ALICIA KEYS + MAXWELL // FIRE WE MAKE

MAX+ALICIA

the one and only MAXWELL recently, for the first time in his 17yr career, has recorded his first proper collab with another artist: Alicia Keys for her new LP “Girl On Fire”. the result is a track called “Fire We Make”, a joint which sounded smooth enough for me to think that Max and HIS production team made the entire thing from top to bottom. not true. it was written and produced by Andrew “Pop” Wansel & Warren “Oak” Felder of The Knightwritaz, whose production credits have included some of the biggest names in recent pop history (as well some of the more cooler mainstream shit like Miguel‘s “Kaleidoscope Dream”). Max himself said that all he did was come in and lay down his vocals and then jet. the only criticism i would have of this hot jawn is that Alicia, while she may have excellent taste in music and for choosing Max in the first place, is heavily outmatched. her vocal shortcomings become pretty obvious when put side-to-side with Max’s crazy falsetto skills (even this late in the game, i’m hecka impressed M manages to pull it off). otherwise, this is the first A. Keys song i’ve ever played over and over and over.

V.

SURPRISE MOTHERFUCKER! // 10 Coolest Things On YouTube (as of 19/01/2013)

SURPRISEMOTHERFUCKER

well well WELL. apparently it’s now 2013. but try convincing my brain that. or that i’m fast approaching 29yrs of age. or that life is a motherfucking BATTLEFIELD (actually im pretty convinced of the latter *shakes fist* fucking LIFE). right. so in anticipation of some major awesome blogging that is right around the bend, i wanted to kick off with a concept post i did when i first began this BLAUG in November of 2010: a top 10 of my fav YouTube vids in that current moment in time. since so much time has lapsed b/w the last one of these and NOW, i’m including the “as of” date, just to give an idea of the timeframe in which i discovered these vids, and also cos im a lazy fuck and im getting old and i only wanna remember the most recent date. yep. OKAY, on to the entertainment!

BANE OUTTAKES

a masterful display of immitation and mockery, completely dominated by the now infamous Bane Freestyle Rap segment, but has so many other memorable lil touches that the whole thing is just a big fat fucking win. also leaves me with the craving for cream cheese and frowny biscuits.

DAY JOB ORCHESTRA: STUFF WE FOUND IN THE BUSHES

DJO, still going strong. thank you latenite stoned random discoveries! also get a peek at the Roger Rap, which was separated as its own vid by popular demand.

OMAR…GUY’S LARGE INTERNATIONALLY

in a serendipitous display of pop culture awkwardly mashing with the underground, witness as “Saturday” by OMAR is played by ‘David’ in a season 5 ep of Beverly Hills 90210, whilst ‘Donna’ and that other skank look on disapprovingly.

LIKE A FUCKIN LIZARD ON ICE

Dexter recently concluded its 7th season with the long overdue appearance of Sgt. James Doakes (via flashbacks, but really ANY way of working him back into the story is welcome). Erik King delivers what is probably the line of the season, and a rather obvious but never-mentioned insight into the fact that, yes, Dex DOES have a weird glidey lizardy walk.

DMX – RUDOLPH THE REDNOSE REINDEER

FLESH OF MY FLESH! NOSE OF MYYY NOOOOOOOOOOOOOOOSE.

DIE ANTWOORD – DJ HI-TEK RULEZ

……i have no witty caption for this…song. lol. other than its hilarious for its misleading title, and just the general ‘wtf’ factor.

R.A.E.D – ABOUT TIME

finally. the vid that proves, once and for all, that there IS a church in the wild, motherfuckers. stop hatin.

KOOT BIE – I WANNA FUCK YOU

i am told this is part of a clever German sketch show. damn thing is done so convincingly if it werent for the oversized ears, i woulda thought it was real.

BACKSTREET BOYS – QUIT PLAYIN GAMES WITH MY HEART (ACOUSTIC)

yet another example of my so-far never wrong maxim that “acoustic makes everything better”. you can take the most REVILED song in existence and transform it into an emotionally honest barebones acoustic rendition. not that i consider this song to be horrible by any stretch of the imagination, but acousticising it certainly does add some lovely 90s acoustic poprock charm to it that wasnt there before.

FUCK YOU!

as if we needed ANOTHER reason to worship at the altar of Teh Whedon, he was not only recently involved in writing and directing the 2nd highest grossing film of all time, he also helped bring into fruition what has fast become an underground cult CLASSIC, and one that is only LATELY getting its public due. almost everyone ive shown this film to has LOVED it. you know why? cos they’re fucking awesome.

V.

A LONG HOT SUMMER // Mixed + Selected by CHRIS BRANN from ANANDA PROJECT (2012)

this week is mos definitely an Ananda Project-centric week, full of deep house gems from the master himself, Chris Brann. during my healthy smothering of tunes i happened upon yet another deep mix that was released this year and featured Chris at the helm: “A Long Hot Summer” via King Street Sounds. tracklist below. download/buy from beatport. peep one of the tracks from the mix below via YouTube. n since Summer is just around the corner on my end of the Earth, these audio vibes are anything if timely. peace/luv/light.

01. Tuccillo & Kiko Navarro – Quartett O’batalistrico (Main Mix) (9:17)
02. Ananda Project – Into The Sunrise (Kiko Navarro Disco Mix) (feat. Terrance Downs) (8:38)
03. Franco De Mulero – Porroig (Original Mix) (7:12)
04. Ananda Project – Universal Love (Jay-J’s Shifted Up Mix) (6:44)
05. Namy – There She Stands (Frankie Feliciano Vocal) (feat. Monday Michiru) (7:08)
06. Lips – Time is Now (Groove Assassins Remix) (8:15)
07. Soundealers – Keep On (8:56)
08. Franco De Mulero – The Darkness String (9:58)
09. Sunshine Jones – Warm Sun On My Face (Dub) (8:56)
10. John Rivera & Esteban Carrasco – Attempt To Dream (7:09)
11. From P60 with Lisa Shaw – Magic (Forteba Remix) (8:26)
12. Tiger Stripes – Song for Edit (feat. Kerri Chandler) (6:36)
13. DJ Vivona & Joi Cardwell – Return To Love (A Directors Cut Treatment) (7:26)
14. Trans of Life – Foi Voce (9:37)
15. Ananda Project – Kiss Kiss Kiss (Alternate Mix Re-Edit) (feat. Heather Johnson) (7:39)

V.

