DJ Food ‘Influences ’57-’92’ mix liner notes


If you’ve arrived here via the Dust & Grooves site feature on my collecting then the following is an in depth explanation of the mix made especially for that article. There will be some duplication with the D&G piece along the way, hopefully there will be plenty more to hold your attention though.

If you’ve not yet seen the feature and the beautiful photos by Eilon Paz then get yourself over there and check out the wonderful site when you have a spare couple of days.

How to make a mix of the favourites from your record collection? Impossible at best for as soon as you start combing the racks for ‘the essentials’ you quickly realise that half of it is worthy and you’re going to have a 10 hour set on your hands. For my Dust & Grooves mix I set myself a brief of picking tracks that had made a huge impact on me on first listen, shivers down the spine excitement, the shock of the new. Mind blowing sounds that somehow influenced me and fed into the mess of musical connections and contradictions that make me who I am today.

I also wanted to present them in the order in which they were released as far as possible thus making a chronological timeline as my listening habits progressed. This was a ridiculous idea and made the whole thing so much harder but sometimes interesting things happen from constraints and that probably says as much about me as any of the records here. Keeping this down to under an hour was also a tough call and sacrifices had to be made, not just losing artists but also in editing down songs – the essence of the essentials if you like. None of these records or songs are rare (with one exception…) and you will most likely be able to pick any of them up cheaply and easily. This isn’t some showboating ‘look at my rarest items that you’ll never have’ kind of mix, it’s about the songs and sounds that have signposted my early musical input and led to later collaborations both musical and artistic.

DJ Food – Influences 57-92 for Dust & Grooves by Dust & Grooves on Mixcloud

We start with an intro from Ken Nordine, presenting ‘Sound Paintings’ and he’ll be returning throughout as a guide, touring the record bins and opening doors to different parts of the psyche. He has a connection to several people in the selection, Mixmaster Morris (who features later under his Irresistible Force guise) first turned me on to him when we first met and I later went on to work with Ken in 2000 on a version of his ‘The Ageing Young Rebel’. When Eilon from Dust & Grooves came to my studio and I started pulling records he immediately recognised the Word Jazz LPs as Dom Servini had shown him the same when he’d visited his home earlier in the trip. So, even though I didn’t hear Ken until 1993, we start with him for Eilon and already the chronological timeline idea is knackered although it is technically the oldest record in the selection, having been released in 1957.

OK, to the real beginning: Kraftwerk‘s ‘Autobahn’, I probably heard songs before this but I don’t remember a piece of music affecting me in the same way this did. Heard from a tape my dad made of the single in the mid 70’s (I would have been about 5) and it stuck with me because it scared me and signals a love of electronic music. Even more so because the band would go on to become so influential not just to me but for so many.

It’s well known that the band took inspiration from The Beach Boys for the ‘fun, fun, fun on the autobahn’ refrain so I paired the two up with a slice of my favourite Beach Boys song (and there are many), ‘Surf’s Up’. I’m not ashamed to admit that this track has reduced me to tears on a few occasions and I was obsessed with the whole ‘Smile’ saga from whence it sprung as the nineties came to a close. Here I have each band dueting, trading lines in the tradition of all the best mixes, two elements that shouldn’t work together but in doing so create a third. Gary Numan was another electronic pop musician who instantly appealed when ‘Are ‘Friends’ Electric?’ climbed to the no.1 spot in the charts in 1979 and I followed his career for a good few years afterwards.

The Queen soundtrack to the 1980 remake of Flash Gordon was the first cassette album I ever bought (I didn’t actually have a record player until I was 13) and I played the shit out of that little tape. In the tradition of listening to one collection again and again I got to appreciate the album as a whole rather than cherry pick my favourites. It was paced the same as the film and included dialogue to push the story along and spoken word has always been a favourite component of ‘music’ for me. The same thing propels the intro to ‘Blush Response’ from the score to Blade Runner, the tense meeting of Deckard, Rachel and Tyrell before the release of Vangelis‘ icy, fluctuating keyboard work. Both of these soundtracks signpost an early love of sci-fi film with synthesiser-led scores (the orchestral bombast of Star Wars never really did it for me).

