Vibes from and found, by Sir Vinyl Instinct

2010-05-13T07:16:00.000-07:00

Hailing from Middlesbrough, Appo has been on the scene since day dot, Establishing such clubs as "Havana" in the acid house 80's and the legendary "sugar shack" in the 90's.

These days, Appo has gone back to his soulful and disco roots and apart from being as busy as ever in the studio with original material and re-edits he runs regular nights at "The Medicine bar"

Fingers on the pulse, here's a mix for May with some choice cutz.

turning darkness into light. Peace

http://podcast.appozone.com/?p=251

Featured artist of the month - Jube

2010-04-30T06:09:00.000-07:00

Hello all, and welcome to another edition from Sir Vinyls online crates. This month features a Sheffield great, a couple of artists that, as a collective, are known as Jube. Having heard these at a one off gig I was DJin for, as an interim between the nights hosts of bands, these guys truly stood out from the crowd.

Everybody on the night was good, don't get me wrong. However, every once in a while, certain artists manage to grab those ears in full swing, playings melodies and sounds that make those hairs stand on edge as you stare and listen in full awe, of what can only be described as rare, and undoubtedly astonishing, raw talent.

Here we have the description as on their SoundCloud page, alongside links to their Myspace too. So be sure to turn up that hi-fi, follow their links, and prepare to feel the same amazement as I did, not only when I first heard them, but everytime I hear their sound. Ladies and gentlemen, the one and only, Jube.

Everything by Jube

‘Jube’ is a fresh new band from Sheffield. They are a soulful, funky outfit with expressive, acoustic guitar driven songs and a tight live sound. They are already receiving amazing response from audiences at gigs and rave reviews in local press. BBC Radio Sheffield has recently been giving the band regular airplay as well as other radio stations in Sheffield, Bradford and even Hamburg! DJs based in London, Chicago and Athens are playing Jube tracks in their sets as well! Recently Toddla T has remixed Jube's track 'Everything' and played it twice on BBC Radio 1!! Also, it was available to download on Annie Mac's blog!

They have had some fantastic comments on their myspace page from artists such as Stuart Zender and Nick Van Gelder (original ‘Jamiroquai’ members) who love their sound! Mozez, who provided the vocals on the first two ‘Zero 7’ albums, also loves their material. Please visit ‘Jube’ online to check out six awesome tracks as well as photos, reviews and gig dates at: www.myspace.com/julieandbennett

Julie Clarkson on lead vocals and acoustic guitar has a beautiful, soulful voice and writes most of the material for the band. She used to perform as a solo artist, as well as in a Sheffield Funk band called Salty Yet Sweet.

Bennett Holland on backing vocals and keys used to play for ‘Weekend Players’, Andy Cato of ‘Groove Armada’s’ project and toured the States and Canada promoting their album ‘Pursuit of Happiness’. He also used to play for Richard Hawley while he was promoting his first EP & Album. He has also played with Sheffield artists such as Frank White, Dizzy Club, Pete Simpson, Chris Walker and many more. Recently, Bennett has played studio sessions for local producers Toddla T, Groove Assassin and Jonny Montana.

Darren Campbell on bass used to play along side Bennett in ‘Weekend Players’ and tours with Errol Brown of ‘Hot Chocolate’. He also plays bass in local Soul project ‘Bare Knuckle Soul’ who have released an EP and played numerous gigs in London including two shows at The Jazz Café supporting Omar.

Richard Storer on drums has played in bands with Bennett since they were eleven years old including a Sheffield Acid Jazz band called ‘The Trance Plants’ in the late 90s who supported The James Taylor Quarter and Hamish Stuart from The Average White Band. Richard also plays in a Rock band called ‘Fire Suite’ who play live up and down the county.

‘Jube’ produce a timeless, classic sound with gorgeous vocals the warmth of a Fender Rhodes, a tight and funky rhythm section and above all great songs!

Contact: bennettholland@tiscali.co.uk

Check out some of the comments left on Jube's Myspace:

Mozez (Zero 7):
I am loving your work really loving it. Everything! is a great track.
Stay true.

Stuart Zender (Jamiroquai):
This is hot!!!!! Very funky!Would love to see ya live!
Peace and love.
SZ

Nick Van Gelder (Jamiroquai):
Hey Jube!!!!
Thanks for the add-Nice one!
Cool Funky stuff! esp liked Bare Faced Lies -wicked track
All the best
NX

The Haggis Horns (Mark Ronson):
lovely sounds you're making here!
keep doing it!

Nightmares on Wax:
Very nice vibes...
Keep it coming
1 Love
Ease

Mark Hill (Artful Dodger):
Tracks sound great, very nice feel!! great soundtrack to a sunny day here in London - (daytrip)

Speech (Arrested Development):
Good vibes!

