – Platinum Hook
  5. Holding On – Tony Rallo & The Midnite Band
  6. In The Forest – Baby ‘O
  7. Dazz – Brick
  8. Say A Prayer For Two – Crown Heights Affair
  9. We Got The Funk – Positive Force
  10. Good Times – Cameo
  11. Stone To The Bone – Timmy Thomas
  12. Get Off – Foxy
  13. Spank – Jimmy “Bo” Horne


SAH0360-300x300The second mix is a new one. It’s in a similar vein and again all 12″s. It starts with a cover of Roger Troutman and Zapp’s More Bounce To The Ounce.  Next there’s a Roy Ayers promo (I don’t think this ever got a commercial release as a 12″) and Eddie Grant showing with The Equals he could do much better than Electric Avenue. The Equals track is actually a bit of cheat because it’s an 80’s 12″ (there wasn’t an original 1976 studio 12″) but I had to include it for that fade. Then Barry White shows his original is infinitely better than Robbie Williams’ derivative and the UK’s Armada Orchestra improve on the O’Jays. Esther Williams is the pick of the bunch – a rare Friends 12″, first comp’ed by Louis Flores on Ultimate Breaks & Beats (how I first heard it) in the mid-80’s and 20 years later reissued by Gerald Jazzman (Mark at Resolution Records made me an offer I couldn’t refuse for the original, so now I make do with a Friends repress/bootleg). The Brothers Johnson and Gaz tracks are two other 12″s that later made it onto Ultimate Breaks & Beats.  The mix ends with Jimmy Castor’s classic B-Boy break remixed for the 80’s. The 1972 original is probably my favorite (included in this mix), but Larry Levan still did a great job updating it for 1983.

  1. More Ounce – Bobby Demo
  2. Love Will Bring Us Back Together – Roy Ayers
  3. Funky Like A Train – The Equals
  4. It’s Ecstasy When You’re Next To Me – Barry White
  5. For The Love of Money – The Armada Orchestra
  6. Getting Down – East Harlem Bus Stop
  7. Last Night Changed It All – Esther Williams
  8. Spaced Out – Cloud Nine
  9. Nights Over Egypt – The Jones Girls
  10. Is It In – Jimmy ‘Bo’ Horne
  11. Sing Sing – Gaz
  12. It’s Just Begun (Larry Levan remix) – The Jimmy Castor Bunch






Pop Workshop

•04/30/2014 • Leave a Comment

No this is not an obscure Swedish fusion track. Instead, it’s a departure from the usual funk/jazz, hip hop, disco, etc.: this is a one-time-only ‘pop’ mix of tunes more likely heard in a Top 40 countdown.

The inspiration was a night out with Captain Walker and some friends at The Bedford, my favorite bar in Williamsburg. Normally you can’t drag me near the dance floor if it’s all rock’n’pop, but just occasionally if cocktails, company and, crucially, the right combination of records are aligned, it can happen. This was one of those times and, at the end of the evening, we were the last dancers standing, applauding the two girls who orchestrated the events via Traktor and probably weren’t born when the 12″s that make up this mix came out. It reminded me of a few nights down the years: Swalesey leaping to join Mr George on the dance floor at Paul Darkin’s Cold Turkey (we later scared some nurses with John Coltrane back at Pantonville); monopolizing the dance floor with Saul at Soho Arts club (who was the girl with us who was ‘leaving forever’ the next day?); aggressive lip-synching teen-gays giving me and Tash dirty looks at Shinky Shonky; and, much longer ago, a bunch of teenagers ‘doing the fly’ at the Delfina discotheque in Spetses.

IMGAll the tracks should be be familiar to anyone who turned on the radio in the 1970s and 80s. One is a pretty obscure cover version of the classic Lionel Ritchie track (last played at Love Lee‘s New Year’s Eve bash in Shoreditch circa 1997) and there’s an anachronistic DJ Shadow linker in there (how else can you get from Aerosmith to Art of Noise in just two moves?), but the rest were all on the wall at Our Price and on the air at Capital 194 back in the day. So for all you stool pigeons, dinosaur walkers, ghost busters, and easy lovers, here’s something to keep you dancing all night long in crappy discos from Bracknell to Brooklyn. No track list this time kids…


Back On The Streets

•02/16/2014 • 5 Comments


Back On The Streets was probably the longest running regular night I DJ’d at. It was in King’s Cellars, a long, pitch-black basement room under a college, whose walls and ceiling would be dripping sweat by the end of the night. Fresh from DBA, Saul set up the gig (claiming the territory before King Robin could plant a flag as I recall). Together we’d squeeze into the tiny DJ booth that sat like a large cupboard at one end of the room – viewed from the other end of the room, it looked like the DJs were on a giant old TV – and try not to short out the decks as the condensation fell onto the records from above and cigarettes were hastily cast aside in time for for slip cues.