The Human League, although starting out around the same time as Numan in the post punk landscape were beaten to the punch chart-wise by Gary and the cash-in re-release of their first single, ‘Being Boiled’, post-‘Don’t You Want Me’ success was the track that resonated most. That eerie build up with Phil Oakey‘s, ‘OK, ready, let’s do it’ casually left in before Martin Ware‘s gothic Korg 700 bass line comes in. Listen to the voice of Buddha indeed, so great we included it near the start of mine and DK‘s ‘Now, Listen Again’ Solid Steel mix CD.

Eno & Byrne‘s world music collage collaboration has never been equaled to my mind and although I didn’t hear it until the early 90’s it’s tucked in here as it was released in 1981 and dovetails nicely with another world music smash and grab by the white man.

Malcolm McLaren‘s ‘Duck Rock’ album had all sorts of ramifications in my musical landscape, not least because it bought a bastardised version of Hip Hop to Europe with graffiti, scratching, rapping and breaking alongside the Westwood fashion and Keith Haring artwork.

I vividly remember first hearing ‘Buffalo Gals’ on the top 40 countdown and almost being disgusted by the mess of it. As a song structure it just didn’t make any sense at all, seemingly random elements all thrown together periodically stopping to be primitively scratched. My 13 year old brain couldn’t comprehend it at all, I still don’t think it’s a great song but the album it comes from is a giant flagpole for things to come, mainly for the production team of Trevor Horn and the early incarnation of the Art of Noise.
Which brings us to a little Zang Tuum Tumb megamix section, full of synths and samplers, sex and slaves, drum machines and ‘Dr Mabuse’. Art of Noise’s ‘Beatbox’ was the first release from the label in late ’83, closely followed by Frankie Goes To Hollywood‘s ‘Relax’ (which only gets a tiny look in here unfortunately). Propaganda‘s debut, ‘Dr. Mabuse’ was the third release and appears in extended form before the title track of Frankie’s debut album gets a truncated turn.

Rounded off by a little gem of an unreleased mix of Grace Jones‘Slave To The Rhythm’ by Bruce Forest of Better Days fame. This is where I show off my digging credentials for a minute, this percussion-less mix for voice and orchestra was done on spec in the early 90’s by Bruce and remains unreleased as yet (although I’m trying). For the full story know that this is an edit of the full version and another exists that reinstates a lot more of the EU GoGo percussion. Both were done from master tapes at the Sarm West studios in London and hopefully one day they will see a proper release.

We’re now in the mid 80’s – a turning point for pop music and also for me as I dove headlong into Hip Hop with a passion for the rest of the decade. Without a pause we jump from ‘the Rhythm’ to ‘the Rebel’ (see what I did there?) and Public Enemy‘s classic squealing sax ‘n’ funky drummer smash. I remember the hairs on my neck standing on end when I first heard that transformer scratch after Chuck D roared, “Terminator X!” (even though it was probably Johnny ‘Juice’ Rosado who made the cuts).

I originally had four PE tracks in the mix, starting with ‘Son of Public Enemy’, the B side of their debut under that name and the first I heard played on the radio. The JB’s ‘Blow Your Head’ moog solo was so alien in Hip Hop and with the formless Flavor Flav freestyle over the top it just sounded even more extraterrestrial. This was excised from the mix along with the Terminator X Getaway Dub of ‘Your Gonna Get Yours’ from the A side of ‘Rebel…’s first release but I did also include ‘Countdown To Armageddon’. The opener from ‘Fear Of A Black Planet’ is in there because I was actually at the gig it was recorded from at the Hammersmith Odeon in London and even briefly met Chuck and Flav outside beforehand. Everyone has a few ‘I was there’ gigs and this is one of mine.

Around the same time a couple of self-appointed dance floor hooligans were showing the yanks that they could play the same game and after the Double Dee & Steinski homage of ‘Say Kids What Time Is It?’ Coldcut kicked the doors in with ‘Beats n Pieces’. One of the heaviest sample-led dance floor demolishers to emerge from the UK up until Depth Charge waded into the fray (sadly missing from the line up here) and, unbeknownst to me at the time, set to play a huge part in my musical journey (into sound) during the next decade.

