Archive for the ‘remixes’ Category

Puffy (Not That One) and Moby

Friday, August 4th, 2017

I wrote a thing about Death Wish. It’s probably not very good (both the movie and what I wrote).

In other news, I’m going to America next week oh God.

This will be a much shorter visit than my usual month-long transcontinental tours. I’m stopping off in Oregon to see my mom and then jetting back to Japan a week later. Hopefully ICE won’t send me to Mexico before then.

Assuming I’m not detained on trumped up (PUN) charges and sent to a CIA retention center, I do plan on doing some record shopping in Portland before heading back, so I hope to find some 12″ singles that seem to be a bit on the scarce side here. Until then, here’s some fucking ultra-rad J-pop and Moby being Moby.

 

Puffy
愛のしるし (✪ Mix)
渚にまつわるエトセトラ (Take Me To The Disco)
アジアの純真 (Malcolm McLaren Mix)
パフィー De ルンバ (Watermelon Remix)
日曜日の娘 (Ultra Living Mix)
Have I ever discussed the idiotic backwards way I usually discover old bands? It’s really stupid.

While most people get into a band from a hit single, or an album recommendation from a friend and then maybe eventually work their way to the obscure 12″ single or remix, I start there and work my way up to the hits. It happened with Depeche Mode and Erasure, and now its happening with Japanese acts like this. I’ve never heard a Puffy (aka Puffy Amiyumi) track proper before buying this remix single. Still haven’t, to be honest, but I’m eating this shit up right now, so I can totally see myself buying some of their stuff in the immediate future.

So why did I buy this remix single? Well, I could say that it’s because I noticed Malcolm McLaren’s name on the tracklisting. But I’m going to be honest and say that I thought my boyfriend would giggle when he saw the package of the guy on the cover.

I was right, by the way.

These remixes are fucking rad, totally groovy disco-infused dance music that will get you in the mood to boogie. The best of the bunch is the second one, which is remixed by Fantastic Plastic Machine. It’s got that perfect storm combination of 90s electronic, 80s synthpop and 70s disco that gets me every damn time. Great hook that had me singing along even though I don’t speak the language…still.

Look, Japanese is really really hard.

Moby
James Bond Theme (Moby’s re-version) (Piet Blanc’s Da Bomb mix)
James Bond Theme (Moby’s re-version) (Danny Tenaglia’s Acetate dub)
James Bond Theme (Moby’s re-version) (Grooverider’s Jeep mix)
Japan-only maxi single exclusives woo living in this country totally continues to pay off. I walk into just about any CD store and find a Japan-only CD single I’ve been dying to get my hands on for years, and I have affordable health insurance. Totally a win-win.

I’m sure these remixes are on some US release, so don’t “actually…” me. But they’re not on my US CD or 12″ singles for this song, so I was very happy to find them on the Japanese version. Always been a big fan of Moby’s take on this classic.

Madonna Remixes and a request for you to listen to weird shit

Sunday, July 30th, 2017

I wrote a thing about how George A. Romero nearly destroyed my life and how much I like his movies.

Also, Madonna.

Madonna
Music (HQ2 club mix)
Music (Calderone Anthem mix)
Music (Deep Dish Dot Com remix)
Music (Groove Armada club mix)
Music (The Young Collective club mix)
Music (HQ2 radio mix)
Music (Calderone radio edit)
Music (Deep Dish Dot Com radio edit)
Music (Groove Armada 12″ mix)
Die Another Day (Calderone & Quayle Afterlife Mix)
Die Another Day (Calderone & Quayle Afterlife Dub)
I really have to work on purging my Madonna backlog from my queue. These tracks included, there are 45 Madonna remixes in my LostTurntable iTunes playlist, and many of them have been there for a while. I’m really sorry! It’s not like I don’t love Madonna (OMG I love Madonna) I just keep getting distracted by obscure Japanese electronic jazz-funk records. I’m sure you can all identify.

Or not, I don’t know.

I don’t have terribly much to say about these remixes. Most are good, a few aren’t. I posted a couple of the “Music” remixes a few years back, but those were taken from a 12″ single, these are from a proper CD single, so they sound much better.