ANANDA PROJECT // Almost Human EP // feat. Terrance Downs (2012)

you wanna know how i know i’m having a good day? when the mastermind BEHIND Ananda Project gleefully shares with me his latest classic musical nugget directly on Facebook. and the nugget(s) is/are, of course, the LICK. no, possibly TWO licks.

and be on the lookout for the new full-length AP album, “Beautiful Searching”, coming out next month in Japan.

V.

MAXWELL // Live @ Paradiso, Amsterdam (1997)

it has been YEARS since i heard this full high-quality bootleg recording of one of Max’s earliest live gigs, performed in 1997 at Paradiso, Amsterdam. it’s only 8 tracks long (roughly 42mins in length) but it showcases Max and his band’s knack for re-interpreting his own songs. there are some alterations made to some M standards here that i haven’t really heard anywhere else. not much is really known about this bootleg or how it even surfaced to begin with, alls i remember is chancing upon it i THINK from the Soulseek days. regardless, this should be a collector’s item for ANY avid Maxwellian fanatic.

01. The Urban Theme (2:25)
02. Welcome (4:49)
03. Dancewitme (5:50)
04. Lock You Up N’ Love Fa Days (4:30)
05. …Til The Cops Come Knockin’ (The Opus) (Pt. 1) (5:48)
06. …Til The Cops Come Knockin’ (The Opus) (Pt. 2) (7:45)
07. Ascension (Don’t Ever Wonder) (Pt. 1) (6:35)
08. Ascension (Don’t Ever Wonder) (Pt. 2) (4:50)

:::DOWNLOAD:::
zip | rar

(links updated as of 28/06/2015)

V.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. I + II (my 2012 AALIYAH tribute mix featuring the finest babygirl bootleg remixes & covers)

presenting my two-part tribute to one of the most influential female artists of her generation, Aaliyah Dana Haughton. i have spent a decade wondering how i could show my love and appreciation for this lady being a part of my musical upbringing (by way of the massive talents of Da Bassment clique’s Timbaland, Missy Elliott and Static Major). and instead of just putting together a best of compilation as anyone else can, i scoured the Internets instead to find THE finest bootleg remixes and cover versions of babygirl classics. i believe this is the best collection as any you will find online.

4babygirl.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. I

01. INTERLUDE (By XplosiveDJAntman) (Intro)
02. 4 PAGE LETTER (CFCF Remix)
03. pOSH – A MILLION(M)
04. WE NEED A RESOLUTION (MIṨTΔṾΞΞ RESOLVEITMIX)
05. ARE YOU THAT SOMEBODY (SANGO Remix) (feat. TIMBALAND)
06. AALIYAH x DAM-FUNK x SHASH’U – ROCK DA BOAT
07. TRY AGAIN (DANIEL DARDEN Remix)
08. ONE IN A MILLION (EAR JERKER Remix)
09. ARE YOU THAT SOMEBODY (TKo Remix) (feat. TIMBALAND)
10. ROCK THE BOAT (STRAM Remix)
11. COME BACK IN ONE PIECE (NICE GIRL, WRONG PLACE Remix) (feat. DMX)
12. TRY AGAIN (DJ SQ‘s Dancehall Remix)
13. ARE YOU THAT SOMEBODY (GENTLEMEN THIEVES Remix) (feat. TIMBALAND)
14. ROCK THE BOAT (ELAQUENT Remix)
15. IF YOUR GIRL ONLY KNEW (SOULSPY Edit)
16. COME OVER (ROB MANGA‘S Goodsoul Edit)
17. DON’T KNOW WHAT TO TELL YA (ALEX DATSUN‘S Edit)
18. ONE IN A MILLION (DJ BOOGIE Mash-Up)
19. 4 PAGE LETTER (KAYTRADAMUS 1986 Remix)
20. A PRAYER

original cover art by BRANDON REDENIUS. re-coloured and re-touched by VAHÉ.

MISTA VEE PRESENTS…THE BABYGIRL SUITE: PT. II

01. KATERINA GEORGIO – ONE IN A MILLION (feat. JEM) (Intro)
02. MARK DE CLIVE-LOWE – MORE THAN A WOMAN (feat. NIA ANDREWS) (Live @ KCRW)
03. KYLA – AT YOUR BEST (YOU ARE LOVE)
04. THE ECHOCENTRICS – WE NEED A RESOLUTION (feat. TITA LIMA)
05. AMORIA & JOK’A’FACE – IF YOUR GIRL ONLY KNEW
06. SARAH HABASS – ARE YOU FEELING ME
07. BELL – ARE YOU THAT SOMEBODY
08. CHYLL WILL – ONE IN A MILLION
09. ANNA MUTIA – MORE THAN A WOMAN
10. YO SMOKE – I CARE 4 U
11. SMOKE E. DIGGLERA – ONE IN A MILLION
12. ANHAYLA – 4 PAGE LETTER
13. JENNA ANDREWS – HOT LIKE FIRE
14. CAYLA – I MISS YOU
15. SOJIE – ARE YOU THAT SOMEBODY
16. EPITHET MUSIC – ONE IN A MILLION (feat. FALLON DOUGLAS)
17. COLLATERAL – TRY AGAIN
18. KINOKONIJI – ROCK THE BOAT
19. THE XX – HOT LIKE FIRE
20. FOREST SWORDS – IF YOUR GIRL
21. JAKE “JUNNY” KIM – ONE MAN WOMAN (feat. CARMINA)

original cover art by MEZMACKO.