Rewinding a couple of years to 1985 when I had a revelation the first time I tuned into Mike Allen’s Capital Radio weekend Hip Hop show and amongst the unaffordable US imports I would come to covet was Word of Mouth‘s ‘King Kut’. Featuring DJ Cheese who would go on to win the DMC Championship a year later on the cuts, it was everything I wanted to hear at 15 – beats, rhymes and scratches. Cheese’s cuts were hugely influential for me but he never got a chance to shine much after his DMC win although he guested on many tracks, he received little or no credit and fell foul of bad management.

The Beastie Boys‘Shake Your Rump’ needs no introduction or explanation except to say that most tracks in this mix are just one extract from albums that are cornerstones of my collection and musical education. Several have had to be left out such as De La Soul, Tackhead, Double Dee & Steinski and Foetus because of time constraints and musical shoe-horning for the sake of it isn’t my style. The The had to be in the mix though and I’ve not picked an obvious track for this one, more something that suited the mood and tempo of this particular part of the timeline. ‘Twilight of a Champion’ is from side 2 of ‘Infected’ but I could have picked anything from that or Matt Johnson‘s ‘Soul Mining’ debut. Interestingly the orchestral arrangements on this track were by ZTT artist at the time Andrew Poppy and Art of Noise member Gary Langan mixed a couple of the tracks on the LP.

From here we jump back into Hip Hop with more UK rap from Hijack, giving Public Enemy a run for their money and influencing DJs like Q-Bert in the process with the amazing cuts from DJs Undercover and Supreme. This group were so good they were one of the first UK acts to land a US record label deal, with Ice T‘s short-lived Rhyme Syndicate, whilst they were nurtured by Simon Harris in Britain on his Music of Life label. Note how only a year on from Coldcut‘s game-changing remix of ‘Paid in Full’ they reference it at the start of the track and then rip the needle off the record. So many people started copying the ‘This Is A Journey’ spoken word back then that it got old real fast. Another Brit copping an ear to what the Americans were doing before he moved to the West Coast was Jack Dangers and Meat Beat Manifesto, an early adopter of sampling after starting with more industrial roots. ‘I Got The Fear Pt.1’ from the amazing ‘Storm The Studio’ LP is cut from the same cloth as ‘Hold No Hostage’ being that they both sample from the same source except Hijack beat MBM by a year.

There’s a quick Jungle Brothers a cappella from their criminally undervalued ‘Done By the Forces of Nature’ LP before we hit Acid House territory with Stakker‘s ‘Humanoid’. This is the track were I finally ‘got’ what Acid was about after hearing various bits and pieces and not being too impressed (I was heavily into Hip Hop’s golden age at the time). Also the fact that Brian Dougans – later to become one half of the Future Sound of London – was responsible for this tells you something and I had their ‘Expander’ lined up to go into the mix later but couldn’t make it work.
William Orbit‘s stunning Spatial Expansion remix of S’Xpress‘Hey Music Lover’ follows, search out the full length version as it’s one of the best mixes he’s ever done and a pinnacle of the UK dance music scene of the late ’80s. The Orb had to feature and, were I keeping to the progressive timeline, I would have included ‘Little Fluffy Clouds’ or ‘A Huge Evergrowing Brain…’ at this point. Instead I’ve jumped forward a year to ‘Close Encounters’ from their second album as it suits the wind down into the ambience that follows better.

By 1990 I had moved to London to study graphic design and left most Hip Hop behind for electronic ‘dance’ music, the copycat gangsta-isms of Rap beginning to bore me. Madchester and baggy were in full swing but I was more interested in ‘intelligent techno’ as it became known and the emerging ambient scene. The Orb, were central to this along with the loosely affiliated KLF who soon made the jump into the pop charts. The latter’s ‘Chill Out’ LP knocked me out as I’d never heard anything like it spread over a whole album before. It’s pretty difficult to choose a single track from so I’ve just included some moments that stuck in my mind – “rock radio, into the 90’s and beyond” seeming apt at this point.

