Archive for the ‘remixes’ Category

Hot Rap Tracks from Movies that even Steve Guttenberg Turned Down

Thursday, July 25th, 2013

Tonight’s post is going to be rather brief, but I think the quality will make up for the lack of quantity.

Oh, did I say quality? I meant, “complete and utter fucking stupidity.”

But if I don’t post the 12″ remix to the theme song to Police Academy 6: City Under Siege, then who will?

Probably some asshole. Fuck that.

123

Grandmaster Melle Mel & Van Silk
What’s The Matter With Your World (Club Mix)
What’s The Matter With Your World (Radio Mix)
What’s The Matter With Your World (Instrumental Mix)
Grandmaster Melle Mel was an original member of Grandmaster Flash and the Furious Five. He was the primary songwriter and performer behind the hits “The Message” and “White Lines (Don’t Do It).” He was one of rap’s first true stars, and one of the first to take rap and help to inch it towards the mainstream.

Nine years later, he was rapping the theme song to Police Academy 6: City Under Siege, and they couldn’t even bother to spell his name right on the cover to the 12″ single.

Life can be really harsh sometimes.

And by the way, I found this while scouring a bargain bin soundtrack section looking for the soundtrack the Village People movie, Can’t Stop The Music.

I am history’s greatest monster.

Mo’ Sakamoto

Monday, July 22nd, 2013

I reviewed the 12″ single to “Get Lucky.” Because if I don’t who will?

Another post dedicated entirely to Ryuichi Sakamoto. I should just turn this site into a Yellow Magic Orchestra fanpage.

Ryuichi Sakamoto
Forbidden Colours
The Last Emperor
Little Buddha
Wuthering Heights
Replica
El Mar Mediterrani
All of these tracks are live, taken from the album Cinemage.

The first four are excepts from musical scores and soundtracks that Sakamoto worked on. “Forbidden Colours” being the theme to Merry Christmas Mr. Lawrence, while the others are all self-titled from the films they appeared in. This version of “Forbidden Colours” does feature Sylvian’s vocals, but I suspect they were dubbed in later and not performed live with the rest of the music.

“Replica” is the only track on the album that is not taken from some sort of project, it is lifted from the Japanese version of Sakamoto’s solo album Illustrated Musical Encyclopedia. Next to “Forbidden Colours,” it’s probably my favorite track on Cinemage, thanks to its regimented, minimalist feel that echos Phillip Glass.

Finally, there’s “El Mar Mediterrani,” which was composed for the 1992 summer Olympic games. It’s 17 minutes long and crazy. That Olympic theme that John Williams did doesn’t have shit on this.

Bonus Sakamoto!
Jungle LIVE Mix Of Untitled 01 – 2nd Movement – Anger
I put up a ton of remixes from Sakamoto’s album Dischord a few weeks ago and since then a reader sent me along this mix, which he snagged off a promo CD. I love it, it’s just barely removed from pure noise at parts. As a narcoleptic who has built up a near-immunity to caffeine, I really find that comes in handy at times.

Mission Beat Manifesto

Wednesday, July 10th, 2013

I’ve been thinking a lot lately about what I do, what I want to do, and how I should do it.

I recently launched that other website to expand my writing a bit (and make a super tiny bit of money along the way) and that’s been great, although I still think that has a lot of growing pains to go through. I need to update that site a lot more, along with this site. New posts have been scant for a bit now, and I apologize for that, family stuff and some extended travel have really put a crimp in my writing schedule as of late.

Additionally, the shocking death of Ryan Davis really got to me in a way that I did not expect. That man (and all of the Giant Bomb crew) has been a massive influence in what I do for the past few years now, and losing him has been pretty brutal on me.

And, not to fall into the most horrible of all cliches, it kind of made me think. I got to get going on my goals, you never know when your time is going to be up.

Journalism has been on the skids for a while now. Shit, the demand for writing as a whole has been on a pretty steady decline for years now. I’ve been trying not to accept it, but it’s pretty hard to deny. Like a silent film star faced with talkies, I have to look at the future head on and realize that for the most part, people aren’t interested in reading one man’s views about random movies, video games and music anymore.