Back On The Streets was every Tuesday. Monday was the big night (house music, courtesy of Anu Pillai), and nothing had ever really worked on a Tuesday. So we gave it a go, with a flyer (thanks Angus) ripped off from one of Heavy Usker‘s nights (pre-Photoshop plagiarism I felt less bad about since Rob himself had himself copied it from a Don Patterson LP), which we’d hand out at weekends in various local bars and colleges. We played Funk 45s, Soul Jazz, a few ‘new’ tunes…and lots and lots of soundtracks. If the sound of the Jazz Rooms was congas, the sound of Back On The Streets was wah wah guitars. It started out with me and Saul. When Saul left, Neil joined me in the booth to ‘fuck with everyone’s heads’, and when he skipped town McDisco swapped the dance floor for the decks. We thought of it as a funk night, but as Neil pointed out once, most people probably came because it was the night ‘they play that weird music’. I guess that’s what happens if you keep ending the evening with the Theme From Monkey or the Superstars music (Heavy Action, aka ABC’s sound of Monday Night Football).


A few months in we were getting as many people on Tuesday as they got on Monday. A load of King’s regulars always showed up, among them Robin fresh from his Sunday Social, friends who ran the cellar (shout outs to Jenny and Maria), and various others, among them Tamara from Freeform Five and a young Zadie Smith. Jankster always brought a load of people, including McDisco (then “70’s Man”), to demonstrate hip drops, head touches and leg jerks. The three sharp fisters Love Lee, El Grito and the Turk appeared with Mr George and their entourage occasionally to hurl abuse at their fellow dancers (“Whore!”, she cried..), while sporting back-to-front denim and creative facial hair. Most importantly though, there were a bunch of people I’d never met before at the time but have been friends with to this day.

The first mix below epitomizes the sound of Back On The Streets and could have been called a tribute to the wah wah. Inevitably heavy on blaxploitation records, the mix starts with the Bar-Kays at Wattstax (for anyone who didn’t know where Tim Simenon got the sample for Beat Dis or Chuck D for Caught, Can I get a Witness?), followed by the late father of Go-Go Chuck Brown’s Soul Searchers and a few classic soundtracks and funk instrumentals. It wouldn’t be a Back On The Streets mix if it didn’t include a couple of dodgy charity shop tracks; so I also put in Funky Fever, which showed up on the ubiquitous Sound Gallery compilation of the time, and Jack Parnell’s take on Enter The Dragon (Dennis Coffey’s version appeared in an earlier mix).

  1. Son of Shaft (Live) – The Bar-Kays
  2. We The People (Part 2) – The Soul Searchers
  3. Rated X – Kool & The Gang
  4. Hot Wheels – Badder Than Evil
  5. Willie’s Chase – J. J. Johnson
  6. 99 Baseball – Profile
  7. Gangster Boogie – Chicago Gangsters
  8. Zombie March – Nat Dove & The Devils
  9. Funky Fever – Alan Moorehouse & His Bond Street Brigade
  10. Punch Ball – Alan Parker
  11. Down Underground – The Spirit of Atlanta
  12. Moving On – Dynamic Soul Machine
  13. Vampin’ – Willie Hutch
  14. Hunter Street – The Spirit of Atlanta
  15. Enter The Dragon – Jack Parnell & His Orchestra
  16. Un Homme Est Morte – Michel Legrand