Toddla T (Small Arms Fiya):
*jubes #1 fan*
nuff respec guys.. super talented.

Shannon Harris:
Wow, cool soul jazz stuff.. I have to get a hold of a CD.. Nice!!!! I wish it was on vinyl.. :)

Apace Records:
yikes!
"behave" is strong mate! proper smoky jazz club biznizz.
superb stuff.love it.

Zest PR:
Hey Jube!
thanks for the ad, we've top friended you too...
Let us know when your next gig in London is and we'll meet up.
Zest x

Celebrity Records:
Hey thanks for the add...Lovin the sounds!!!!!!!
All the best
:)

R2 Records:
very nice indeedy

LAD Records:
Beautiful atmosphere and sound.
Keep in touch

Soundcloud: http://soundcloud.com/jube

Myspace: http://www.myspace.com/julieandbennett

Edits From Sir Vinyl Instinct released... eventually!

2010-04-08T04:11:00.001-07:00

Here you can catch the long awaited edits album from Sir Vinyl Instinct, simply by clicking here.

Please also visit Soundcloud.com/sirvinylinstinct for info, edits, releases and mixes.

<a href="http://sirvinylinstinct.bandcamp.com/album/the-edits-of-sir-vinyl-instinct">Tata Vega - Get It Up (Sir Vinyls Rework) by Sir Vinyl Instinct</a>

Tracks and Edits! by Sir Vinyl Instinct

5-Star!

Pseudo 54 Afterparty video

2010-03-18T18:08:00.001-07:00

For all those that attended, here is a video clip of the Pseudo afterparty that we held down at Dirty Little Secret studios, where I and Fradaja did a mammoth stint on the decks - notice the sunlight, it's around 8am and it's still going strong!

Huge thanks to all those that attended - massive respect

Jazz T Interview (Originally Posted On UKHH.Com Oct 1st 2008)

2010-03-02T20:06:00.000-08:00

As a founding member of Surrey’s Diversion Tactics crew, Jazz T has more than proven himself over the years as both a talented DJ and an astute producer. From the dusty-fingered beats of DT’s debut 2002 album “Pubs, Drunks And Hip-Hop” to the unapologetically raw tracks heard on T’s new solo project “All City Kings”, the former UK ITF DJ champion has consistently remained faithful to the true-school Hip-Hop blueprint he first discovered back in the 80s. This unwavering approach to his craft has led to Jazz working with a diverse selection of like-minded individuals, from Bronx-bred underground icon Percee P to gifted homegrown mic-wrecker Kashmere.

Currently keeping busy supplying the beats at London’s respected open-mic event End Of The Weak, Jazz T recently tore himself away from sifting through old sci-fi soundtracks for new sample material to talk about his new album, production techniques, and future plans.

It’s been six years since the release of the first Diversion Tactics album “Pubs, Drunks And Hip-Hop”. What are your thoughts looking back on that project?

We didn’t initially intend on doing an album at all. We’d dropped the original Diversion Tactics EP and had got together a tour with J-Zone and one of the guys who booked us for a show was Rob Luis from Tru Thoughts. Our manager passed him a copy of the EP and he was really interested in our music. Rob wanted to put us out as one of the first Zebra Traffic releases, and he already knew me from doing cuts on Mark B’s first EP with MCM and Big Ted.

After the tour we had a proper meeting with Rob and he told us that, at the time, he wasn’t really up for doing just 12″ singles and EPs, he wanted us to do a whole album. So we really had to get it together. Fortunately, me, a guy called Optiv, who was from a drum & bass crew called Cause For Concern, and Zygote had all been making a lot of beats together for quite a long period of time. So we gave the beats to Chubby, Barron ACJ and Squeaky and then talked about the direction of the tracks.

We’d already been doing a lot of shows together so we had a strong chemistry as a group, but I’d say the whole album was kinda thrown together, but I think that gave the project a real spontaneous feel. I think when you plan too much it can take away from the natural vibe of the music you’re making. We never actually thought we’d ever have the chance to record an album, so a lot of energy went into “Pubs, Drunks And Hip-Hop”.

At what point did you make the transition from being a DJ to considering yourself a producer?

I started DJ-ing when I was 15-years-old. I originally lived in Watford, then I moved to Birmingham, then I came to Surrey. I had a couple of mates at school who had turntables, not Technics or anything, they were just straight-up hi-fi decks, but I got into DJ-ing through that.