V.

Re-Introducing: PETE MARRIOTT

not long ago this blog released its debut mixtape series, similarly-titled: CONFESSIONS OF A CURLY MIND Vol. 1. it ended up being one of my favourite mixes to ever compile, as i got to be exposed to a shit-ton of new and old music i woulda never heard otherwise. among them, however, was Pete Marriott, a musician whose previous works had already spoken for themselves as far i was concerned. from him, i can always count on quality. after treating us to a rough cut of his newly-released vintage-era hit “The Kidnapping” (featuring emcee Romance) on the mixtape, i got to recently speak with Pete about his current status within all things deemed creative, artful even.

V: Mr. Pete Marriott! since last we spoke you were in the process of dropping “The Kidnapping”, the unmastered snippet version of which appeared on this blog’s debut mix series. the song got quite a bit of positive feedback, a lot of friends and associates would specifically point that song out to me as a highlight in the mix. so how did the release of the single go and how have the people reacted to it?

P: i’m very grateful people are enjoying “The Kidnapping” and that the hip hop world is finally getting the opportunity to hear my dude Romance. he deserves this success more than anybody involved in this record, so to see this particular record do well on the radio mix shows and how it’s charting is a nice victory for us.

i’ve recently done a regional radio promo tour flying from city to city visiting radio stations having lunch and dinners with DJs and bloggers to discuss the new record and our new imprint The BRKLYN Collection and day by day we’re gaining more support among DJs and Bloggers we’ve yet to meet with across the country and abroad. things look like they are moving in a positive direction.

V: it looks like you’ve got a GRIP of new stuff about to hit our ears. what’s in store/coming out soon, what are you currently working on and how is all this work impacting your life?

P: to introduce The BRKLYN Collection as an authentic music imprint we’re doing this Summer Singles Series of records i produced and remixed. “The Kidnapping” opened up everything and since then we’ve released an art house single featuring Killah Trakz called “Plant The Flag” which is also doing well on radio, a instrumental single called “The Rebirth of Mr. Soultronica” is on deck and we’re also about to drop a new art house single featuring JunClassic soon.

we also got a few new remixes on the way. i very recently done a remix for Frank Ocean that I turned in not too long and i got a new Erykah Badu remix i produced that i’m very excited about. Mark Fauver of the Aaron English Band and Noel Brass Jr. of Afrocop sat in on the mastering session with me for that one and their reaction to it was very positive which is a pretty strong indicator to me that i done a good job with it.

life has been busier than usual. there’s an interesting assortment of new records and artists i’m producing and two music related projects i’m not at liberty to discuss yet that’s on deck, but for the most part, my production and remix calendar is progressing very nicely which has been making this year quite a pleasant time in my career.

i feel very fortunate and i appreciate all the people who are seeking me out and those who have been very receptive to working with us. just good energy all around.

V: what is the “Art House Hip Hop Movement”?

P: aside from music i’m extremely interested in other creative disciplines such as photography, design, filmmaking and fine art. other musicians, producers and recording artists i’m friendly with share similar interests and i wanted to have an outlet to express myself in ways i felt the underground hip hop scene has limited me in the past.

the movement is pretty much about branching out and spreading your wings beyond making hip hop records and bringing visual arts to the table. i personally want more than just the music, so instead of waiting for it to come around i’m taking it, building with other underground artists and producers who feel the same way and we’re bringing something new and different to the table.

V: how are artists/producers attempting to stay true to hip hops roots in 2012? and is it difficult to engage a modern audience with sounds inspired by golden era hip hop or is there still a real hunger for it?

P: it’s a very interesting time. i’m seeing these very dope new cats like Earl Sweatshirt, Joey Badass and Rid Jetson doing an updated version of my very favorite era in hip hop music and loving it because it all falls right on time with my releasing music i recorded 25 years ago like “The Kidnapping”. it’s a confirmation of what these kids really want to hear and i’m excited about this, because we’re offering them the real late 80’s early 90’s flavor with my forthcoming album rather than a recreation of it.

i actually made records during the golden era of hip hop that sound like what the kids are doing today so to see what i done 20 plus years ago come back around full circle makes this is a very beautiful time for me as a practitioner of real hip hop music because it’s a personal vindication of sorts.

V: along with yourself, a cat by the name of DVS has been one of my fav hip hop artists for a hot minute. you recently remixed a joint from his new release, and now a full length collab LP is in the works. can you touch on that briefly or is it still too soon?

P: i’m glad that my helping DVS out with that remix got the mix show DJs to pay attention to him and open quite a bit of closed doors for him in radio, DVS is an awesome lyrical talent who i actually believe in as an artist, but as of now… a Pete Marriott and DVS album are not in my immediate plans. it’s nothing personal against him, i’m just simply recusing myself from the very idea of working on that particular project.

V: what’s your process like these days and what is your preferred gear?