That’s not to say that I want to quit doing that. People might not be interested in what I have to say about new wave bands and acid house acts, but that doesn’t mean I’m no longer interested in writing about them. If my sites both peak out at a few hundred readers a day, then whatever, I’ll live with that. Writing has always been an outlet for me, and it will continue to be.

But pride, and my unending desire to create something that people actually fucking care about, have made to to decide the time is right to try something new. Maybe it’s time I sit down in front of a camera.

So stay tuned…I guess? I got some ideas.

If my timetable with Mostly-Retro was any indication though, expect something around late 2015.

Meat Beat Manifesto
Dog Star Man
Still Falling
Dog Star
Dv8
Transmission (Stately Pleasure Dub)
Transmission (Burning Fire Mix)
Mad Bomber/The Woods
Semi-serious mission statement about my own personal future follwed by tracks by a band whose name is a disgusting masturbation reference.

The Internet is stupid.

Electro > Most Other Things

Tuesday, July 2nd, 2013

Music music music music.

Mark Shreeve
Legion (Razor Mix)
Legion (Single Edit)
Legion (Satan Mix)
Legion (Space Mix)
Mark Shreeve was an early electronic musician/composer who put out a lot of stuff on Jive Electro during the 80s. He also wrote a lot of Samantha Fox’s stuff from that time period as well, which I assume made him a shitload more money than anything with his name on it.

This is a damned weird song. It’s like Afrika Bambaataa by way of Hellraiser. I don’t know if the “Call me Legion!” snippet at the beginning of the track is a sample from a film, or something that Shreeve recorded himself, but it’s creepy nonetheless, although not as creepy as the freaky-ass laugh that pops up from time to time. Seriously, this sounds like break-dancing music from hell.

You think Pinhead could do the worm? I’d pay to watch that.

Oh, and also apparently a version of this song is in the 1986 film The Jewel of The Nile, which is pretty damn random. I actually saw that move in the theaters when it came out, but I was six at the time, so I don’t remember much. Doesn’t Danny DeVito walk on hot coals or something like that? Whatever, flick was a total Indiana Jones rip-off.

These next four tracks I snagged from a vinyl copy of Disco Not Disco 2, a compilation album that features more “leftfield” dance tracks from the late-70s and early-80s. I’m only featuring these four because everything else on the album is in-print elsewhere.

Alexander Robotnick
Problems d’Amour
Alexander Robotnick (of no relation to Sonic villain Dr. Robotnick, at least I don’t think so, he was MIA for most of the early nineties…) is a godfather of 80s electro, thanks in large part to this amazing track, which is a killer combination of electro and disco. It’s great, but if you want to hear something that’ll really melt your brain out of its pure awesomeness, check out Robotnick’s “Analog Sessions” project, his collaboration with Ludus Pinksy. Just two old dudes in a cabin rocking out with a mountain of old-school analog gear. Shit is epic.

Material
Ciguri
Material is yet another side-project of mega-productive bassist Bill Laswell, who has been in more bands and produced more records than I care to count. Some of his highlights include his production work with Herbie Hancock during his electro phase of the early 80s; and Praxis, an experimental supergroup that featured him, Buckethead and Parliament’s Bernie Worrell.

Material appears to be a Laswell-centric project, with other members coming and going through the years, including Bootsy Collins, Sly & Robbie, Fred Firth, Buckethead, the Jungle Brothers, William S. Burroughs, Ginger Baker and even Whitney freaking Houston.

Material’s genre, as you can imagine, is pretty hard to pin down, but if I had to name it I would probably go with “music that James Murphy ripped off 30 years later.”

The Coach House Rhythm Section
Timewarp
According to Discogs, The Coach House Rhythm Section was an alias for Eddy “Electric Avenue” Grant. And if that’s the case, then damn, I have to give that dude some credit for range. This sounds nothing like his reggae work, and is straight-up avant-garde, new-wave inspired dance music that’s really unique still.