I soon started doing pause-button tapes and multi-tracking using a couple of cassette decks, which is really when I’d say I first started trying to produce. At the time samplers and studios were extremely expensive, so I really had to work with the equipment I had. I’d say I was about 16-years-old when I actually started thinking like a producer in my head with the intention of going somewhere with the music.

How would you say your production style has developed over the years?

The Diversion Tactics album was the result of fifteen years of being into Hip-Hop, so the sound of the album reflected the music we came up listening to. But if you listen to tracks like “Hong Kong” and “Yanking Off”, you can also hear the beginnings of the music we’re making now.

In terms of the beats, we’re still using breaks and always will use breaks. On occasion we’ll sample Zygote drumming, but we’re still using that live drum sound that you’ll find on an old break. We were heavy on the jazz tip on the first Diversion Tactics album, whereas now we’re sampling stuff from anywhere.

Obviously my production techniques have become more advanced, but we’re still working within that boom-bap true-school sound. We’ve got a lot better as producers and engineers and we’re able to do a lot more, so that’s apparent in our sound now. But the motivation behind the music is still the same.

You just mentioned that you’ll always sample from breaks in your music – how much is digging for old vinyl still a part of what you do?

Digging is still a very large part of what I do. Basically, whenever I see a record shop, I’m in there. I actually work in a record shop in Guildford, so I’m surrounded by records four days a week anyway (laughs). We’re lucky enough in Guildford to have two collectors record stores, which I spend a lot of time in, so we’re kinda spoiled. If there’s something that I know I want and I want it quickly, then I’ll buy it off the internet. But the excitement of actually digging for records and finding stuff no-one else has is still a big part of it for me.

Where do you stand on the debate surrounding producers downloading material to sample from the internet rather than going out and digging for it the traditional way?

A lot of people just haven’t got the patience nowadays. A friend of mine who makes drum & bass was telling me the other day how he’s just downloaded thirty gigs worth of samples. I’m of the attitude that I’ll always dig, so personally I don’t download stuff to sample. I’ll always sample from either live instruments that we’ve recorded or breaks that we’ve found. I won’t limit myself from only sampling from vinyl though, because if you find something on CD that’s worth sampling you should do. But at the end of the day, if you’ve got skills, whether or not you’re able to go out and dig shouldn’t really hold you back.

Is there a particular idea or concept behind your new album “All City Kings”?

Well, a lot of people don’t really know who I am and I’ve never really pushed for people to know me on a certain level. I’m not the type of person to boast about what I’m doing, so I’ve always kinda been in the background doing my thing. I felt that maybe it was time for people to know a bit more about Jazz T and for me to develop myself more as an artist.

I wanted to use the new album to showcase the artists I’ve worked with in the past, either through producing or touring as a show DJ. So that’s why you hear everyone on the album from Percee P and Tim Dog to Kashmere.

“All City Kings” was a way of me showing what I’ve achieved in my career so far while also making a tight Hip-Hop album and defining myself as an artist in my own right as opposed to just being known as a DJ.

How much input did you have on the lyrical direction of each track?

To be honest, I just let everyone do their own thing really. I felt that the tone and sound of the project had already been set by the beats I’d chosen to use. Because I’d already worked with everyone on the album previously, I was confident that I could let them all do their thing and it would come out the way I was hoping it would.

Considering the mainstream popularity of Hip-Hop today, have you even been tempted to take your music in a more commercial direction?

I make music because I love music, but at the same time I also make records to sell records. Now, in terms of me making something that’s formulated to appeal to the masses, it just wouldn’t work. When it comes to making pop stuff that the masses love, that’s a skill in itself, so even if I tried to produce those type of records I really don’t think that I could do it.

Although a lot of people knock the more commercial stuff, to make something that appeals to everyone across the board does take something. So I don’t think that’s a direction I could ever go in, not just because it’s not something I believe in, but also because it’s a skill I don’t think I have.

Plus, I think producers who do flit between whatever’s trendy at a particular time cut their shelf-life as they end-up not really standing for anything, as they alienate their original fans and the newer fans are only interested for a short time until the next trend comes along.

What advice would you give to young producers getting into the game today?

I’d definitely suggest that they take the time to study music and listen to what’s come before them as that can only have a positive effect on their own production. I also think any young producer should spend some time digging, looking for breaks and old records, not necessarily to limit themselves to only sampling from vinyl, but just to have that experience. Also, as a producer you really need to have a picture in your head of what you want the end result of a track to sound like. It’s no good going into making a track with absolutely no idea of where you want to go with the music.

An obvious question here, but if you could produce your ultimate posse cut, which artists would you want to collaborate with?