photoWe reprised Back On The Streets at various other events – Enter The Mingle, The Man From Mingle, Mingle Strikes Back, etc. – and got a bunch of other other gigs as a consequence. The next mix is a really old one from that time, hastily slung together on someone else’s decks (Paul?) and dubbed to about 40 cassettes we sent out as promos to people who might give us DJ work. It was funny to occasionally hear 2nd-generation copies in bars/houses where we didn’t know anyone. This one’s a mix of more soundtracks, classics from the earlier rare groove era, some big breaks and a couple of big cut-ups towards the end. The ones that stick in my mind are Tuane (later ripped off by Galliano as Hungry Like A Baby) and the Sergio Mendes version of Superstition, which always seemed to make everyone go crazy on the dance floor. Vinyl Vultures and Catatonic K wouldn’t forgive me if I didn’t also mention the contribution from Norwich’s best private press, Another Bite of Plimsoll Sandwich.

  1. It Began In Africa (Intro) – Urban All-stars
  2. Shaft In Africa – Johnny Pate
  3. Moment of Truth – Earth, Wind and Fire
  4. The Chase – Merl Saunders
  5. Stepping Stones – Johnny Harris
  6. Dance To The Drummer’s Beat – Herman Kelly and Life
  7. The Champ – The Mohawks
  8. EVA – Jean-Jacques Perrey
  9. Blow Your Whistle – Soul Searchers
  10. Pick Up The Pieces – Plimsoll Sandwich
  11. There’s Only So Much Oil In the Ground – Tower of Power
  12. Who’s Afraid of Virginia Wolf – Jimmy Smith
  13. Superstition – Sergio Mendes and Brasil 77
  14. Hammer – Tuane
  15. You Can’t Even Walk In the Park – Johnny Pate
  16. 33% God – The Beastie Boys
  17. Lesson 3 – Double D and Steinski
  18. I Believe in Miracles – Jackson Sisters
  19. It Began In Africa (Outro) – Urban All-stars


Excursions 1 – Mojave Beats

•12/22/2013 • 1 Comment


I was never a big fan of so-called trip hop, and a lot of artists put in that category probably resent the term anyway (just like Acid Jazz). Nevertheless, a lot of great down-tempo instrumental tracks came out in the 90’s. The west coast’s DJ Shadow is probably the best known creator of these. His debut LP Endtroducing was a hit on both sides of the Atlantic, and it provided the perfect soundtrack to Dark Days, the film that followed the lives of Mole People living in the tunnels underneath New York. Meanwhile, James Lavelle’s Mo’ Wax label was the label that did most to push this sound in the UK. Great stuff came out of Japan, France and Germany too, and of course plenty of dub remixes hide out on the B-sides of regular hip hop 12″s.

The mixes below try to capture some of that sound, without descending into trip hop. First up is a new mix: Mojave Beats. It starts with a track from DJ Day’s new LP. Then there’s the dub mix of Ingrid De Lambre’s Poesies, tracks from Germany’s Simon and Garfunkel lookalikes, Kruder & Dorfmeister, an unreleased DJ Shadow transmission from the MPC era, and Oakland’s Souls Of Mischief still sounding fresh twenty years later. Cut Chemist features on a Jurassic 5 instrumental and then in what I think was his first ever release, as producer for Unity Committee. There’s also a Crazy P rework of Marvin Gaye’s T Plays It Cool, along with one of my favorite Tim Lee tracks, and the mix ends with the intro to an old Coldcut remix played at the wrong speed.

  1. VQ – Day
  2. Le Dub Du Spleen – Ingrid De Lambre
  3. Fuckwit – Delta House Of Funk
  4. Original Bedroom Rockers – Kruder & Dorfmeister
  5. Mama Soul – Day
  6. Ego Trippin’ (Part Three) – De La Soul
  7. A Not-So-Quiet Storm – DJ Shadow
  8. 93 to Infinity – Souls of Mischief
  9. React – Jurassic 5
  10. 3 Play it Cool – Crazy Penis
  11. High Noon – Kruder & Dorfmeister
  12. Java Jam – Love Lee
  13. Unified Rebelution – Unity Committee & Rebels Of Rhythm
  14. Boot The System – Coldcut