But it’s no “Electric Avenue.”

OY!

Connie Case

Get Down

Is “lo-fi electro/disco” a genre? Because that’s what this sounds like.

I got no clue as to who this is. So if anyone wants to help me out go for it. All I can find on her is that she worked on an album called Extra Funky that featured not one, but two versions of a song called “”Haven’t Been Funked Enough.”

I guess she never met Sylvester, he would helped her out.

Disco > Hate

Wednesday, June 26th, 2013

Other website news:

Wrote up a review of David Yow’s insane solo debut.

Did a mini-rant on how I think limited editions are fucking it up.

And in case I didn’t mention it before: YO, THIS IS A SONG ABOUT DIG DUG BY THE MAN WHO SANG DREAM WEAVER. 

I’m moderately stoked about that one, sorry.

Also, since everyone else on the Internet seems to hate me for this one, a while ago I wrote a thing on Doug TenNapel’s Kickstarter, and why you shouldn’t support bigots. With his Kickstarter hitting the tail end of its fundraising, I would appreciate it if you read it, and if you agree, share it.

And now on a completely unrelated note: some fabulous motherfucking disco.

All of tonight’s songs are all taken from DiscoNet Volume 6, a 1979 DJ-only 2LP set meant for club play.

Afrika Bambaataa/Kraftwerk/Lipps. Inc
Planet Rock/Tour De France (Extended Edit)/Choir Practice
Like most DJ-only compilations I’ve managed to come across, the first side of DiscoNet 6 is a non-stop mix. However, unlike most every other DJ-0nly compilation, this one kicks ass. This set came out in 1983, which was really a great time for dance music. Disco was finally dying out, and being replaced by the Moroder-influenced electronic dance music that would go on to dominate the rest of the decade. Producers and engineers were discovering crazy new ways to use synthesizers and digital equipment, and DJs were taking the art of the mix to places it had never been before. Pretty rad stuff all around, and I think these tracks show that pretty well, starting with this mix that combines American rap, German electronic music and some good old-fashioned disco that still kicked ass.

The “Planet Rock” part of the mix is pretty minor, just the first few seconds honestly. Most of the track is dedicated to “Tour De France,” in an awesome extended edit form that really draws it out to awesome epic length. The closer by Lipps. Inc is also great, and shows that their categorization as a one-hit wonder may have been a bit unjust. Great stuff here.

Valerie Oliver
Get The Money (Extended Club Mix)
I have no idea who Valeria Oliver is. She apparently released just three singles, this being her first, before vanishing from the pop music scene in the mid-80s. This song is pretty silly, an ode to getting yo’ cash from yo’ man, but it’s fun. And I love the Blondiesque rap breakdown about halfway through.

Stefano Pulga
Love Taker
I LOVE THIS SONG.

I love disco sung through a crazy thick Italian accent. I have no idea why. Couple that with the awesome 808 (or possibly 303) squelching and goddamn I’m in love with this Italian man and his amazing hair. I also don’t know what the hell a “Love Taker” is aside from a wicked burn that rhymes well with “Heart Breaker,” but hey, I’m not a songwriter so I can’t judge.

Pamala Stanley
I Don’t Want To Talk About (Extended Edit)
Pamela Stanley has an unreasonably long Wikipedia entry that I highly suspect was created, edited and moderated by either Pamela Stanley or someone who knows her personal phone number. She put out one album in 1979 and had a handful of minor hit singles, but that was about it for her mainstream success. Glad to see she’s still going at it tho. The world is always in need of more disco divas, no matter the decade.

Terri Nunn is Cooler Than You

Tuesday, June 18th, 2013

First and most important order of business: Everyone go listen to this song about Dig Dug by Gary Wright. It will change your life.

Okay, now some other pressing matters: I want this.

Unfortunately, Death Waltz can’t ship it to the US (sidenote: Death Waltz needs better lawyers). Anyone want to help me out? I’ll pay for it of course. Cover shipping too. Be your best friend, buy you cake, you name it.