I won’t mention any of my own guys as they’re obvious choices, so we’ll leave them out for the time being (laughs). But I’d definitely have Bionic of London Posse on there, Kool G. Rap, Godfather Don, Freddie Foxxx, Roots Manuva, EPMD and MF Doom. I think that’d be a nice little line-up.

So what’s next for Jazz T?

The plan with Diversion Tactics has always been to do another album and we’re now about halfway through recording the new project. It’s sounding nice and I’m really happy with it. All the tracks are done so now Chubby’s just working on the lyrics. We were trying to get the album out this year, but then Chubb started writing for another Bobba Fresh project, so we’re looking at next year now.

Me and Zygote are doing a project with Kashmere, which as a piece of music is some next level business. We’re also doing a Boot compilation, as a lot of the singles that came out on the label have never been released on CD. So we’re putting out an album that will include previously released Boot tracks from artists like Robot Boy and HUG, plus some unreleased stuff from Kashmere, Verb T and Louie G.

So right now, I’m definitely staying very busy.

Sir Vinyl Instinct on Urban Soul Radio

2010-03-02T09:52:00.000-08:00

Hey all, my skills are to be prevailed on Urban Soul Radio (urbansoul.ru) on Friday the 19th of March, 5pm UK time. Tune in for a fine slelection of hiphop and esque beats. Then after that, I'll be playing down @ Sawa in Sheffield - come chk it out!

Tune in and enjoy all.

Peace, beatz n love to all!

Sir Vinyl Instinct

Captain Sensible - Wot (Sir Vinyl Instincts extended re-work)

2010-02-25T02:50:00.001-08:00

Captain Sensible (born Raymond Burns, 24 April 1954) is a singer, songwriter, guitarist (and sometimes bassist) who grew up in Croydon, England, and co-founded the punk rock band The Damned in 1976. After leaving the band, he reinvented himself as an alternative pop singer with a rebellious, self-conscious image. His signature headwear is a red beret.

Captin sensible - wot (Sir Vinyl Instincts extend) by Sir Vinyl Instinct

Early life
He was born Raymond Ian Burns in Balham, London. Before joining The Damned, he was in a covers band called Oasis. He was also in a tribute band called Punk Floyd.

The Damned
Originally a member of the Johnny Moped band, Sensible joined The Damned in 1976 on the suggestion of his work colleague Rat Scabies, the band's drummer, filling a number of positions during his tenure (including bassist, lead guitarist and keyboardist), and eventually becoming the band's main songwriter following the departure of Brian James. He left in the 1980s to concentrate on solo projects, but rejoined in 1996 after Scabies left, and co-wrote Grave Disorder, the band's first new studio album for 8 years, in 2001. He continues to tour with the band today and they released their latest album So, Who's Paranoid? on 17 November 2008.
Solo career
Sensible had a UK number one hit in 1982 with a cover of "Happy Talk", the Rodgers and Hammerstein song from South Pacific, featuring backing by the Dolly Mixture; this was later sampled for rap artist Dizzee Rascal's 2004 song "Dream".
Other songs which became hits in the UK and various European countries were Rap parody "Wot?" (sampled in 2000 by Brazilian rapper "Gabriel o Pensador" in the song "2345meia78"), the anti-Christmas "One Christmas Catalogue" and anti-Falklands War "Glad It's All Over". After quitting A&M Records he continued recording for various independent labels, including Deltic Records and Humbug Records. He has also toured with his solo band Punk Floyd.
His recording of "The Snooker Song" from Mike Batt's musical The Hunting Of The Snark was used as the theme music for the BBC gameshow Big Break, and he also wrote and performed a song called "Brain's Theme" for the movie Skinned Deep in 2004.
Playing live in Abergavenny in 1994
Captain Sensible is also a member of Dead Men Walking, a supergroup featuring Mike Peters (The Alarm),Kirk Brandon (Spear of Destiny) Slim Jim Phantom (Stray Cats) and (The Dr Spacetoad Experience).

Politics

In September 2006, he formed a new British political party known as the Blah! Party. "Politics is dead," he said in a statement. "The British public aren't voting because the parties are totally ignoring their opinions. At the moment, the only real method of mass protest against this is by not voting, which is why voting figures continue to fall.
"But we believe that voting is an important part of the democratic process, and we want the Blah! Party to be the party of protest; a channel through which the people of the U.K. can vent their dissatisfaction at nonsensical everyday things, and protest against the government and the current crop of political parties."
The party entered into a sponsorship deal with Seabrook Crisps in September 2006.
He was previously a member of the Green Party.

LTJ Bukem - Sunrain

2010-02-17T09:02:00.000-08:00

Taken from the Journey Inwards album, this was the opening track to the compilation, feat Elliot.

