Drinking Is A Lot Like Yoga

  • The following was sent to me in an email, and I just had to blog it.

Research confirms that drinking gives you the same benefits yoga does:

Balasana…

Position that brings the sensation of peace and calm.

Setu Bandha Sarvangasana…

This position calms the brain and heals tired legs.

Marjayasana…

Position stimulates the midriff area and the spinal column.

Halasana…

Excellent for back pain and insomnia.

Dolphin…

Excellent for the shoulder area, thorax, legs and arms.

Salambhasana…

Great exercise to stimulate the lumbar area, legs and arms.

Ananda Balasana…

This position is great for massaging the hip area.

Malasana…

This position is for ankles and back muscles.

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James Brown Magic

James Brown – Living In America (1985 Mix)

James Brown – Living In America (1985 Mix) (mp3)

 

James Brown – Living In America (Extended Dance)

James Brown – Living In America (Extended Dance) (mp3)

 

James Brown – Living In America (Dubstramental)

James Brown – Living In America (Dubstramental) (mp3)

 

James Brown – Funky Drummer (Bonus Beats)

James Brown – Funky Drummer (Bonus Beats) (mp3)

 

James Brown – Funky Drummer (In The Jungle 9-Min Version)

James Brown – Funky Drummer (In The Jungle 9-Min Version) (mp3)

 

Personal History…

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

James Brown In The Jungle Groove…

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)

Sex Pistols – Friggin’ In The Riggin’

Definition of “Friggin’ In The Riggin’”…

To have a wank —- to pull one’s cracker —- slap the salami —- bash the bishop —- choke the chicken, etc. …. while on a ship.

Listen/Download the Friggin…

Sex Pistols – Friggin’ In The Riggin’ (mp3)

 

Lyrics…

It was on the good ship Venus
By Christ, you should’ve seen us
The figurehead was a whore in bed
And the mast was a mammoth penis

The captain of this lugger
He was a dirty bugger
He wasn’t fit to shovel shit
From one place to another

[Chorus:]
Friggin’ in the riggin’
Friggin’ in the riggin’
Friggin’ in the riggin’
There was fuck all else to do

The captain’s name was Morgan
By Christ, he was a gorgon
Ten times a day sweet tunes he’d play
On his fucking organ

The first mate’s name was Cooper
By Christ he was a trooper
He jerked and jerked until he worked
Himself into a stupor

[Chorus]

The second mate was Andy
By Christ, he had a dandy
Till they crushed his cock with a jagged rock
For cumming in the brandy

The cabin boy was Flipper
He was a fucking nipper
He stuffed his ass with broken glass
And circumcised the skipper

[Chorus]

The Captain’s wife was Mabel
To fuck she was not able
So the dirty shits, they nailed her tits
Across the barroom table

The Captain had a daughter
Who fell in deep sea water
Delighted squeals revealed that eels
Had found ‘er sexual quarters

[Repeat Chorus to Fade]

Me and the Sex Pistols friggin 45

Propaganda, P-Machinery

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.

P-Machinery 12 inch cover

12-inch vinyl cover of P:Machinery

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.

Listen Hashmoderized P:Machinery track…

Propaganda – “P:Machinery” (Hashmoderized) (mp3)

 

Lyrics…

On joyless lanes we walk in lines
a calm but steady flow
Accompanied by loud commands
our strength is running low.

Another hope feeds another dream
another truth installed by the machine
a secret wish the marrying of lies
today comes true what common sense denies.

Rotating wheels are destiny
in flame the city lies
Machines call out for followers far out into the night

The calls of the machines drowning in the steam.

Another hope feeds another dream
another truth installed by the machine
a secret wish the marrying of lies
today comes true what common sense denies.

The calls of the machines drowning in the steam.

On joyless lanes we walk in lines
a calm but steady flow
our strength is running low.

Another hope – another dream – another truth -
installed by the machine – installed by the machine.

Gear Used By Propaganda…

New England Digital, Synclavier 9600 System

New England Digital, Synclavier 9600 System

New england Digital, Synclavier II

New england Digital, Synclavier II

PPG Wave and Waveterm 2

PPG Wave and Waveterm 2

External Links About Propaganda…

Live Performance…

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Trevor Horn about to leave SARM to play tennis (hence the shorts!) in July 1984, with the Synclavier (front, right).

Before reading this blog ………. I strongly recommend that you read (if you haven’t done so) or re-read (if you don’t remember) my last post about producer extraordinaire Trevor Horn’s dynamic 12-inch ………. and then come back here for more Horn’ful penetration.

Quick Recap…

This is Trevor Horn… this is trevor horn
He’s the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. And he’s collecting millions of dollars of royalties from it. the buggles, the age of plastic

I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles.