Another huge champion of ambient music both then and now is Mixmaster Morris aka The Irresistible Force who I met at some point around 1992 and was a huge influence on my musical education for a few years. He played so many artists who are now considered the foundations of the genre to me for the first time. He also gave advice and info including a contact for Matt Black of Coldcut which set me off on the path I would follow for the next two decades. I have much to thank him for and include a section of ‘Mountain High (Live)’ from his unfairly overlooked debut ‘Flying High’ here in tribute. Find a copy, it’s beautiful and this track alone is 20 minutes long.

Since I’d moved to the capital I had access to the newly launched KISS FM station with Colin Favor and Colin Dale‘s techno shows on a Monday and Tuesday night which I religiously tuned in to. This was where I first heard Aphex Twin‘s ‘Digeridoo’ which was like being run over by a steamroller at the time as it was a good 10 bpm faster than everything else. That started a love of his music which continues to this day and nearly rounds out the mix as I’ve chosen to stop at 1992 – a particular turning point in my life as well (a story for another time).

For the final track (the encore if you like) I’ve chosen a song from an artist I’ve held in high esteem for decades and one which most would have assumed should have kicked off the mix rather than ended it. Adam & The Antz’ ‘Zerox’ was the first record I ever bought – four years after it was released it has to be said – and the band were the first I would hold up as being crazy about. From the moment I heard their first chart entry, ‘Dog Eat Dog’, on the radio I was in love with this group as an impressionable 10 year old and as soon as I got a turntable their back catalogue was the first one I collected. For me their early post punk period that this hails from stands the test of time the best and I finally saw Adam live only last year. Ending where I began seemed to be the best option for a 140 bpm punk single rather than try to sandwich it between Kraftwerk and Queen, it’s rightly home on the timeline.

So, that’s a little trip back in time through the tracks that impacted upon my impressionable mind for the first 20 years or so of my life, maybe one day I’ll do an ‘Influences Pt.2’, kick off from 1992 and see what surfaces. It’s funny reading all this and the D&G article back (originally done about 18 months ago) – this is where I’ve been and although I still hold many of these records dear there’s still a long way to go until we arrive at where my head’s at today.
The new edition of the Dust & Grooves book is about to ship out as of writing – you can buy it here.

Dust & Grooves DJ Food mix competition

I’m doing a mix for the Dust & Grooves: Adventures in Record Collecting website to accompany a big profile on my record collection that they’re going to run soon. The mix is based around records that aren’t necessarily rare but that made a big impression on me when I first heard them and influenced my career etc.
I’ve made the selection, I just have to mix it – what I want to know is how well you think you know my tastes?
Which artists will feature? That might be pretty easy for some of you…
Which tracks from those artists might feature though? Bit trickier.
These will be artists and songs that blew my mind on first hearing and changed the way I thought about music.

Whoever guesses the most correct artists / tracks featured gets a mystery bag of records, comics and other bits and pieces I want to influence you with.
Put your answers in the comments below and I’ll pick the person with the most correct guesses after Nov 21st when the piece will be published. You can guess as many times as you want. You might have an unfair advantage if you know me personally but there will be no favouritism :)

Also, if you’re waiting on the 2nd edition of the Dust & Grooves book it’s almost here and they have a nice little boxed set of 48 postcards available to pre-order (which I’m also featured in, see if you can spot the photo in the video). They’d probably make excellent Xmas cards.

Duck Rock Sonic Essay mixtape by Daniel Haaksman

‘Duck Rock’ fans – this is very well done indeed.
A guy called Daniel Haaksman has put together a ‘sonic essay’ on Malcolm McLaren‘s ‘Duck Rock’ album with interviews, original sources, remixes and World’s Famous Supreme Team show snippets.
Only a BIT miffed because I’d been collecting material with DK to do exactly the same thing for several years and he’s beat us to it.

Well worth hearing and buying – more details here.

Posted in Mixes/Solid Steel. | 1 Comment |

Red Snapper ‘Mambety’ (DJ Food remix)

I did a remix for Red Snapper earlier this year which is just seeing the light of day now. Following on from their ‘Hyena’ album it’s the title track of their ‘Mambety EP’ and sits alongside a remix by Moist and album track ‘Dock Running’.