LTJ Bukem is the stage name used by the drum and bass musician, producer and DJ Danny Williamson (born 1967, Watford, Hertfordshire). He and his record label Good Looking Recordsare most associated with the jazzy, atmospheric side of drum and bass music. The name "LTJ Bukem" is a contraction of "El DJ Book 'em", a nod to the Spanish for "The DJ". "Book'em" (or "Book'em Danno") is the well-known catchphrase by Steve McGarret, Senior Officer to "Danny Williams" on the television series Hawaii Five-O. Together we get "Ltj Bukem".

Williamson was raised in Watford, England by foster parents. He was trained as a classical pianist and discovered jazz fusion in his teenage years, having a jazz funk band at one stage. However by the late 1980s he decided to become a DJ, and gained fame in the rave scene of the early 1990s. As a producer, he released a series of classic jungle tracks such as "Demon's Theme" (1991), "Atlantis" and "Music" (1993).

He then dipped in visibility as a producer, with his work running legendary London club night Speed and his record label Good Looking Recordscoming to the fore. A series of compilations entitled Logical Progression highlighted a jazz and ambient influenced side of drum and bass. The style became widely known as intelligent drum and bass, although Bukem himself was opposed to the moniker, unhappy with the implication that other styles of jungle were not intelligent. Bukem also explored the downtempo end of electronic lounge music, with sister label Looking Good and the Earth series of compilations. Some of the artists who rose to fame under Good Looking in this period include Blame, Seba, Big Bud, Blu Mar Ten, Future Engineers, and Artemis.

On July 16, 1995 he did an Essential Mix alongside MC Conrad. In 1997 he remixed the James Bond theme for David Arnold's concept album ofJames Bond music. In 2000 he finally released a debut solo album, the double-CD Journey Inwards. The album heavily emphasised his jazz fusion influences. 2001 saw a remix of Herbie Hancock.

He DJs extensively around the world, often under the Logical Progression or Progression Sessions banner, with other Good Looking artists and house MCs Conrad and DRS.

Viewed as an innovator in the drum and bass style, LTJ Bukem is known for developing an accessible alternative to that hardcore genre's speedy, assaultive energies. His style pays homage to the Detroit-based sound of early techno, but Bukem also incorporates still earlier influences, particularly the mellow, melodic sonorities of 1970s-era jazz fusion as exemplified by Lonnie Liston Smith and Roy Ayers. Early in his career, Bukem was identified for his response to the "almost paranoid hyperkinesis" of breakbeat-based house music, and specifically for his reservations regarding the overbearing force of the hardcore mentality. Bukem's music from the early 1990s onward represents his efforts to map out an alternative future for breakbeat house music by incorporating softer-edged influences culled from London's 1980s rare groove andacid jazz scenes. Music on Logical Progression reveals these influences, as does his approach on 1993's Music / Enchanted, which features string arrangements and sounds from nature. His use of keyboards, live vocals and slow- motion breaks on these and future releases earned Bukem's music the tag intelligent drum and bass. While this designation caused controversy within the drum and bass community, it also influenced the popularization of hardcore music in the UK during the mid 1990s.

Donald Byrd - Think Twice

2010-02-17T08:42:00.000-08:00

Donaldson Toussaint L'Ouverture Byrd II (born December 9, 1932) is an American jazz andrhythm and blues trumpeter.

Born in Detroit, Michigan, Byrd attended Cass Technical High School. He performed with Lionel Hampton before finishing high school. After playing in a military band during a term in the United States Air Force, he obtained a bachelor's degree in music from Wayne State Universityand a master's degree from Manhattan School of Music.

While still at the Manhattan School he joined Art Blakey's Jazz Messengers, replacing Clifford Brown. In 1955, he recorded with Jackie McLeanand Mal Waldron. After leaving the Jazz Messengers in 1956 he performed with a wide variety of highly regarded jazz musicians, including John Coltrane, Sonny Rollins, Herbie Hancock, and Thelonious Monk. Byrd's first full-time band was a quintet he co-led from 1958-61 with Pepper Adams, an ensemble whose hard driving performances are captured "live" on At The Half Note Café, Vols. 1 & 2. In June 1964, Byrd jammed with jazz legend Eric Dolphy in Paris just two weeks before Dolphy's death from insulin shock.

In the 1970s, he moved away from his previous hard-bop jazz base and began to record jazz fusion, Jazz-funk, soul-Jazz, and rhythm and blues. Teaming up with the Mizell Brothers, they produced Black Byrd, which was enormously successful and became Blue Note Records' highest-ever selling album. The Mizell Brothers follow-up production albums for Byrd, Places and Spaces, Steppin' Into Tomorrow and Street Lady were also big sellers, and have subsequently provided a rich source of samples for acid jazz artists such as Us3.