The Buggles, Trevor Horn (left) and Geoffrey Downes (right) 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 and the acclaimed single “Video Killed the Radio Star” – 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.

A Little Bit of YES…

This is Rick Wakeman. keyboardist Rick Wakeman
This is Jon Anderson. Jon Anderson
Vangelis … in his studio setup in hotel room in Paris … working on his 1987 Direct album. Vangelis in his hotel studio setup in Paris.
During 1981-1983, Jon Anderson worked with Vangelis who’s famous for Blade Runner soundtrack and Oscar-winning theme for Chariots Of Fire. Vangelis and Jon Anderson
YES’ biggest hit single was 1983′s Owner Of The Lonely Heart (youtube video link).
YES – “Owner Of The Lonely Heart” (mp3)
YES 90125 album cover

Buggle’s 2nd Album – Age In Modern Recording

Since this album was never charted, there was only one single released as a 12-inch ……… an absolutely incredible track I Am A Camera with Wakeman on the keys and Anderson on the mic, which can be heard below, among few bonus tracks.

The Buggles – I Am A Camera (12 Inch)

The Buggles, Trevor Horn - I Am A Camera (12 inch)

Listen to the all the instrument layers, arrangements and chord progressions.

The Buggles – I Am A Camera (12 Inch) (mp3)

 

The Buggles – On TV

The Buggles, Trevor Horn - On T.V.

The Buggles – On TV (mp3)

 

The Buggles – Blue Nylon

The Buggles, Trevor Horn - Blue Nylon

The Buggles – Blue Nylon (mp3)

 

Buggle’s 1st Album - The Age Of Plastic

The Buggles – I Love You Miss Robot

The Buggles, Trevor Horn - I Love You Miss Robot

The Buggles – I Love You Miss Robot (mp3)

 

The Buggles – Clean Clean

The Buggles, Trevor Horn - Clean Clean

The Buggles – Clean Clean (mp3)

 

The Buggles – Astroboy

The Buggles, Trevor Horn - Astroboy

The Buggles – Astroboy (mp3)

 

The Buggles – The Living In The Age Of Plastic

The Buggles, Trevor Horn - The Living In The Age Of Plastic

The Buggles – The Living In The Age Of Plastic (mp3)

 

Dynamic 12-Inch :: Trevor Horn – Part 1

trevor horn today

Image above provided by http://www.recordproduction.com/

Who is Trevor Horn?…

This is Trevor Horn… this is trevor horn
He’s the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. And he’s collecting millions of dollars of royalties from it. the buggles, the age of plastic
Who else is seen in that video (Killed The Radio Star) is no other than Hanz Zimmer. hanz zimmer in video killer the radio star
Hans is Academy Award winner and one of Hollywood’s best soundtrack composers for movies such as: Rain Main, Lion King, Bee Movie, Black Rain, Da Vinci Code, and the list goes on an on IMDB.com credentials. The fucker has an amazing personal studio. hanz zimmer in his studio

Let’s forget about Hans! I just wanted to show you the connection between him and Trevor Horn. Why is Trevor more special?

After The Buggles, Trevor Horn became to be one of the world’s best and most successful music producers of all time:

  • Dollar
  • ABC
  • Malcolm McLaren (Duch Rock album, “Two Buffalo Girls”, etc)
  • YES (Owner Of The Lonely Heart)
  • Africa Bambaataa
  • Grace Jones
  • Pet Shop Boys
  • Simple Minds
  • Paul McCartney
  • Seal
  • Lomax
  • Mike Oldfield
  • Tom Jones
  • Art Of Noise
  • Genesis
  • Lisa Stansfield
  • and more

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. Horn was influenced by Giorgio Moroder (for his distinctive sound) and Kraftwerk (The Man Machine album, for its non-use of traditional instruments). Horn rented the same modular synth which Giorgio used on all his records but found it very difficult to use.

Around 1980, along with Peter Gabriel, Trevor bought the very first digital sampler/workstation which was revolutionary at the time: Fairlight CMi. The Fairlight machine took over Horn’s life and rewarded him with the creation of a sound that had never been heard before. “There were landmark moments – like making the otherworldly backing vocals on Give Me Back My Heart by the Art of Noise out of a sample – that were mind-blowing. It was the birth of digital recording.”

Sampling laws had not yet been invented, and Horn stuck a skull and crossbones flag over the Fairlight to promote the image of being a pirate, stealing existing recordings and turning them into something new. He also pioneered the use of the Linn drum machine, which sounded the death knell for live drummers.

Fairlight III CMi sampler, music workstation.

Fairlight III CMi sampler, music workstation.