I got a copy! Thanks everyone for your help.

Now, a strange combination of remixes.

Aerosmith
The Other Side [Matt Dike ''Honky Tonk'' Version]
The Other Side [Club Mix]
Theme from ”Wayne’s World”
For a rock band, Aerosmith sure as hell has a lot of remixes. At one point in my life, I had remixes of “Love In An Elevator,” “Dude (Looks Like a Lady),” and even “Rag Doll.” I wonder what the point of these mixes was? I can’t imagine people in the clubs were ever really clamoring for Aerosmith dance mixes. And if they were, then where the fuck is the dance mix of “Mama Kin”?

Of these two mixes, the “Club Mix” is exactly what you’d expect. However the “Honky Tonk Version” is really…something. It transforms the tune into a country-flavored rock tune. Very, very odd.

And finally, yo “Wayne’s World” theme. Live. Awesome.

Terri Nunn
89 Lines (Club Mix Edit)
89 Lines (Blurring The Lines Remix)
Terri Nunn is the lead singer of Berlin. She is fabulously awesome and amazing, and no one bought her single solo CD because the world is a dark horrible place and we’re not allowed to have nice things.  I found this promo CD-single in a dollar bin at a record show last week and it was like a beacon of light surrounded by used Jimmy Ray and Constantine CDs. Say what you will about Terri Nunn (I fucking dare you) but she deserves better than that.

Sulking In Pittsburgh

Friday, June 14th, 2013

Who wants an update in my continuing adventures in audio insanity?

Okay, so when I left off last time, I discovered that my my new computer did not like my previous setup of hooking my turntable up to my computer via my Art USB Phono Plus. It was creating a muddy sound that cut off a lot of high frequencies. I then discovered that if I used my Art USB as a traditional pre-amp, and hooked it up to my computer via my line-in, then I got rid of that problem.

The downfall there was that I was getting increased line noise. A problem that I could then reduce by editing the file using the excellent DeNoise program. It was still there, but not in a way that bothered me significantly.

Well, for at least a week or two.

Anyways, before I figured that out, I went ahead and ordered another stylus to see if that was the problem, picking up an Audio Technica AT 120E/T from Amazon, a decent mid-range cartridge comparable to my Nagaoka MP-110. Even though I had solved the problem, I went ahead and gave that cartridge a go with my new setup. I liked how it sounded, just a little fuller with a little more treble, and decided to keep it.

So tonight, I was having problems recording my Blade Runner vinyl. It’s a great-sounding record, but it’s also very quiet, I was having a hard time getting rid of the line noise in the recording. On a whim, I decided to hook up my Art USB to my computer via USB once more, and see how that sounded with the new cartridge.

Holy shit! The “muddy’ problem was gone! Apparently there was something about my cartridge that was angering either the Art USB or my computer. I don’t know how that works, but whatever, now I got a setup that has the best of both worlds; no muddy sound from my previous USB connection, and no line noise caused from a crummy line-in connection.

I’m sure I’ll find something about it that’ll piss me off in a week or so though.

By the way, these were all recorded a while ago and are not indicative of any audio revelations.

A Guy Called Gerald
Voodoo Ray (Extended Mix)
Voodoo Ray (Gerald’s Rham On Acid Remix)
Voodoo Ray (Paradise Ballroom Mix)
Voodoo Ray (Penthouse Mix)
Voodoo Ray (Voodoo Raydio Mix)
A Guy Called Gerald is Gerald Simpson, who at one point was a member of the legendary dance act 808 state. I do not know who Voodoo Ray is.

Now that I think about it, I don’t know what Voodoo Ray is. Perhaps Voodoo Ray isn’t a person, but a raygun that attacks people with the powerful force of motherfucking voodoo. And I saw Serpent and the Rainbow. That shit is fucked up.