Out today on LO RECORDINGS you can get it here. Whilst you’re there check out the new Grasscut single too, a precursor to their next album that Lo are releasing next year. I saw them live a few weeks back and they were excellent.

Terminal Radio 22 stream and download


Here’s the 3hr all-star electronica mix I contributed to as part of Terminal Radio 22 – curated by Nmesh – and featuring FSOLDigital (aka Yage / Brian Dougans with an “Electric Brainstorm 10: Micro Edition”), Mixmaster Morris, Neotropic, Youth, Akkya, LMS and Surface 10. There’s a long 5 minute intro before the mixes start and my section starts around the 1:12:45 mark

Terminal Radio 22 – three hour mix special coming soon…

Very happy to be a part of this all-star line up for a 3 hour mix on Terminal Radio on Oct 24th. The Terminal Radio mixes were started by members of the FSOL board as curated sets of 15 minute duration and have slowly amassed a decent archive.

In the next one they go all out even have a contribution from Brian from FSOL alongside mixes from Youth, Mixmaster Morris, Neotropic and more. I’ve submitted a couple of sections from my Future Shock mix, it will be interesting to see which is used and how it fits into the overall set. More info and an event page can be found here with details on how to tune in.

Shindig! magazine no.42 with free Cherrystones CD

Can’t say enough good things about Shindig! magazine, a decent blend of well-written articles and reviews on as much new as old music in the psyche, prog, rock and experimental vein.

Not as dry and repetitive as Record Collector and digging a bit further underground than Mojo. This month’s issue contains a Rocket Recordings mix CD by Cherrystones too.

Cut Chemist ‘Mix By Jimmy’ for Renegades of Rhythm Tour


Cut Chemist has put together a new 30 minute mix with records pulled from Afrika Bamabaataa‘s collection that he and DJ Shadow are currently touring under the Renegades of Rhythm banner.

“I compiled ‘Mix By Jimmy’ to take you on a journey into the deepest part of the deepest music collection of our time. Featuring recordings Afrika Bambaataa had pressed to acetate for spinning live at shows in the late 70’s and early 80’s. This mix includes entirely unreleased demo versions of hits like “Looking For The Perfect Beat,” “Renegades of Funk” and “Planet Rock.”

Future Shock on Solid Steel


Future Shock was a 2hr mix that I cooked up for an online ‘pirate’ radio station a couple of friends set up earlier this year called Altar Ego Radio. Billed as ‘Music from the Future you remember from your Past’, I mixed sci-fi electronica with a retro feel from Jokers of the Scene, Falty DL. The Books, Sculpture, Nico Motte and Jeremy Schmidt. Here’s the first hour, exclusively sans the chat of the original broadcast which was hosted like a regular radio show. Much like the recent Magpie Music mix of a few weeks ago I intend to expand on these themes in forthcoming Future Shock mixes focusing on the more electronic side of my current tastes. Altar Ego Radio will also be back on the air over the August Bank holiday weekend, more info here

Matt Berry / DJ Food Solid Steel mix

I’m very pleased to be sharing airtime with the legend that is Matt Berry on Solid Steel this week – my Magpie Music show that debuted on Altar Ego Radio earlier this year is paired with his trip though gospel rock, soundtracks, spoken word and classic Pop.

Matt has a new album out at the moment on Acid Jazz called ‘Music For Insomniacs’ which mines very different territory from his previous outings. This time he’s channeling Vangelis, Mike Oldfield and Tangerine Dream and turns in a more ambient, synth-laden set although there are plenty of surprises that spring up in the mix too. He’s currently filming the new series of Toast of London and we’re thrilled to have him on the show. Got to Acid Jazz to buy his album or previous records + tour memorabilia.

The return of Steinski

steinski_headingHis online blog has been dormant for a year now, rumours that he had come into some money and taken up morris dancing remain unsubstantiated, but now, the legend that is Steinski speaks:

“Folks –

I’ve emerged from hibernation to post 2 shows on WFMU.org. They’re streaming online, they’re NSFW, and they emphasize my favorite non-instrumental portion of the musical spectrum: the talking part.