P: i’m in a very good creative space right now. i meet with artists over Skype and discuss their musical goals and create music around that conversation. i’m not into stockpiling beats and making beattapes, that process is inefficient and a complete waste of time for me.

i prefer to build a customised record for an artist completely from scratch. that’s the way we did things back in the days and the music making experience was far better back then because we took our time and placed our energy into making a solid record rather than trying to hammer out as many songs as possible to see what sticks.

when i start working on a track i think about moods and colors the artist conveys to me in our conversation beforehand and i sample my drums into my Casio RZ-1 which gives me a great 12-bit sound. i produced my very first single “Let’s Make Some Noise” when i was 15 years old using that very same drum machine that’s why my drums have that extra heavy crispness to it.

i sample my stereo loops using my Ensoniq ASR-X and ASR-10 because they have a deep rich low end to them that sound and feel even better when i resample them to Maschine where i edit all my loops and drum sounds with great precision.

i also have a Akai S900 that i use to sample my Les Paul and Fender Stratocaster guitars and my Washburn bass which i record using Tascam 134 or 238 decks depending on how dirty i want it to sound.

and i have a modest collection of hardware and software synths like my Casio CZ-5000, Yamaha TX-81Z, Komplete 8 Ultimate which includes Kontakt and if i were ever to brag about anything, it would be about my Kontakt library. my Kontakt library is nearly at 2 terabytes as it is right now. i’m also becoming addicted to building equally strong libraries for Maschine, Massive and Reaktor.

there are some who may say that’s overkill, but those are usually the guys who are married to one sound and style. i’m a strong believer in being versatile and having a expanded musical range as a record producer so if i get to work with artists like Fiona Apple, Joss Stone or Taylor Swift I want to be more than prepared for that situation.

V: from what i can remember you’re a fellow champion of the lightweight but heavyduty FL Studio rig, one which i’ve personally used for over a decade. it seems every random producer i’ve ever met and had a conversation with chooses to utilise FL as their main (or secret) weapon. how long have you been messing with FL Studio, what are its overall advantages compared to more popular programs/setups and what led you to using it in the first place?

P: i’ve been a FL Studio user since version 2 which is the epicenter of my studio today. Alex Abellard of the Kompa band Zin’ introduced it to me at his studio in Brooklyn while working on a project together. i was very stubborn and not open to the idea of using software. in fact i was all about the MPC during those days but he made me realize how much easier it would be for me to do sound design with it and that’s how I got roped in.
FL Studio is extremely powerful and way ahead of its time, other DAWs are just beginning to catch up to it and i think what makes it much more valuable to me is that’s it’s such a flexible application that’s lots of fun to mix a record with, it’s almost too much fun which is why i think i spend so much time in my studio. it’s just addictive in that manner.

i’m currently mixing a single that has a very heavy drum sound with orchestral flourishes and jazz overtones. i’m able to create complex automation sequences that allows my string section to vary in levels during particular musical cues while changing room sizes and EQ settings within those passages, this gives the listener a true sense of emotion while listening to the song and i’m doing it so quick and smooth that these transitions are not easily noticeable, but on the subconscious level you’re feeling these movements within the mix and that’s part of what makes my production stand out.

FL Studio makes it simple for me to enact such complexities into my music because it was brilliantly designed to do so much while having a such a fun experience doing it. i don’t think there’s anything lightweight about FL Studio at all, it’s just a smarter DAW than the others.

V: you’ve also done work for other producers in terms of sound design but now you’re only willing to go so far as the mixing of the record. what made you come to this decision?

P: let’s put it this way. i had to make a business decision for myself as a record producer first and foremost, because it got to the point where the business of doing sound design for hip hop producers was no longer in my favor. aside from the money, i want my credit and these guys don’t want to give that credit up because the way they see it their fans, who are mostly aspiring producers themselves, will lose respect for them which in my opinion is a ridiculous notion.

i mean i understand the part where their fear of not being seen as super as they make themselves out to be could be derided, but the idea of you losing fans because you don’t really do it all in the studio is absolutely silly to me. i believe record production comes down to leadership in the studio, that’s why guys like Dr. Dre and Diddy had and continue to have great runs as record producers because they understand it’s about leadership first and foremost.

but then you got these guys who pride themselves as beatmakers and they don’t want people to know that a guy like me built their drum sound, programmed their synth patches, recreated samples for them. so i pretty much grew tired of it and decided not to do sound design for anyone else but me and i’m not gonna call out any names but some of my former clients newer records are not on the radio. is it a coincidence? you tell me.

now as for mixing, i mostly offer that service to beatmakers who don’t know how to mix a record let alone oversee a mix. there’s a lot of dope beatmakers out there but not too many of them are involved in the actual record making process.

as a DJ i used to get disappointed by this, but i’ve come to accept it for what it is thanks to conversations with Kev West who revealed to me that a lot of the artists don’t want to be produced by producers who’s name they don’t recognize, which basically is just another form of starfucking and that’s deeply sad. the majority of these new artists just want you to email them a beat and they record over it. i can easily go on the attack and point out how stupid that is of these artists, but why waste my time putting that sort of energy out there?

i’d rather work for beatmakers who have a clear idea of what they want their music to sound like and they can sell the artists on the fact that Pete Marriott, a veteran record producer with multiple major and indie label credits, will be on the mix. and if they are willing to pay extra they can get it mastered by the mastering engineer i work with.

that right there gives that beatmaker instant credibility and the power to take control and lead that artist’s record thus increasing their value and budgets. just like with my sound design i have a very selective client base, but the difference here is not only do i get my money, i get my credit too.

V: have you done work outside of hip hop? are there specific genres you’d like to tackle or do you go with the flow?

P: of course! i’m a record producer who just happens to do mostly hip hop records, because that’s what i’m known for, but i’m no way in any form limited to just hip hop music. i have depth range that extends far beyond hip hop.

i’m currently searching for the next Fiona Apple to work with. i want a female singer/songwriter that is on Sylvia Plath levels of poetry, yet bold enough to really go there musically, but i don’t want her to be an MC that happens to sings, she gotta be a full on vocal artist. i don’t know when i’ll come across such an artist, but when i do i will know it and i will jump on it and make it happen.

V: the mantra “Hip Hop Is Dead” has been around for a little while now, and it’s my personal opinion that it’s insulting to even suggest such a thing when there’s dudes like a Pete Marriott out there not only keeping the genre and the culture alive, but also churning out HOT tracks. so was hip hop ever truly in dire straits? was it a record-selling tactic? and what do you think the future of hip hop will look and sound like going forward?