Bran Van 3000
Drinking In L.A. (Dave One Remix)
Thinking In L.A. (Zoobone Remix)
Sinking In L.A. (Dub)
Drinking In L.A. (Who Mix?)
Drinking In L.A. (Fink Mix)
I grew up in Toledo, and we had a Canadian-based alternative station called 89x, so I actually heard this song when it first came out in 1997. Later that year, a 17-year-old me went to L.A. for the very first (and last) time to tag along with my dad for an industry convention. Within about about two days I thought, “yup, that Bran Van song has this city pegged pretty well, Hell A.” This is the Canadian hip-hop version of that one Tool song.

That was a weird sentence.

Anyways, these mixes are from a 12″ single. And if you’ve never heard of Bran Van 3000, check them out, they’re pretty fantastic.

And yo, don’t forget that I’m once again trying to get rid of some records! Check out this post for more info.

Ryuichi Sakamoto – Discord Gütninja Remixes

Monday, June 10th, 2013

Been neglecting Lost Turntable in favor of Mostly-Retro for the past week or so. Sorry about that, getting a blog up and running is hard work, especially when you’re trying to balance it with work that actually pays. In case you’re interested, some stuff I’ve put up there recently includes this review of the latest by Queens Of The Stone Age, and a rather obscene take on Microsoft’s rather obscene used games policy they seem to be adopting with the Xbox One. If you miss my foul-mouthed rants of old then you should probably read that post. I suspect you’ll like it.

Now music.

Ryuichi Sakamoto
Discord - Gütninja Remixes (complete album download)
I bought this in Tokyo, and recorded it last month. About the only thing that has stopped me from sharing it here is trying to figure out how to write about it, as well as the realization that only about five other people in the world will care about it. But hey, I’m sure those five people will be stoked.  For the rest of you, I’ll try to talk you into downloading this and giving it a chance.

I’ve written about Sakamoto on this site before, but in case you missed those posts, here’s a quick refresher. Ryuichi Sakamoto was part of the super-influential/amazing/incredible Japanese electronic pop group Yellow Magic Orchestra; a group who helped to lay the groundwork for synth-pop, electronic dance and even chip-tune. After they disbanded in the mid-80s, Sakamoto embarked on his wildly diverse and successful solo career, which includes mainstream rock music, ambient electronica, and orchestral compositions. He even won an Oscar in 1987 for his work with David Byrne and Cong Su on The Last Emperor.

In 1997, Sakamoto released Discord, his first classical work that was not for the screen (although many of his previous works had some classical elements). Primarily orchestral with a touch of piano, the album also featured some guitar and even some turntablism from DJ Spooky, so even if classical isn’t your thing, I think you should give it a chance. It’s really different.

Two years later, Sakamoto (or someone on Sakamoto’s label) handed Discord off to various DJs, producers and other electronic musicians for remixing, and the result is this album. It’s something special and unique, thanks largely to the remixers chosen for the project, who include Amon Tobin, Coldcut, Andrea Parker and Tavin Singh (a lot of Ninja Tune is on this record). They really work to transform the classical compositions into entirely new tracks, sometimes removing and reworking so much of the original pieces that they’re nearly unrecognizable. That’s not a bad thing in this case, however, all these tracks are great, even when they have little to nothing in common with the source material.

In case you can’t tell, I really dig this record. It’s pretty much everything I love all rolled into one big ball of awesome; Sakamoto, Ninja Tune, crazy remixes, and awesome weird Japanese shit. I really hope I’ve convinced you to check it out too.

Audio update, now with Janet Jackson

Wednesday, May 29th, 2013

Okay, so last night I had a near nervous breakdown over audio issues. Because that’s what normal people do right?

Don’t answer that please.

So, here was my problem: My ART USB Phono Plus for, whatever reason, did not agree with my new computer. When I went from line-in to USB (analog-to-digital) all the high end on my recordings got cut off. It didn’t matter what USB port I used, or how I configured my recording setup, no matter what I did it always sounds the same. And my other preamp, the cheapo regular one, gave me crazy R/F interference that practically made it unusable.