Show #1 (3 hrs.) showcases monologue artists ranging from Ruth Draper and Lord Buckley to Ana Deavere Smith and Danny Hoch. The listenable playlist at WFMU.org is here:
If you want, you can download the show (.zip) in easy-to-listen-to tracks here:

The second show’s title is “Walkin’ and Talkin”; all the tracks are spoken word over music (3 hrs.). Speakers range from The Last Poets, Jack Kerouac and Jean Shepherd to William Burroughs, Jean Grae, and Saul Williams. The show ran once a few years ago and got buried because I never added any information about it. A listenable playlist has been coaxed into existence on WFMU.org here:
Download (.zip) here:

Thanks very much,

Steve Stein”

Magpie Music mix & the Lunar Festival

I’ve put one of the mixes I did for this weekend’s live streaming Altar Ego Radio on my Soundcloud so that it can kill two birds with one stone (pun intended) and promote my set at the Lunar Festival in Tanworth, Warwickshire on June 6th. The mix was done with that in mind being that it’s a psychedelic set for a gig of the same, check the line up below, tickets and other info available here.

A second hour of Magpie Music by 2econd Class Citizen is available here.

Future Shock radio show on Altar Ego Radio

Last minute post I know but I’ll be on Altar Ego Radio at 6 – 8pm tonight with a show of electronica that sounds like the past predicting the future called ‘Future Shock’. You can listen live here – I’ll even be talking.

Then tomorrow, Sunday 25th I’ll be doing another show with 2econd Class Citizen called ‘Magpie Music’ – one hour each of heavy psychedelia and the like.

DJ Food ‘Children of the Sun’ mix for Farmfestival

‘Children of the Sun’ is a mix about the sun and summer in general, made especially for Farmfest 2014. 50 minutes designed to relax to outside, lying on the grass in the warmth of the sun. Taking in jazz, beats, ambient, soul, funk, rock and electronica each track comments on the sun, summer or the great outdoors in some way.
This is just being premiered over on ClashMusic.com and won’t be appearing on Solid Steel, being exclusively for Farmfest where I’ll be playing on August 1st.
Tracklist:
Wolfgang Dauner – Take Off Your Shoes To Feel The Setting Sun (MPS)
The KLF – Brownsville Turnaround On The Tex-Mex Border (KLF Communications)
Koushik – Lying In the Sun (Stones Throw)
DJ Food – Sunspot (Unreleased)
Boards of Canada – A Beautiful Place Out In The Country (Warp)
Three Dog Night – Out In The Country (Dunhill)
Dr Rubberfunk – Sunset Breakdown (GPS Recordings)
The Orb – Little Fluffy Clouds (Ambient Mix MkI) (Big Life)
Ammoncontact – Children Of The Sun (Ninja Tune)
Belbury Poly – Summer Round (Ghost Box)
Sesame Street – Bees & Honey (Children’s Television Workshop)
July – Dandelion Seeds (Bam-Caruso)
Diplo – Summer’s Gonna Hurt You (Big Dada)
Isley Brothers – Summer Breeze (Epic)
Roberta Flack – I Can See The Sun In Late December (Atlantic)
Delia Derbyshire & Barry Bermange – Dreams / Land (BBC)
The Dells – Wichita Lineman (Cadet)
The KLF – Pulling Out of Ricardo And The Dusk Is Falling Fast (KLF Communications)

‘E is for Eighties Edits’ new mix for Solid Steel

E Is For Eighties cover webImagine an alternate version of the 80’s pop chart, not the one already there in the form of the extended 12″ remix that came to prominence in that decade, but a secret, subtly twisted one with different producers at the controls. Imagine Depeche Mode and Gary Numan remixed by a Hip Hop engineer, Tears For Fears cut to ribbons by a tape edit king, Bow Wow Wow and The Human League streamlined into a slow disco groove. Grace Jones and Heaven 17 pumped up for a House club, Japan remixed by Giorgio Morodor or Grace Jones covering Tubeway Army – no actually, those last two really happened.
My latest Solid Steel mix compiles an hour of mostly unofficial remixes, re-edits and versions of classic pop songs from the 80’s, remodeled by fans or studio engineers with access to the separate track stems. What emerges is a collection of pop classics seen through a distorted looking glass, culled from the darkest corners of Soundcloud or the hard drives of those with access to audio they shouldn’t have and time on their hands. See below for track listing and more info.

