Title: Intuition
Year: 1981
Genre: Black British R&B Pop
Title: Baggy Trousers
Year: 1980
Genre: Ska
Comment: You may know their 1978/79 stuff, such as “One Step Beyond” and “The Prince”. You should know their 1983 international smash hit “Our House (In the Middle Of The Street).” Baggy Trousers is another one of their hits known mostly in Europe but hardly in North America.
Madness – “Baggy Trousers” (mp3)
From the private stash of my awesome vinyl collection, I present to you Chubb Rock and Fats Comet, below:
Title: Ya Bad Chubbs (Cribs Mix)
Remixed by: Howie Tee
Year: 1989
Genre: House
Chubb Rock – “Ya Bad Chubbs” (Crib Mix) (mp3)
Title: Don’t Forget That Beat
Year: 1985
Genre: Electronic Funk Drumbeat Industrial
Comment: Doug Wimbish is one bad-ass bassist. He collaborated with Fats Comet on this track. Both are from the UK. Their sound is like Art Of Noise meets Africa Bambaattaa meets Ministry (of 1985 sound).
Doug Wimbish [featuring Fats Comet] – Don’t Forget That Beat (mp3)
Research confirms that drinking gives you the same benefits yoga does:
Position that brings the sensation of peace and calm.
This position calms the brain and heals tired legs.
Position stimulates the midriff area and the spinal column.
Excellent for back pain and insomnia.
Excellent for the shoulder area, thorax, legs and arms.
Great exercise to stimulate the lumbar area, legs and arms.
This position is great for massaging the hip area.
This position is for ankles and back muscles.
James Brown – Living In America (1985 Mix) (mp3)
James Brown – Living In America (Extended Dance) (mp3)
James Brown – Living In America (Dubstramental) (mp3)
James Brown – Funky Drummer (Bonus Beats) (mp3)
James Brown – Funky Drummer (In The Jungle 9-Min Version) (mp3)
Summer 1984 … 13 years old … by listening to Eddie Murphy’s stand-up comedy tape Delirious, I’ve learned about James Brown for the first time.
Watch the video clip here.
Summer 1985 … 14 years old … the only thing I knew about James Brown is what Eddie said … but I still haven’t heard any of his music.
Fall 1985, Toronto, Canada … I went to see Rocky-IV movie.
Let’s go back to that night in the movie theatre … below is the scene that I’m currently watching in 1985:
What a way to expose me to James Brown music for the first time … LIVING IN AMERICA. The electric funk blew the sandals off my feet.
I didn’t hesitate to leave the movie theatre right after that scene (half-way through the movie) and ran to Starsound record store, looking for the 12-inch of that track. I was screaming out loud, “LIVING IN A AMERICAAAAAAAA, AMERICAAAAA,” like Eddie’s comic tale ice screeeeeaaaam.
Some dude understood me and pointed to the wall. And there it was … the very same one which I’m holding in my hand (pictured above).
12-inch vinyl cover of Living In America
The most famous and most sampled funky track is Funky Drummer.
I am proving all you people with two original hi-rez source files (top of this page) to comprehend and pay respect to the man who brought you such killer track which spawned loop-sampling to be where it’s at today. Where would D&B and other genres be today if there was no Funky Drummer!?!
I say go out and buy this rare, full album! I shit you not, it’s the funkiest masterpiece ever. So much to sample from … especially the horn stabs and hits.
Front cover of James Brown In The Jungle Groove
Me and the vintage 1983 keytar (Yamaha KX-1 controller)
DOWNLOAD DJ Veronica's latest mix here.
It's been five long years since DJ Veronica's last mix-set, and finally here it is with the title It's About Time.
DOWNLOAD Deejay Rhiannon's mixes here.
All of Rhiannon's mix-sets were mastered by Hashmoder (Omar Hash) at his studio
While the norm for most tracks go anywhere between 3:30 to 6:00 minutes in length, I prefer 15:00 minutes or longer, like the four seasons. Give me 4 long tracks to fill the hour, and I’ll be one very happy Iraqi. I love tracks that take me on long journeys through various movements. One of my all-time favorite synth-pop groups is PROPAGANDA from germany … who sound like twisted ABBA + Industrial + TechnoPop + Darkness. My favorite Proganda track is P:Machinery. I’ve taken two 12-inch vinyl versions of that track and conjoined them together as one … the way I want to listen to P:Machinery by:
Digitizing them into Protools; Spending two long months cleaning them up; Getting rid of every single scratch/pop/click; Restoring deteriorated sounds through various RE-SYNTHESIS processes and techniques; Splicing the tracks to separate clips; Re-arranging and layering clips to my taste; Throwing in my own synth-stabs, chops and other minor subtleties; Adding & automating series of chained top-notch effects throughout the mix, utilizing parameters some of you could not even pronounce ... thus resulting with more dynamic and reverberated DEPTH to the mix; Fattening the bottom-end; Widening overall stereo perception; and Mixing, engineering and mastering my version of P:Machinery the way I think it's supposed to be heard.
To my taste, P:Machinery sounds better than 'sick' ... more like master piece of shit which blasts sonically across the stereo-field ... not one element standing still but constantly moving all over the place.
Propaganda
P:Machinery (Hashmoderized)
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Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day.
Man Parrish
Boogie Down Bronx (dub version)
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What made Trevor Horn’s productions stand out was his unique and genius production techniques and the heavy use of state-of-the-art pro-audio gear, which made him become the torch-bearer for the kind of technology-led pop music which was hip and incredibly disciplined. Trevor Horn’s 12-inch remixes were uniquely long (anywhere from 8 to 13 minutes in duration) and told stories which took the listeners through long instrumental journeys at the begenning of tracks until the climax is reached (around the 5/6 or 7 minute mark). After the climax, the original or alternate full vocal version of the track takes over from that point on to the end, lasting additional 3.5 to 5 minutes in length.
Frankie Goes To Hollywood
Relax (12 inch Sex Mix)
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Trevor Horn is the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles. In 1980, the Buggles’ duo Geoffrey Downes (keyboards) and Trevor Horn (vocals) — who were coming off an international success with their new-wave album The Age of Plastic – to help out on a new YES album. Downes suddenly left Buggles when Trevor learned that YES’ keyboardist Rick Wakeman was leaving the band, and therefore snatched him as well as lead-vocalist Jon Anderson to work on the next Buggles album Adventures In Modern Recording. The Buggle’s second album was completed in 1981 but was never released or charted. The album was a gem masterpiece.
The Buggles
I Am A Camera (12 inch version)
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Beat Electric 
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