In 1993, Byrd teamed up with Gang Starr MC Guru for the track "Loungin'" on the Jazzmatazz project.

He has taught music at Rutgers University, the Hampton Institute, New York University, Howard University, Queens College, Oberlin Collegeand Delaware State University,. In 1974 he created the Blackbyrds, a fusion group consisting of his best students. They scored several major hits including "Rock Creek Park", "Walking In Rhythm" and "Blackbyrds Theme".

In September, 2009 he was named an artist-in-residence at Delaware State University.

Byrd lives in Teaneck, New Jersey.

Paper Music - downtime

2010-02-17T07:07:00.000-08:00

Released in around 1995, Paper Music were at the forefront of unique disco house at the time. They consisted of Elliot Eastwick, Miles Holloway and Simon Bradshaw, all of course, from the UK. They also used aliases of Paper Boys, Salt City Orchestra and of course, Wastepaper.

What can truly be said is that when we do things over here, more than likely the outcome is astounding to all those that are graced with it.

Yarbrough & Peoples - Don't stop the music

2010-02-17T06:29:00.000-08:00

The duo was comprised of Cavin Yarbrough (background vocals/keyboardist) and Alisa Peoples (lead vocalist). They were discovered by Charlie Wilson of the Gap Band, and signed to the Total Experience label, then distributed by Mercury Records in 1980.
Their biggest hit single was "Don't Stop the Music" (Pop #19, R&B #1 for 5 weeks in 1981), from its debut album The Two of Us, released in 1980. The song was the very last song to be played on the television series The Midnight Special. The album went gold,^{[citation needed]} peaking at #16 in the Billboard Hot 200 album chart. The UK single release of "Don't Stop the Music" also reached #7 in the UK Singles Chart, early the following year. In 2007, "Juicy Fruit" by Mtume and "Don't Stop The Music" were both sampled on the No. 1 R&B/Hip-Hop (and No. 7 Hot 100) hit for Keyshia Cole featuring Lil' Kim and Missy Elliott (produced by Elliott).
The duo continued its R&B success throughout the 1980s, with four more R&B Top Ten hits, including another #1.
Yarbrough and Peoples' single chart successes also include
"Heartbeats" (R&B #10 in 1983)
"Don't Waste Your Time" (Pop #48, R&B #1 for one week in 1984; #60 UK)
"Guilty" (R&B #2 for one week in 1986; #53 UK)
"I Wouldn't Lie" (R&B #6 in 1986; #61 UK)
Total Experience was absorbed by Mercury Records during the late 1980s, and Yarbrough and Peoples eventually married each other and returned to Texas.

"Don't Stop the Music" is a song by Yarbrough and Peoples, from the duo's 1980 debut album, The Two of Us. The song was a hit single that reached #7 on the UK Singles Chart in 1981. In the United States, the song reached number nineteen on the Billboard Hot 100 and fared even better on the R&B chart, where it hit number one,^[1] helping to earn a gold record for the duo.

The Who - Eminence Front

2010-02-06T13:56:00.000-08:00

Eminence Front" is a song written and sung by Pete Townshend of The Who; it appears as the sixth track on the group's studio album, It's Hard. The single reached #68 on the Billboard Hot 100. It is the only song from the album that the band has opted to play live after its initial tours directly after releasing the album. Lead singer Roger Daltrey, vocally critical of the album, described "Eminence Front" as the only song on it that he felt was worthy of being released (although he later requested "Cry If You Want" during their 2006 tour, incorporating the lyrics into an extended version of "My Generation.")

The song itself focuses on the hedonistic lifestyle that was prevalent during the 1980s. The lyrics concern a party in which people ignore their problems and merely try to hide behind a facade — an "eminence front." Townshend has introduced the song in live performances with the words, "this song is about what happens when you take too much white powder. It's called 'Eminence Front'."

Into the first chorus there is a major timing flaw, where Daltrey and Pete Townshend end the title term at slightly different times. That flaw was edited, and a corrected version appears on the 1997 re-release of the CD (a live version, recorded on the band's final date of their 1982 tour inToronto, appears as a bonus track on the re-release). The song had a video, shot at a rehearsal in Landover, Maryland, during their '82 US tour, which enjoyed consistent airplay on MTV upon its release.

In addition to the previously mentioned flaw, the original mix of the song shunted Townshend's vocals to the right channel, similar to Roger's vocal on "Athena," which had been panned hard left. Both songs were re-mixed for the 1997 MCA remaster, and both vocals have been centered.