‘E Is For Eighties’ – An Alternate 80’s (Re)mix
Gary Numan – Films (DJ Butcher Instrumental) (soundcloud mp3) – Found on Soundcloud, this toughened up Hip Hop take on the Numan classic, beloved by break fiends from back in the day, is minimally tweaked for the dance floor. Check more of DJ Butcher‘s wares here.
Tears For FearsShout (Remix di Marco De Luca) (soundcloud mp3) – a crazed edit-fest of cuts and splices of one of TFF’s best known songs, I actually had to edit this down a little as the machine gun edits got so relentless that it was a difficult listen – the full 8 minutes is here.
Grace JonesSlave To the Rhythm (Better Days’ Rough Slave version) (mp3) – The first of three versions of Grace’s finest moment – this one takes the multitracks and strips away the percussion and bass to leave a gorgeous string and acappella version that’s billed as a ‘Rough Slave’ version on YouTube.. Info suggests that this was done by DJ Bruce Forest circa 1990, who got the chance to do a quick mix when working at SARM Studios on a different project. It has since been taken off of the web.
Grace Jones
Slave To the Disco (Tribute To Trevor Horn mix) (We Mean Disco mp3) – upping the bpm to a steady 110 this new cheeky re-edit turns a mid 80’s hyper-polished pop masterpiece into a dirty disco groove to brilliant effect. I’ve added a fair amount of the Better Days acappella and strings version over the top of this as the original is mainly instrumental.
Bow Wow Wow – I Want Candy (Deep Sound Design Balearic Dub) (soundcloud mp3) – Taking the original’s drum and bass groove and stretching it out, the mix just feels so dirty. Again I edited this down as the sugar-sweet singing of Annabella sounded a little too cheesy in the mix but check out Deep Sound Design‘s Soundcloud pages for tons of excellent mixes both past and present, he even makes ZZ Top sound good.
Frankie Goes To Hollywood – Relax (Hibakusha ‘Don’t Crack’ mix) (CDR) – One of my favourite 80’s songs tackled by my good friend Jeff Knowler aka Hibakusha. This is a few years old now and was largely achieved through EQing the various mixes of the song and re-sampling parts to achieve a mix. This is actually only half of Jeff’s version and he’s done many more Frankie and ZTT mixes in his own time, all sounding like they could have existed 30 years ago and among the best fan mixes I’ve ever come across.
Talking Heads – Once In A Lifetime (Hibakusha remix) (CDR) – Another one of Jeff’s, originally done for a friend’s birthday present and now presented here for the first time in public.
The Human League – Seconds (Antony Toga Unlimited Orchestra Mix) (soundcloud mp3) – The ‘Don’t You Want Me’ B-side taken and stretched into a menacing 8 minute groove with the help of the ‘Love & Dancing’ version by Anthony Toga. I added the news bulletin dialogue as JFK’s assassination took place and edited it again for length.
Japan – Life In Tokyo (Extended Disco mix) (Virgin) – A bonafide original, this actually saw a release in 1979 with Giorgio Morodor at the controls, one of the turning points in Japan’s history which saw them at a crossroads between outdated glam rockers and early adopters of synthesisers who were put in the same bracket as the Futurists.
Grace Jones Slave to the Rhythm (Steve Anderson & Chad Jackson remix) (soundcloud mp3) – A third outing but justified by this killer mix for DMC from the late 90’s, unreleased but one that successfully ups the bpm by 20 or so to make this go-go pop classic into an 11 minute house club banger. Check out Steve Anderson’s Soundcloud for tons of interesting mixes in this vein.
Tears For Fears – Mad World (ABH Remix) (soundcloud mp3) – Another Soundcloud find, TFF’s breakthrough hit given a crunching big beat undercarriage by ABH from London.
Depeche Mode – Big Muff (K Master bootleg demo) (soundcloud mp3) – This is actually an unfinished demo but I liked it so much I featured it anyway. A slowed down, Plastikman-esque remake of one of my favourite tracks from DM’s debut album, ‘Speak & Spell’ – hopefully one day he’ll finish it. K_Master hails for Minnesota, USA, not to be confused with the K Master from the UK.
Heaven 17 – Penthouse and Pavement (Eggman Remix) (soundcloud mp3) – The mysterious Eggman Productions from London, filters the Heaven 17 classic into House territory – the original is nearly 10 minutes long but I edited it a lot to fit it in, hear the full version here.
The Clash – Rock The Casbah (Dubrobots 12″) (mp3) – One of Jeff’s engineer friends who goes by the name of Dubrobots takes on The Clash. ‘…Casbah’ has been versioned a few times over the years but this sympathetic, dubbed out mix using the original stems to break it down caught my ear for the open piano passages. Also check out his Dubrobots HQ blog for a great mix of Adam & The Antz – Cartrouble Pt.1 (Dubrobots ‘Who’s The Slave & Who’s the Master’ mix). It’s a rarity to find any remixes of Adam Ant material, even more so to find one of the original, pre-fame Antz tracks. His is a fantastic re-imagining of ‘Cartrouble Pt.1’ which really exists in its own little world, I’m not sure how you’d place this with any other music successfully and it just didn’t make the final cut because of this.
Grace Jones – Me, I Disconnect From You (Island) Another track that’s legit but has only just seen the light of day. Originally recorded in 1981 for inclusion on the ‘Night Clubbing’ album, Grace covered Tubeway Army but it sadly never made the cut. Finally released on the new 2 CD deluxe edition we get to hear it and I mixed a little of the original into the ending so that Numan bookends the whole mix.