P: let’s be honest, hip hop did go through a very bleak period where there lots of musical missteps in both the mainstream and especially in the underground. there was a very stale period where so many cats were only sampling and chopping soul records which not only got very boring and stale quickly but it was done in very bland ways that was pretty banal.

it unfortunately was a low period in hip hop music overall and people finally woke up from that slumber and now you’re seeing the return of the jazz sample fusing psychedelic rock, metal, funk, reggae and soul and it’s being layered in key rather than just chopped, and because of this the hip hop audience that got bored or annoyed with soul chopping will return and new hip hop fans will fall in love it with.

i have no crystal ball, if i did, i’d use it but what i do have is the ability to listen to the people and what they want out of the music. i don’t know if it’s the insulation of the Internet or what it is, but i find that most of these new guys behind the beats today are not listening to the people and they don’t go into the clubs and observe what the people are reacting to.

maybe i have that advantage because i’m a DJ, which is why i think it’s easier for my records to get on the radio without my having to compromise my integrity, but that comes from paying attention to the people. like the EPMD record says “give the people what they want.”

V: thanks for your time sir! i know you’re a busy man these days. just wanted to add it’s been my pleasure to watch the Marriott empire grow n grow. lookin forward to all the new music!

P: thank you very much V, i’m truly grateful for your taking interest and being apart of your mixtape series. this is a great time for music and i’m glad to be in the midst of it.

V.

VAHÉ // VEE’Z DEMO TAPE (2012) // VEE’Z 90s MIX (SIDE A + B)

for the better part of 2012 i been tinkering around with my own music sheit, aiming to release a “demo tape” (online as well as on actual cassette tape). the hour is now upon us: this is probly the best collection of songs i’ve ever produced. the ingestion of which is made all the more easier by the entertaining interludes that also litter it (consisting of ppl i know saying random crap). while my vocal abilities could always improve, i stand by all the music on this 90min monster of a demo. a good portion of these will get the proper makeover and released as singles with guest vocalists (followed shortly thereafter by my first ever real foray into music videos. exciting stuff (for me)). as always, for anyone who has ever followed my solo musical endeavours, this shit is FO FREE. i’ve never charged money for my music for anyone and any situation, and i don’t intend to start now. i know that makes me sound like i’m up my own ass, but i merely state that as someone who enjoys a shitload of free music, it ain’t no thang for me to do the same. besides, i’ve never relied on any aspects of my creative self for financial stability. hard enuf trin to find any kinda work these days, let alone ur dream shit. ANYways, as we return from tangentland, please enjoy the following demo with an open mind and sense of humour. i feel closest to this project more than any other right now, like i just released a baby from my teet (i’ll stop talking now).

trackleest:

01. VAHÉ – INTRO
02. EMERΔLD JULIUS – EMERΔLDΔNGELDUST
03. THANK GOD IT’S EASTER (Interlude) (feat. BIG BOOTY SNATCHER)
04. CHACHI MANDELA – BEIRUT @ DUSK
05. THE TIM TAM RISES (Interlude) (feat. BIFF)
06. MIṨTΔṾΞΞ – ASTROFREAK
07. GENERIC 80s BAD GUY – BASTIANO’S REVENGE
08. OLAAAAA, MI AMO LO-LI-TAAA (Interlude) (feat. SHI-SHI McGEE)
09. CHOMPY RODRIGUEZ – HUBRIS
10. SAM JACK vs SEAGULLS (Interlude) (feat. ILL GABINETTO)
11. MIṨTΔṾΞΞ – CHEDDAR
12. VEE’Z GOT THE KEY (Interlude)
13. THE FRIENDLY BANDIT – CHANGES (feat. BASSCLEF)
14. VEENUS MARCIULIONIS – DARKSYDEUVLUV (feat. MIṨTΔṾΞΞ)
15. WHERE’S A FUCKING PTERODACTYL WHEN YOU NEED ONE? (Interlude)
16. EMERΔLD JULIUS – MONEY + FLOW (Snippet) (feat. GIGI)
17. HUSH/SLUT – REMINISCE
18. DOOJ (Interlude) (feat. MAKMUTMAT)
19. MIṨTΔṾΞΞ – JIEMBA
20. ODE TO VAHÉ (Interlude) (feat. AMAN10)
21. CHOMPY RODRIGUEZ – SUFFOCATING IN THE WIND
22. GENERIC 80s BAD GUY – SPYDER & THE VAMP
23. MIṨTΔṾΞΞ – BEYOND IMAGINATION
24. MIṨTΔṾΞΞ – LUCID (Interlude)
25. VAHÉ – A DREAM UPON WAKING
26. CROCODILE…MENISON (Interlude) (feat. PHONG DONG)
27. EMERΔLD JULIUS – FRΔNKS
28. MIṨTΔṾΞΞ – U KNOW
29. NANITES (Interlude) (feat. MEZCAL)
30. MIṨTΔṾΞΞ – SCREAM³
31. FFS! (Interlude) (feat. IGNATIUS BUNT)
32. PHYLICIA – MUCH LOVE (feat. MIṨTΔṾΞΞ)
33. I NEED ACTION (Interlude) (feat. MICHAEL TUGLESS)
34. HUSH/SLUT – HOTBOX
35. HUSH/SLUT – FALL (Interlude)
36. MIṨTΔṾΞΞ – I THINK THAT I SHOULD BE
37. EMERΔLD JULIUS – COSMOSIS
38. MIṨTΔṾΞΞ – OKAY
39. SOMEBODY TO PEEEEE ONNNN (Interlude) (feat. DEMOLI)
40. CHACHI MANDELA – MR. & MRS. CHACHI MANDELA (feat. CHORDS)
41. TO BE LOOVVVED, TO BE LAUWWWED (Interlude)
42. MIṨTΔṾΞΞ – SPECIAL FEELING
43. MIṨTΔṾΞΞ – ABOUT YOU
44. BOWLIN’, WARNEY (Interlude) (feat. CLUB NOIR)
45. MIṨTΔṾΞΞ – CAN’T GO HOME AGAIN

as a bonus, i’ve also compiled a 2-part 90s mix just as extra goodness to go along with my demo tape release. majority of SIDE A leans heavily in the dnb, jungle, 2step, garage, early house direction.