I was just about ready to call it quits for the night, but then I had an epiphany: What if I used my ART Preamp like a regular pre-amp? Meaning I would hook it up to my computer via USB for power, but then run audio cables from the line-out on it into the line-in on my computer? Maybe that would bypass the shit filtering that was going on with the USB connection and I would get my high-end sounding better?

Tried it. It worked. I could finally hear the high-end. I was happy. That’s where I left things last night, with my “MY SHIT SOUNDS DOPE” update.

I spoke a bit too soon though. While my shit sounded good, “dope” was a bit of hyperbole (especially DOPE in caps).

Upon further review, I was still getting a good deal of line noise. Nothing crazy, about the same that I had before, but since I was no longer losing the high-end, I think I was able to hear it better. It was driving me crazy. So, then I had another idea: the ART USB Phono Plus can be powered by either USB or AC. What if I powered it by AC? Would removing USB from the equation help?

Bought an AC adapter for it, plugged it in, gave that a go. Nope. Actually it made it worse. At least I thought it did. So then I plugged the USB connection back into the computer while leaving the AC adapter plugged in, and then I tried to do a compare and contrast between recording via the USB and recording via the line-in. However, I noticed something odd; with the ART running off both USB and AC power it generated far less line noise. It was nearly inaudible over my speakers, and very quiet over my headphones. I suspect that  may have properly grounded it? Maybe did something to block off more RFT? I don’t know.

I could still hear it enough for it to moderately bug me though, so I decided to give some software filters a chance. First I tried Audacity. As always, it fell short. The noise removal in that doesn’t do the job for me. It removes it from quiet sections just fine, but if you’re working with anything that has bursts of noise in a quiet section then you can still hear the noise buried int he louder parts, at least I can anyways. No matter how much I fiddled with the settings in Audacity I couldn’t get it to work. The hiss removal in iZotope wasn’t much better either.

Then I remembered that the maker of my favorite click removal software, ClickRepair, also sells a program that removes line noise, aptly called DeNoise. I download that and gave that a shot, sticking mostly with the automatic settings.

Wow!  It works great. Between my reduced line noise coming in and the added help of DeNoise, my recordings are quieter and clearer than ever before. The difference is pretty amazing, Now I think my shit sounds dope. I don’t know though. You be the judge with tonight’s recordings.

Janet Jackson
Miss You Much (Mama Mix)
Miss You Much (Sing It Yourself Mix)
Miss You Much (Oh I Like That Mix)
You Need Me
I was going to test out my new setup with an abstract orchestral composition by Ryuichi Sakamoto, but I thought it might behoove me to use a song that people have actually heard before, so they can compare and contrast. Hence, Miss Jackson (if you’re Nasty).

Beastie Boys
The Beastie Boys Medley
Hey Ladies (Extended Funky Mix)
These are both from “Ultimix” LPs, special DJ only records. Typically, these things tend to suck. They’re usually quick and sloppy re-edits that don’t add anything new or original to the tracks. These mixes are pretty good though, the “Hey Ladies” extended mix ads a lot to the track and is a lot of fun.

 

I want to set all the preamps on fire

Thursday, May 23rd, 2013

Okay, so here’s what happened.

A few days ago I wrote a review for Daft Punk’s totally awesome Random Access Memories. As per usual with my uber-geeky reviews, I also went into some detail about the compression of the digital version of the album compared to the vinyl release. Then I went onto say that the vinyl also sounded slightly different, its drums seemed muted, and the bass seemed louder.

I can see what links people clicked on to get to my blog, and I like to do that everyday. It so happened that this review caught on with some people at an audiophile message board. Somewhere there commented that the album doesn’t actually sound like that on vinyl, and that if I had a certain cartridge on my turntable then it would sound better.

Now, I take audiophile comments with a grain of salt, especially when they’re along the lines of “you need this $500 cartridge to really appreciate your music, man.” But I have been unhappy with the quality of my rips for some time now.