Along the way, whilst making this mix and auditioning a lot of other mixes in a similar vein, I stumbled upon Paul Dakeyne‘s site where he has a number of interesting posts including one on tape edits with an unreleased Omar Santana ‘Bullet edit’ version of the same Tears For Fears track I used. It’s pretty full on and comes from a cassette Paul had, his Soundcloud page is also worth a look with unreleased megamixes of Paul Hardcastle material.

Sabotage comic and the ‘3-Way Mix’ hits 100k plays

Sadly on Sunday it was two years since MCA passed away and there was a weekend long celebration in Brooklyn to remember the man and the music he made with the Beasties. With another, happier, anniversary also approaching – 25 years since the release of ‘Paul’s Boutique’ – there is a fair bit of Beastie-related activity on the horizon.

Above and below you can see a comic created by Derek Langille illustrating the song ‘Sabotage’ – this was done nearly two years ago now and takes a similar old school comic style to Ed Piskor‘s excellent on-goingHip Hop Family Tree.



A couple of fans in Italy (SM&A Prod.) are preparing a ‘visual companion’ to the album, to debut online on July 25th (see new trailer above) and Filter magazine are running a special on it in an upcoming issue.

The 3-Way Mix should be getting a feature somewhere in that issue and I was interviewed recently for an updated version of Dan LeRoy‘s 33 1/3 book about the making of the album.

Also over the weekend the deconstructed mix of the album that I made with DJ Cheeba and DJ Moneyshot finally hit 100,000 plays on Soundcloud – this is a big milestone for us so thanks to all for listening.

30 Years of Acid mix by Posthuman on Solid Steel

This week’s Solid Steel has a particular Acid taste with two distinct flavours. In the first hour Posthuman give us a very special look through 30 years of music made with the Roland TB303 from 1984-2014 assigning one track a year to give just one particular history of the machine. The choices had to be harsh and lots of obvious tracks were missed but you get a year by year progression ending with Posthuman themselves.

Talking of endings, their seven year-old night, ‘I Love Acid’, will breath its last on April 12th, the day after this mix debuts and this is a fitting way to celebrate the end of an era.
Amongst the line up is a certain Luke Vibert whose track of the same name titled the night in the first place. In a beautiful piece of synchronicity we have Lexis from Music Is My Sanctuary with an hour-long retrospective look at Luke’s career in many of his different guises after 20 years of official releases.

and in another little bit of Acid-related news I found this first review for the Roland TB 303 in a 1982 issue of Sounds this week, even back then with only two years left until production would cease, it received a glowing review.