trackleest:

01. nookie – the blues
02. source direct – snake style
03. 3 rude bwoy – red eye dub
04. sunshine productions – above the clouds
05. crazy bald heads – first born
06. underground solution – tonight
07. sonic solution – music
08. antonio – take you there
09. deep sensation – get together (deep vocal mix)
10. daniel j. lewis – spend the night
11. blapps posse – don’t hold back (blappstrumental)
12. camden connection – deeper (tuff jam mix)
13. ceybil – love so special (original underground club dub)
14. the dat project ii – tech-vibe (zzz mix)
15. n joi – the kraken
16. a baffled republic – sweetness (i wanna ho)
17. fierce men on wax – go girl (heavenly girls mix)
18. tito puente – ran kan kan (masters at work 12″ club mix)
19. jodeci – won’t waste you (nick hussey remix)

SIDE B delves more into the kinda stuff i was weened on as a kid: new jack swing, hip hop & rnb. enjoy!

 trackleest:

01. mc brains – oochie coochie (12″ version)
02. level iii – groove ya (club mix)
03. kool skool – my girl (radio edit)
04. bubba – i like your style
05. shä-key – soulsville
06. masta ace – postin’ high
07. dj quik – can i eat it? (unreleased demo version)
08. digable planets – little renee
09. sha’dasious – u kan’t play me
10. clever jeff – late night tip
11. jade – five-four-three-two (yo! time is up)
12. sweet sable – old times’ sake
13. o.c. – can’t go wrong
14. black moon – killin’ every nigga (unreleased)
15. j. quest – come and give it (you know what i want) (feat. gina)
16. rocky padilla – jackie
17. intro – funny how time flies (slow mix)
18. sa-deuce – don’t waste my time (ballad remix)
19. kut klose – i like
20. vybe – slow and easy
21. vanilla ice – never wanna be without you

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KYLE interviews MR. DALVIN @ YouKnowIGotSoul.Com

the excellent folks over @ YouKnowIGotSoul.Com recently got a chance to catch up with the one and only Mr. Dalvin DeGrate. he drops his thoughts on all things Jodeci and also gives up some tidbits from Da Bassment days. my favourite moment by far has to be his short but awesome story regarding how his standout track with Static, “True O.G.”, ended up getting selected for the Dangerous Minds Soundtrack (was a geek moment for me personally as that is one of the nastiest songs of all-time).

[READ THE FULL INTERVIEW HERE]

or listen below:


+ the afore-mentioned hot joint by Dal & Static, thank fuck someone had the ears and the wherewithall to put it out there.

 

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GENERIC 80s BAD GUY // GNRC80SBDGY VOL. 1

presenting, one of the finest mixes i have ever crafted in all my years of mixmastering. it’s 96mins of some obscure synthpop and heavy synthbeats (ranging from German, Russian, Italo-Disco), some new wave, mixed in with some truly oldschool hip hop and electrofunk 80s sheit one could pop and/or lock to. i’ve also included some of the newer neo-80s synthwave joints that seems to be so prevalent on the Internets these days (thank blog). i’m withholding the tracklist for now, but anyone who wants it can hit me up @ genericbadguy1984@gmail.com & i’ll happy to provide it for u 🙂 right now it’s just the one-track download straight via Soundcloud. plz enjoy, boogie down and share.

 

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INTRO // Funny How Time Flies (SLOW MIX) (1996)

after what seems like MANY years of a dedicated but small posse of us trying to track down this rare-as-fock remix, it’s finally here. in as clear quality audio as ur gonna get. the FULL track, not the snipped crappy-audio-quality version thats been on YouTube for years. after having given up, a few days ago i tried YouTube again to see if a proper version of this nugget had finally made its way to the public. what i found was a clear quality version, but slowed way the hell down (this particular uploader slows down ALL their uploads, don’t ask me why). so i grabbed the mp3 from that, time shifted it to as close to the original speed as i could get it by ear, and then beefed it up slightly in the EQ department via Ozone & SoundForge. and BLADOW! plz enjoy, share, & give cunnilingus whilst listening to this mighty sexy remix of an already sexy original (the credits say it was released in ’96 on the rare promo “Feels Like The First Time” (12″), and is produced by a dude named Kevin Dean. onya Kev).

:::DOWNLOAD:::
(mp3)

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C.O.A.C.M presents…5 Questions with: INSPIRED FLIGHT

photo by Justin Lee

1. what’s your name(s), where are you from & how did you get involved with music?

our names are Eric Poline (a.k.a. Openoptics) and Gabe Lehner (a.k.a. Chavez) and we both were born and raised in coastal North County of San Diego. we have both been big fans of listening to music since being young kids, especially hip-hop. in third grade Eric started learning guitar, which he kept up till he got obsessed with turntables, DJ’ing, and scratching in junior high. i, Gabe, grew up with a father who played guitar in bands, and in tenth grade i got the bug to learn myself. he taught me guitar and music theory, and i was so into The Beatles then that i got obsessed with songwriting. Eric and i each kept along our musical paths until we met each other in 2007.

2. how did your particular track in the mix come about/is there a story behind its creation?

Eric had a really cool signal chain going on in his home studio of a Korg Triton on a really cool patch going through a Roland Space Echo, into a Fender Twin Reverb guitar amp. he had come up with the chord progression synth part, like how the song starts, and i thought it was so cool when he showed it to me that i said we should work on it right then. then next thing we knew “It Always Takes” had pretty much been born, and it was one of the first songs we actually made together.