However, Trevor was one of the originators of the dynamic 12-inch remixes which were the best at the time … and still are the best. Most 12-inch remixes back then were either just extended verions of original songs and/or default disco/DJ arrangments which were too boring to listen to in and of themselves.

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. Like a novel, each of Horn’s remixes starts off with the long RISE to hit the CLIMAX at the top. Once climax is reached, the track would SUSTAIN the music with the original/alternate vocal version until it DECAYS and fades out in the end. Mostl importantly, it was the rolling basslines which DRIVE the listener (in the passenger seat) from begenning to end.

trevor horn's 12-inch remix graph

trevor horn’s 12-inch remix graph

Most 12-inch or “remixed” tracks today are nothing more than extended DJ-friendly versions based on or bootlegged from the original sources. They are nowhere nearly produced as good and heavy as Trevor Horn’s past remixes, because they do not tell stories or go through carefully-arranged story-like journeys. They’re just dispensable and expendable pieces of garbage to my ears.

Read this Sound-On-Sound 2005 article on Trevor Horn

Homework:
Listen to Frankie Goes To Hollywood dynamic 12-inch remixes…

I want you to listen to these tracks carefully all the way through … in front of big, beefy stereo speakers:

Rage Hard (12 Inch)

frankie goes to hollywood - rage hard cover

Frankie Goes To Hollywood – Rage Hard (12 Inch) (mp3)

 

Two Tribes (Annihilation Mix)

frankie goes to hollywood - two tribes (annihilation mix) cover

Frankie Goes To Hollywood – Two Tribes (Annihilation Mix) (mp3)

 

Two Tribes (Surrender Mix)

frankie goes to hollywood - two tribes (surrender mix) cover

Frankie Goes To Hollywood – Two Tribes (Surrender Mix) (mp3)

 

Relax (12 Inch Sex Mix)

frankie goes to hollywood - relax (12 inch sex mix) cover

Frankie Goes To Hollywood – Relax (12 Inch Sex Mix) (mp3)

 

Welcome To The Pleasure Dome (Original 12 Inch Pleasure Fix Mix)

frankie goes to hollywood - welcome to the pleasure dome (original 12 inch pleasure fix mix) cover

Frankie Goes To Hollywood – Welcome To The Pleasure Dome (Original 12 Inch Pleasure Fix Mix) (mp3)

 

Read Part-2 of this article …
I Love You Miss Robot :: Trevor Horn – Part 2

Heatstroke Moments: Man Parrish

Man Parrish album cover

Play Man Parrish Tracks…

Man Parrish Tracks…

  • Man Parrish – Hip Hop Bee Bop (Don’t Stop)
  • Man Parrish – In The Beginning
  • Man Parrish – Man Made
  • Man Parrish – Together Again
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Part 2)
  • Man Parrish – Six Simple Synthesizers
  • Man Parrish – Techno Trax
  • Man Parrish – Street Clap
  • Man Parrish – Heatstroke
  • Man Parrish – Hey There Homeboys
  • Man Parrish – Hey There Homeboys (Dub)
  • Man Parrish – Boogie Down Bronx
  • Man Parrish – Boogie Down Bronx (Dub)
  • Man Parrish – Heatstroke (Club)
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Remix)
  • Man 2 Man – Action (Dance Floor Action)
  • Man 2 Man – Male Stripper (Original 12-inch 1986)
  • Man 2 Man – Male Stripper (Out Of The Ordinary Techno Mix) (1989)
  • The Information…

    When I first started buying record albums and 12-inch singles in 1977, I was collecting all kinds of pop music such as Gary Numan, Blondie, Boney M, Bee Gees, Grace Jones, Grandmaster Flash, etc., throughout the following decade.

    There were only few handful of electronic musicians and music groups who’ve pioneered electronic music decades prior to the 1980s, such as Vangelis, Jean Michel Jarre, Jean Jacques Perrey, ELP, Tangerine Dream, Kraftwerk and others.

    However, the 1980s decade began with a backlash against disco music, and a movement away from the orchestral arrangements that had characterized much of the electronic music of the 1970s. Music in the 80s was characterized by unheard of electronic sounds accomplished through the use of synthesizers and keyboards, along with drum machines. This made a dramatic change in music. 80s pop music experienced a revolution driven more by technology and consumerism than any resounding political message. It was that new electronic sound from synthesizers, samplers and drum machines, enhanced with unprecedented leap forward towards advanced and new production techniques of the time, where both analog and new digital domains fused together as one.

    Fairlight III CMi sampler, music workstation.

    Fairlight III CMi sampler, music workstation.

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Linn 9000 digital sampling drum machine and 64-midi channel sequencer.

    Linn 9000 digital sampling drum machine and 64-midi channel sequencer.