"Eminence Front" was scheduled to be released as a single in the UK by Polydor Records in 1982. The catalog number was WHO 7 but the single was never released. The picture sleeve, by Richard Evans depicted a 1930s Art Deco house in Miami.

Outlaw Blues Band - Deep Gully

2010-02-06T13:54:00.000-08:00

The Outlaw Blues Band decided to call themselves outlaws because of their self-proclaimed unconventional music. This is how they referred to rock music of the day-"It’s a 4/4 tempo that’s still rocking in its chair, not as a lady, but as a wench that shook up the historical path of music." They stated in the album liner notes that they created the song "Death Dog Of Doom" in 6/8 tempo, thus making them a progressive band.
I agree that their sound is very progressive for the time that they recorded this album (1968). Being an avid electric blues lover myself, I found this LP very easy to appreciate. "Two ‘Tranes Running" is most likely a dedication to John Coltrane. It sounds very much like free form progressive jazz. Possibly this is what Coltrane would have sounded like if a clone of him were playing in the same room. This is only a hypothesis of what I heard; others may have an entirely different interpretation than I. Their version of "Tobacco Road" was quite unusual. I had never heard the song done this way. I knew I was in for a ride when that song played through.
Th

is group was far ahead of its time. They were to make one more album, "Breaking In", in 1969. And that was the end of this out of the ordinary group. It’s to bad it couldn’t have lasted longer. I would have been very interesting to see how things developed over the course of a few more albums.

Surface - Falling In Love (Hunee Edit)

2010-02-04T10:16:00.000-08:00

Hun Choi, based in Berlin, Germany.

Full releases on john daly's label "feel music" , speculator's "wt records", prins thomas' "internasjonal" and vinyl-only "retreat". tracks released on zurich's "drumpoet community" and munich's "permanent vacation".

Surface - Falling In Love (Hunee Edit) by hunee

Truly spectacular!

DJ Raw Sugar - I Just

2010-02-04T08:53:00.000-08:00

When I came accross this artist on Soundcloud, I just had to share my find. This guy certainly knowes how to keep a steady groove throughout his tracks. A good flow is key to any song, and this fella certainly knows how to do that.

DJ Raw Sugar - I just by DJ Raw Sugar

DJ Raw Sugar, aka Patrick Nadoll, Berlin (Germany) and Auckland (New Zealand) based deejay (DJ Raw Sugar) and producer (Backyard Boogie Boys). Backyard Boogie Boys' productions are characterized by deep and earthy house beats which amalgamate with a multifarious spectrum of sounds. Jazz, 70's and 80's boogie, disco, funk, and soul, 80's and 90's hip hop and the whole range of electronic music are reflected in his compositions. He's part of the note:one deejay and producer team.

ESG - Your No Good

2010-02-04T08:46:00.000-08:00

ESG (Emerald, Sapphire and Gold) are a band from the South Bronx, New York, U.S.. The band originally consisted of sisters Maria Scroggins (congas, vocals), Renee Scroggins (vocals), and Valerie Scroggins (drums), and friends David Miles (guitar) and Leroy Glover (bass). A later incarnation of the band consisted of Deborah Scroggins, Maria Scroggins (congas, vocals), Renee Scroggins (guitar, vocals), and Valerie Scroggins (drums). ESG have been influential in a wide range of musical genres, including hip hop, post punk, disco, and dance-punk.

ESG's music is centered around complex polyrhythms, a funky bass and pop-flavored guitar. During their first incarnation, the group signed with 99 Records and issued a debut self-titled EP in 1981 that featured three live and three studio songs, the latter produced by English post-punkproducer Martin Hannett (Joy Division, etc.). 1982's ESG Says Dance to the Beat of the Moody EP continued in a similar vein, as did their first full-length album, 1983's Come Away with ESG. ESG disbanded shortly thereafter, but re-formed in the early '90s, heralding their comeback with a self-titled 1991 compilation of previously released material. The group's work had become popular among hip-hop artists searching for samples, with such acts as TLC, the Wu-Tang Clan, theBeastie Boys, Big Daddy Kane, Gang Starr, Tricky, Jay-Dee (J-Dilla) on his Donuts album, andindie rockers like Unrest and Liars. The group addressed this issue on the 1992 12" EP Sample Credits Don't Pay Our Bills. The album, ESG Live!, was release in 1995 and featured both old and new material.

Why am I referencing this song. Firstly, because it's such a dope groove. But secondly, being from Manchester, it was our own Factory Records that signed them here in the UK. RIP the genius of Tony Wilson.