3. who or what inspires you to create? and how do you STAY inspired?

for both of us everything inspires us to create, whether that be all kinds of different music we hear, or just life in general. we stay inspired by continuing to listen to music, putting effort into collaborating with people, and by doing as much awesome stuff as we can all the time when we’re not making music.

4. your opinion on copyright and the sharing of music? (specifically tunes made by unsigned, under-the-radar and bedroom artists that are then shared by fans?).

in our case that is absolutely necessary, and we encourage people to download our music, even if illegally through torrent sites, and then share it. the fact that our career is where it’s at is because so many fans have done just that. it is kind of weird that we live in a culture now where people feel entitled to get music for free, even though its a livelihood for many artists, and takes a lot of energy, time, and money to create it, but since that’s how it is we embrace it and just want our music to be heard. we put out a lot of music for free, as do many other artists these days. we think it’s stupid for big artists and labels to come down hard on fans with lawsuits, or even threats of lawsuits, for illegally downloading and sharing music.

5. the best place to listen/download/buy your tunes? and any final words you’d like to say to the Internets?

the best place to listen to our stuff, and buy it, is inside of the gift shop next to the flamingos at the Boston Zoo. If you can’t make it there then www.inspiredflightmusic.com is definitely the second-best place. as for final words, please stay tuned to what we are doing right now because we are nearing completion of our second full-length album, preparing to put out some other projects this year on our own Create Fate label, gearing up to do some touring and play some music festivals, and we will be releasing some free remixes soon. thanks for the love!

i’d like to personally thank Chavez for reaching out n getting in touch with me about the inclusion of their track. their original version doesn’t appear, but it proves how dope the song is on just the lyrical/vocal tip too. i’m very glad to have y’all be a part of it. YES i’m still pimping this mix lol, listen/download at the following spots: .zip/.rar/Soundcloud.

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#TweetTuesdays // Ms. Hummingbird releases 3 new joints!!

where the fock have *i* been?! one of my favourite singers/artists looks like she’s finally on the verge of releasing that elusive third LP. Charlene “Tweet” Keys (she had the name long before “tweeting” was a thing) is currently releasing a track every Tuesday, 3 of em so far and they are as gorgeous as her best works. oh yeah, and they’re FREE DOWNLOADS. damn i love this lady.

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C.O.A.C.M presents…5 Questions with: MAXPTAH

1. what’s your name, where are you from & how did you get involved with music?

MaxPtah, from Memphis, Tn. got involved just from being a fan and lover of music first. i was more into sports and my brother was the musician of the family playing the sousaphone at Grambling State and later on in the Navy. one of my cousins gave me his DR-5 to hold for a minute while he was in school and i just learned it (no instruction manual at all, lol) and that’s where it all started.

2. how did your particular track in the mix come about/is there a story behind its creation?

the emcee i did this project with, Infinito 2017, sent me some accapellas of his from a few albums he’s done already and i just remixed a few to put together this particular project. this track in particular though was already made and it just so happened that the tempo was the same. i decided to slap it on there cause Infinito is that dude and i knew it would get out there to the masses. this is probably my favorite track of any i’ve ever made.

 

3. who or what inspires you to create? and how do you STAY inspired?

the love of music in general for one, and some of my fellow producers in the city that i work with keep me inspired: Fathom 9, EMPEE, DJ Homework and IMAKEMADBEATS just to name a few. staying inspired is hard because life gets in the way often. i get to points i don’t want to do anything cause something else has my attention and that’s something i’ve got to get out of. music is my safehaven though. so regardless if i’m distracted somehow i’m at least listening to a lot of music and that serves as the means of staying inspired also.

4. your opinion on copyright and the sharing of music? (specifically tunes made by unsigned, under-the-radar and bedroom artists that are then shared by fans?).

i love it! i don’t like being force fed anything and i feel like that is what the mainstream is doing right now. i like hearing what these guys (and gals) have cooking up. it feels rawer and truer than what’s on the mainstream level. not to say there aren’t any artists in the mainstream that don’t have that feel, it’s just that at least with the “unsigned, under-the-radar, bedroom artists” you know for sure that they aren’t held back by anything. period.

5. the best place to listen/download/buy your tunes? and any final words you’d like to say to the Internets?

go here for everything MaxPtah. and also thanks to you for putting this compilation together and including that song in it. thanks to everyone for their support. we genuinely love every single ounce of support that comes our way, even the criticism, because that would imply that you took the time to listen to our art. also i got an album coming out in August called “Live From Everywhere” so be on the lookout for that too. Peace!

Max‘s track “El In Tune With Nature” (featuring Infinito 2017) appears on CONFESSIONS OF A CURLY MIND Vol. 1: .zip/.rar/Soundcloud.

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COM TRUISE // KOMPUTER CAST Vol. 1 – 5 (+ “Ghostly Edition”)

being an advocate of any and everything the 80s had to offer stylistically, musically & overall aesthetically, i have of late MASSIVELY gotten into a series of podcasts/mixes by Com Truise (boss name, btw) called KOMPUTER CAST. they’re generally a nice even mix of 80s synthfunk, r&b & new wave, interspersed with his own material, 80s film soundtrack cuts and clips from classic 80s films (one also makes use of a presentation video for the Fairlight CMI). the few weeks i’ve spent living with em has further opened my eyes and ears to even more (a plethora, if u will) of 80s tunes i never knew existed (it starts with investigating one song off the tracklist on YouTube, which turns into a 4-hour sojourn of clicking the next promisingly-similar-looking “Recommended Video”). i thought it best to help share these vibes, as this shit is pretty much completing my existence right about now. yknow, in a musical way. CLICK ON THE FRONT COVER PICS FOR DIRECT DOWNLOADS OF EACH MIX VIA COM TRUISE’S OFFICIAL WEBSITE (tracklists are provided on his website & in the .zip file).