    By 1982, I was already tired of the old disco sound but hip to the new “rap” genre (which were heavily produced by drum machines and synths) and in love with all kinds of electronic-pop and electric-funk styles. However I was still hungry for something more but wasn’t quite sure what it was. Something was in the air … or ON THE AIR for sure.

    After Malcolm McLaren’s release of Buffalo Gals in late-1982, I knew something bigger was coming along. 1983 saw the big shift in electronic dance music taking place. In Europe (especially Germany, England and Italy), electronic dance music was essentially electric-disco — 4/4 drum beats + 1/8th note basslines — such as New Order’s Blue Monday.

    However, in New York, electric-disco became known as “high energy” with a twist: a new sub-genre was emerging as “electro” which was a blend of hiphop beats with electronic dance arrangements.

    Examples of electro music releases were:

    • Freeez – “I.O.U.”
    • Man Parrish – “Hip Hop be Bop” (listen to track in flash music player above)
    • Man Parrish – “Heatstroke” (listen to track in flash music player above)
    • Man Parrish – “Boogie Down Bronx” (listen to track in flash music player above)
    • Mantornix – “Needle To The Groove”

    I was enrolled in a boarding-school back then in England and was still listening to New Order and Grandmaster Flash on the Walkman. There was this fuckin’ Jamaican kid in my dormitory — David Yakabu. One day, David ran up to me and said, “Hey mon! Chek dis Mon Pah-rish wikkidest sound!” I put on the heaphones, he pressed play, and my socks were blown off my feet.

    I was listening to Man Parrish for the first time ……… “Hip Hop Be Bop” and “Heatstroke.”
    HOLY CRAP – THIS SHIT IS FIERCE !! — was my impression.
    I followed and bought every release by Man Parrish.

    Man Parrish links…

    Read  below, Sean Cooper’s Review of Man Parrish…

    Link to original source.

    MAN PARRISH REVIEW by – Sean Cooper, All Music Guide

    This ground breaking 1983 Dance-Urban Synthesizer album is considered by many, to be a DANCE CLASSIC and a MUST HAVE in any serious collection. Man Parrish is said to have coined the phrase “Hip Hop” from this classic, electronic dance record.

    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. A native New Yorker, Parrish was a member of the extended family of glam-chasers and freakazoids that converged nightly on Andy Warhol’s Studio 54 club. His nickname, Man, first appeared in Warhol’s Interview magazine, and his early live shows at Bronx hip-hop clubs were spectacles of lights, glitter, and pyrotechnics that drew as much from the Warhol mystique as from the Cold Crush Brothers.

    Influenced by the electronic experiments of his good friend and co – writer Klaus Nomi and Brian Eno as well as by Kraftwerk, Parrish together with “Cool” Raul Rodriguez recorded their best-known work in a tiny studio sometimes shared with Afrika Baambaata, whose own sessions with Arthur Baker and John Robie produced a number of classics equal to Parrish’s own, including “Wildstyle, ” “Looking for the Perfect Beat, ” and the infamous “Planet Rock.” What distinguished “Hip-Hop Be Bop, ” however, was its lack of vocals and the extremely wide spectrum of popularity it gained in the club scene, from ghetto breakdance halls to uptown clubs like Danceteria and the Funhouse. After he discovered a pirated copy of his music being played by a local DJ at theinfamous “Anvil” club ( NYC ), Parrish found his way to the offices of the Importe label (a subsidiary of popular dance imprint Sugarscoop and Disconet DJ mixing service), which whom he inked his first deal. He released his self-titled LP shortly after, and the album went on to sell over 3 million copies worldwide. He was signed to Electra Records and managed by David Bowie’s notorious manager Tony De Fries and the infamous Main Man Ltd management team. Tony De Fries had managed careers of David Bowie, New York Dolls, Mott the Hoople, Mick Ronson and Dana Gillespie to name a few.

    Following a period of burn-out that followed, Parrish recorded and remixed tracks for Michael Jackson, Boy George, Gloria Gaynor, and Hi-NRG group Man2Man, among others, and served as manager for the Village People and Crystal Water to name a few. While Parrish’s subsequent material has achieved nowhere near the success or creative pitch of his earlier work, he continues to record from his brooklyn studio and is a frequent DJ at New York’s eclectic night spots and SM clubs. His Sunday Underground Party “Sperm” at the “Cock Bar” on New Yorks lower east side, is notorious, to say the least ! He is main DJ and co founder for a circut party called “Hustlerball” which has parties in many cities worldwide. He also has several adult websites and online businesses which keep him busy as a webmaster, and “jack of all trades”. His second LP, DreamTime, appeared on Strictly Rhythm in 1997.

    - Sean Cooper, All Music Guide

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