Beats From The Laboratory - Sir Vinyl Instinct

2010-02-04T08:00:00.001-08:00

Deep Disco / house - (http://soundcloud.com/sirvinylinstinct/beats-from-the-laboratory)

1) Billy Jones - I Can't Wait To Break

2) Brenda BT Talyor - You Can't Have Your Cake (Frico re-edit)

3) Kelis - 80s Joint

4) Patrick Nadoll - Supreme (DJ Raw Sugar)

5) Patrick Nadoll - I Just (DJ Raw Sugar)

6) Shriekback - My Spine Is The Bassline (Hashzilla's Second Brain In His Spine resurection Edit)

7) Luke Vibert - Disco Nasty

8) Motion - Nu-Kicks

9) Baresi - Come And Get My

10) Papermusic - Downtime

11) Lime - Angel Eyes (l'elephant Edit) (http://soundcloud.com/lelephant)

Beats From The Laboratory by Sir Vinyl Instinct

Mighty Ryeders - Evil Vibrations

2010-02-04T07:46:00.000-08:00

Here we have one of those fine examples of what many would class as a one hit wonder. Although few others were released by the Mighty Ryeders, this is definatly there most memorable. As sampled by De La Soul in "A Rollerskating Jam Named Saturday's", who could forget such a classic.

That is the true passion what lies behind hip hop (or in most cases), finding rare and astounding sounds to which you have to wonder, could we do without this sound.

Enjoy!

Vaughn Mason - Bounce, Rock, Skate, Roll

2010-02-04T07:24:00.000-08:00

Vaughan Mason & Crew was a funk / post-disco based group, best known for their single "Bounce, Rock, Skate, Roll", which reached #5 on the US Black Singles Charts in 1980. In 1981, the band released the single "Jammin' Big Guitar", which charted at #65. "Bounce, Rock, Skate, Roll" has since been used in various samples by artists such as De La Soul and Mr Magic.

An Introduction, somewhere to start I suppose!

2010-02-02T14:16:00.000-08:00

DJ, Producer, label / studio owner, and all round music fanatic. My love of music stems from my parents only way to keeping me quiet, by letting me near the record player. I remember the quality of the Pioneer headphones my old man used to have for his ‘special’ use. Watching the centre image of the vinyl rotating, the feeling you got from staring into the hypnotic dark grooves on the vinyl. This would always keep me entertained”. It was from here on in, 5 or 6 years old, music was the only thing that mattered. That and the odd game of knock-a-door run maybe from time to time. My folks seemed to have a vast collection of vinyl. Many styles, 7s, 12s, and even a few 10s and dubplates were also in there. I later found out that this was only a small selection as he had the bulk sold by his sister while he was away once – what a cunt. I often think of what else was in that collection
At the age of around 6 or so, I found my old man’s tape splicer and started messing around cutting up tapes. I don’t think he could ever work out where his cassettes were going. I started making tapes as if they were radio shows. If only I still had some of them tapes –they’d be hilarious.
One Christmas, I got an Amiga console off my folks. Mainly out of jealousy I might add, as my sister got one a few months before. My old man would always bring me home copied games and programs, but I was only ever fascinated by the music programs he managed to find. That and plugging in the mouse in the joystick slot while playing Olympic Games – those little buggers would run fast when you did that. I can even recall a few classics that are still remembered today (some Coldcut and some old rave tunes. You could rearrange them and make your own versions of them. I was generally fascinated for hours on end with this.
When I left school, a good friend of mine bought a set of decks (well, they were Citronic, but to us, these were now our life). At any possible chance, we would meet up and have a mix. I’m still like this today. I never lost that passion. The feeling that I get from music is astounding to me.
Since then, I have held many residencies up and down the country. My styles have changed since I first got my decks. I have never really been genre specific. I like discovering what’s out there. I have always been a fan of digging. When I DJ out, it has to have an addictive groove. A tune has to leave you standing there in awe, never wanting it to finish. Then along comes the next. I want my sets to tell a story. There is so much more than just playing records. You have to grasp how people are feeling. Somehow connect everyone in that room. It’s such a good feeling having everyone there hold the same emotion of joy, while the beats forces you move.
I also run a record label called Itchy Pig Records, plus a studio under the same name. I work on many re-edits (mainly so that I can make them work for the way in which I tend to DJ. As I play many different styles, at varying tempos, I can’t simply rely on beat matching to get me by. My set has to have twists and turns. It’s selfish I know, but I play how I would like to hear it be played. Luckily for me, people seem to enjoy my style throughout. For that, I can only be grateful that there are many enthusiasts out there.
So there you have it. The story so far. I hope you enjoy my stuff. Any questions or booking, don’t hesitate to get in touch, either by phone or email. mrlpowell@gmail.com / 07787997129