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MAXWELL // “OF ALL KIND” // blackSUMMERS’night // June 2012

Max took to twitter & facebook last week and dropped info on his upcoming single “Of All Kind”, set to be released very soon (sometime in June), with the 2nd installment of the blacksummers’night trilogy dropping soon after that (he said “this Summer”). he also provided some of the lyrics on his FB post:

OF ALL KIND

one day in and the next you’re out
there’s no way to insure that no danger
will not be found
will your angels hear the sounds
will i ever be where you are where spirits go
if my end should come i can only hope that..

there is a light and no end in sight
where god and you are combined
in the brightest light of all kind..

musze/david | Copyright © 2012. All Rights Reserved.

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C.O.A.C.M presents…5 Questions with: JODECI BOYD

and we come to what could be my favourite interview of the lot so far (even tho it’s the shortest it’s the most serendipitous). one late night almost a month ago i got into an 90s r&b mood, which happens pretty often as that’s the shit i mostly grew up listening to. so it kinda sticks and you end up having these 2-3hrs blocks of time where it’s nothing BUT 90s jams. in the midst of that, i naturally fired up some Jodeci. and as always i went to YouTube for the quick and easy access, where i stumbled onto a random video of a cool chick singin an acoustic track, simply titled “Beautiful Company”. weird thing was it was labeled as “Jodeci” as well, which i thought was a mistake. turns out, it’s not. after fallin in love with the song, i ended up using it as the last track on the C.O.A.C.M. Vol. 1 mix (after editing and EQing it a bit). eventually i got in touch with her ppls and here we are! get to know her, folks. i’ma do all i can to promo her stuff in future so keep an eye (and both ears) out.

1. what’s your name, where are you from & how did you get involved with music?

my name is Jodeci Boyd, i’m from Moreno Valley. i got involved in music at a young age, i’ve always loved singing & listening to music, just the different styles & genres.

2. how did your particular track in the mix come about/is there a story behind its creation?

this song was written from a personal experience of mine. one day i was just in deep thought jamming, came up with the chords & just freestyled the lyrics.

3. who or what inspires you to create? and how do you STAY inspired?

my love for music, the struggle of life, any & everything good in life will continue to keep me inspired. i just wanna keep writing & keep telling others about my stories. maybe one day i’ll touch people on a way deeper level.

4. your opinion on copyright and the sharing of music? (specifically tunes made by unsigned, under-the-radar and bedroom artists that are then shared by fans?).

i think it’s awesome. i love that it gives artists leeway, it helps get them a little fan base going . this website inspired me to start posting more, seeing that people have been downloading it gives me more confidence to post more of my music for people to listen to.

5. the best place to listen/download/buy your tunes? and any final words you’d like to say to the Internets?

honestly i’d have to go with YouTube. it’s my favorite place to look for artists & music. i’m not big on being online anymore so i haven’t really been downloading music, but when i do i get it off of YouTube.

Jodeci‘s laid back acoustic ditty “Beautiful Company” closes out the CONFESSIONS OF A CURLY MIND Vol. 1 mix (edited & re-mastered by moi). i truly appreciate the random way in which this song dropped into my life, not to mention it also helped spark this entire idea into existence. please take the time to check both the mix and the song out. SUPPORT GOOD MUSIC. download the mix here: .zip | .rar | Soundcloud.

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D’ANGELO’s June 2012 interview with GQ + his acoustic cover of Funkadelic’s “Soul Mate” + interview OUTTAKES

[THE INTERVIEW]

[ACOUSTIC COVER OF FUNKADELIC‘S “SOUL MATE“] [VIDEO]

[INTERVIEW OUTTAKES]

interview by Amy Wallace | photography by Gregory Harris

what to say that hasn’t already been said? it’s simply good just to know he’s out there doing his thing. i think i enjoyed reading the outtakes much more than the central piece, mostly cos the main interview reminded me too much of the pre-album hype machine that exists behind D’Angelo. i’m not sure if HE realises it, but a lot of his angst and worry about the pitfalls of fame start within his own camp. and far more importantly, clearly the man himself couldn’t make the mental transition to handle his biz and not fall off the face of the Earth. the WORRY is that he’s still invoking the ghost of Marvin and still seeing himself as following the path of ‘died too young/died tragic phenom artist’. but most of it just sounds like regular music biz bullshit, which consists of what appears to be a very SICK evironment not conducive to free-thinking, mostly gentle souls who just wanna make the music they wanna make, and when they wanna make it. i see a lot of blame gets heaped at “Untitled”‘s door, which is complete fucking bullshit. everyone involved in the production of what sadly came to DEFINE D’s career KNEW EXACTLY WHAT THE FUCK THEY WERE DOIN.

shit was CALCULATED. that may sound like an accusation, but i’m not mad about it. i’m just not naive as hell. if D wants to TRULY regain the fans he left wandering for over a decade, dude’s gotta let go of ‘the image’ and be fucking honest about it all. this interview seemed like a good step in that direction. i wish nothing but onwards and upwards success for this man. freal.

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TOP SECRET!: Original Soundtrack (1984)

brilliant film & awesome soundtrack. i won’t try to pretend to take credit for providing this gem (it was easy enough to find via the same ol blogsearch routines). i do, however, have a penchant for trying to provide somethin that’s either unavailable elsewhere or is in need of sharing to a wider audience. and that’s where this falls. plus after posting “Spend This Night With Me” on YouTube and getting such a positive responds, i feel they should probably have a spot to download the s/track for themselves. and yes Val Kilmer did all his own singing stunts.

01. skeet surfing (2:59)
02. are you lonesome tonight? (1:37)
03. how silly can you get (2:50)
04. straighten out the rug (2:01)
05. tutti frutti (1:42)
06. spend this night with me (3:31)

:::DOWNLOAD:::
zip | rar

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a multi-faceted multimedia cornucopia of info, good taste & entertainment