This happens every year or so. I get a setup that I think I ‘ll finally be happy with, but then as I listen to more and more music and rip more and more vinyl, I start to pick out imperfections. In this case, I have long suspected that my rips were too, I don’t know how to describe it, muddy, I guess? Like they were muted and muddled a bit. Nothing horrible. I bet 90% of the people who listen to them think they’re fine, but it was bothering me. So I took a little more interest in what this guy had to say.

So then I went to my audiophile message board of choice, Audiokarma and asked about my problem at hand. I even brought audio samples. The people there suggested that I was looking for a more “aggressive” cartridge, and they steered me towards a couple that were much more in my price range. However, one person also suggested that something else could be at fault, that my setup might not be jiving well with my preamp.

Curious, I dug out an old cheap solid state preamp that I bought years ago and hooked it up to my system. Lo and behold, my audio sounded much crisper, the drums were no longer muted, nothing sounded “underwater.” I was happy. For about 20 seconds.

You see, the problem with this preamp is that it sucks. I guess that’s kind of vague, I’ll explain more. It has lousy shielding. it picks up radio frequencies like a motherfucker. If I crank it on full blast I can hear the classic rock station as well as I can my music. Additionally, it has a wicked hum that just never goes away.

So off to Radio Shack I went (yay) to pick up some grounding cable and a ground loop isolator. I figured if one didn’t do the trick the other would.

Hooked up the ground loop isolator, it made things worse.

Tried to hook up a grounding cable, and that presented itself with a whole other heap of problems. See, my turntable has been modified to not need a ground cable hooked up to it. That’s great, however it leaves me nowhere to hook up the ground cable coming out of my preamp. Feeling MacGuvyerish, I tried wrapping one end around a copper pipe in my bathroom (it was a long cable) but that also just made things worse.

So here’s how I stand right now. I have one preamp that gives me no interference, but it sounds like shit. I have another that sounds great, but it’s muddled with interference.

My head kinda wants to explode. Which is bullshit because I have exploding head syndrome so it does that shit already.

I’m looking into some other pre-amps, but this shouldn’t be that hard. I think that if I were able to properly ground my pre-amp then I would at least be able to eliminate the damn hum, and maybe from there I’d figure out a way to get rid of the RFI. Anyone have any suggestions? I keep reading things like “attach it to a three pin plug” but what the hell does that even mean? Wrap it around a three prong power plug? That doesn’t seem like a wise idea. As much as I love audiophile boards, they sure as hell have a hard time explaining the simplest of concepts. In fact, I still don’t entirely understand what a fucking ground loop is, other than that they’re bad and I don’t want them. Is it really such a complex fucking concept to get across?  Argh.

Anyways, I wrote another big thing at Mostly Retro, a guide to Giorgio Moroder’s music. I suspect that if you’re the kind of person who comes to this blog, you already know all there is to know about Moroder, but if you know someone who doesn’t and might be interested, send them my way. I’d appreciate it.

I also started putting “buy at Amazon” links on MR, and whenever you buy something from an affiliate link I get a cut. So hey, maybe check out that article and buy some motherfucking Donna Summer. (There’s also a Donate button there too, just sayin’).

Sigh, I’m fucking exhausted. And I really have nothing to say about tonight’s music other than “I like it a lot,” so enjoy.

DJ Rap
Bad Girl (BT’s Spoken Progenitor Mix)
Bad Girl (Bad Girl Roller Remix)
Bad Girl (BT’s Titanium Dub)

Psykosonik
Panik Kontrol

A Guy Called Gerald
Voodoo Ray (Extended Mix)
Voodoo Ray (Gerald’s Rham On Acid Remix)
Voodoo Ray (Paradise Ballroom Mix)
Voodoo Ray (Penthouse Mix)
Voodoo Ray (Voodoo Raydio Mix)

UPDATE: HOLY SHIT I FIGURED IT OUT AND NOW MY SHIT SOUNDS DOPE AGAIN. I’LL GO INTO DETAIL LATER.

*HIGH FIVES EVERYONE*