imagesThe second mix is another one from the vaults, made years ago on cassette. It kicks off with Thievery Corporation, the pair behind DC’s Eighteenth Street Lounge (a must on any trip to Washington) and the label of the same name. They also provide the remix to DJ Cam’s Success. There’s also a bunch of Japanese stuff from the magnificent Major Force box set, tracks from one of LTJ Bukem’s Earth collections, and Cut Chemist’s brilliant remix of DJ Shadow (a collaboration I saw them later recreate live). After Busta Rhymes’ tribute to Knightrider, Jazzy Jeff cuts up T Plays It Cool, Donald Byrd, Bob James, Grover Washington, Jr and Bobbi Humphrey. Next a Takagi Kan remix provides the best rework of Light My Fire I’ve heard, and Soon E MC samples Diana Ross’s Brown Baby. The mix ends with Ultimate Dilemma’s Ill Dependents, who basically just add a drum track to Geoff Love’s 3 Days of The Condor (heard in this mix).

  1. Coming From The Top – Thievery Corporation
  2. Love & Peace – Tycoon Tosh & Terminator Troops
  3. Success – DJ Cam
  4. Going Under – Rockers Hi-Fi
  5. Sofa Rockers – Sofa Surfers
  6. Stargazing – Tayla
  7. Con Quest – Words 2B Heard meets Ad-Ill
  8. Kiss Radio Promo – Tycoon Tosh & Terminator Troops
  9. That’s The Jail – Boy Ken
  10. The Number Song – DJ Shadow (Cut Chemist Remix)
  11. Shaolin Satellite -Thievery Corporation
  12. Angels Never Fall In Love – Common Ground
  13. Turn It Up (instrumental) – Busta Rhymes
  14. A Touch of Jazz – DJ Jazzy Jeff & Fresh Prince
  15. Koi No Formula – Takagi Kan
  16. Elucider Ce Mystere – Soon E MC
  17. The Shake Up – The Ill Dependents


New Jazz Rooms mix

•10/20/2013 • Leave a Comment


Planning a trip to Brighton (UK) next year, I thought I’d post a new successor to the Jazz Rooms mixes, again with the accent on percussion as KPM’s Syd Dale might say. Many of the tracks on this one are things I’ve picked up since I played there, but Russ Dewbury used to play the Malcolm’s Locks cover and he comped The Pipe so I’m guessing that was in his bag a few times at Ship Street.

The mix kicks off with more from the psychedelic jazz/rock outfit Blues Magoos, who also did the great Slow Down Sunset heard earlier). Next we get killer vibes from the late Johnny Lytle, some great funk/jazz from The Soulful Strings that I picked up from my local Grouch Records along with a Blue Note classic from Reuben Wilson (who I was lucky enough to see recently with Mr Love Lee at Smoke). Next is an under-rated vocal gem from Groove Holmes (no singer credited – I wonder who it was). Then the mix gets funkier with some funk/rock and a 45 courtesy of Jay Strongman. There’s the soundtrack madness of vocals played through a wah wah pedal from the great Dennis Coffey and a super-rare European 45 B-side from a band that may or may not actually be Lalo Schifrin. A couple of US and French library monsters follow – I have the guys at San Francisco’s Groove Merchant to thank for Harvey Wallbanger. The mix finishes with three great cover versions and some Brazilian funk to wind things up. Emilio Santiago you may know from Bananeira, which Saul (who incidentally himself has a new Hard On The Horns mix over at Musical Meanders) and I played over and over at Back On The Streets in the 90s; Nega Dina is from the same LP.

  1. Never Go Back To Georgia – Blues Magoos
  2. Done It Again – Johnny Lytle
  3. There Was A Time – The Soulful Strings
  4. Bambu – Reuben Wilson
  5. No Trouble on The Mountain – Richard ‘Groove’ Holmes
  6. Life Is Funky – The Round Robin Monopoly
  7. Nefertiti – Wisdom
  8. Theme From Blackbelt Jones – Dennis Coffey
  9. Dirty Harry – Lalo
  10. Harvey Wallbanger – Edward Simon
  11. Afro Beat 12/8 – Manu Dibango
  12. Wade In The Water – The Pipe
  13. Fever – Marie ‘Queenie’ Lyons
  14. Get Up Stand Up, Stand Up For Your Life – Malcolm’s Locks
  15. Ponta De Lanca Africano – Jorge Ben
  16. Nega Do Obaluae – Benito Di Paula
  17. Nega Dina – Emilio Santiago