As I don’t have a lot to say about these tracks, I thought I’d use this space to pontificate about the State Of Lost Turntable, as I do every so often.

If you’re and long-term/regular visitor to this blog you’ve probably noticed my recent change in focus regarding what I’m posting lately. Of my past 10 posts, only two have consisted of Western pop music. The rest were either focused on Japanese dance tracks, or incredibly obscure and strange Japanese electronic music from the 70s and 80s.

This actually has less to do with my taste in music and more to do the fact that it’s kind of hard to find decent 12″ singles from 80s acts here in Japan. I’ve been looking! Really, I have! But whenever I do find some seemingly-obscure 12″ remix by an 80s or 90s act y’all might’ve heard of, it turns out the tracks are either in print or I already posted them years ago. Hence the propensity for me to post and share tracks from out-there Japanese artists, they’re easier for me to find, and still routinely out-of-print (especially in the States and Europe, where most of you are).

I can tell my move to increase focus on Japanese artists isn’t exactly popular. Not because of negative comments (I’m not getting those – thanks for that) but from the complete lack of comments (and hits) that those posts generate.

I get that obscure Japanese jazz-funk might not be your thing. Same for a collection of 70s synthesizer covers of Beatles tracks, but if you only come here to download songs by artists you know or have heard of, and don’t give the Japanese stuff a fair shake, I beg you to reconsider. A lot of the Japanese stuff I’m posting is some of my favorite music as of late, it’s just so original and different when compared to, well, everything else I’ve ever listened to.

So, the next time you come here and you see some weird, obscure Japanese album or an all-synthesizer covers album and are about to close the tab or go somewhere else, why don’t you try giving the music a chance first? You got nothing to lose, shit’s free after all.

Finally, and I know this sounds kind of lame, but if you do like some of the more obtuse and bizarre shit I share, let me know by leaving a comment. It’s nice to know that I’m sharing this for at least a few appreciative people. And if I share something you really like, you could also share it yourself via Facebook, Twitter, or whatever. Again, I know that sounds a little bit like a desperate cry for more readers, but I just want the music I share to find an appreciative audience.

More people need to hear these crazy Beatles covers. Same goes for these synthesized remakes of sci-fi movie themes. And have you heard the soundtrack to the Golgo 13 movie? It’s great! What about this weird Japanese ambient record I found on cassette tape? Or this amazing album of avant-garde electronic funk/jazz? 

Look, I like Madonna as much as the next gay man, but expand your horizons people!

Okay, sorry for the rambling, enjoy the Madonna-rama.

Beat The Heat With Cornelius

Sunday, July 23rd, 2017

It is too fucking hot in Tokyo. Actually, let me clarify that a bit: it is too fucking humid in Tokyo. Today it was 84 degrees Fahrenheit. I mean, that’s hot, but not too bad. However, humidity was at 80% and I had to wear a shirt with a collar for work. Thank god we don’t have to wear ties in the summer or I would be a puddle of English instructor.

On days like this, you gotta take coolness as a state of mind, something that I carry even into the music I listen to on my commute. If I’m stuck in a crowded train on a hot and humid morning, the last thing I want to listen to is some fast-paced techno or heavy metal. I want to chill out and calm down, find ways to distract myself from my sweaty brow and heat-induced itches in the bad places.

So thanks to Cornelius’ latest release Mellow Waves, an album that certainly lives up to its title as some mellow mellowness. It’s helping me survive this brutal Tokyo sauna. Its not an ambient album, there are beats and lyrics, complete with choruses. These are proper pop tunes, just subdued and relaxed ones. It makes for the perfect soundtrack for when you’re trying your best not to scream at the top of your lungs and tear off your suit on a rush hour train to Shibuya.

You’ll have to trust me on that one.

Anyways, I won’t share Mellow Waves as its a new release that’s in-print even in America. But I want to hype Cornelius anyway I can, so here are some of his older remixes that are my favs.

Coldcut
Atomic Moog 2000 (Cornelius Remix)
This version has been on a few different albums and compilations over the years, in fact I have it twice over. I first discovered it on the 1999 Coldcut remix album Let Us RePlay, and then re-discovered it recently via a cheesy “big beat” compilation I picked up called Big Beat Battle Royale Revisited. It’s a dope track with dope beats and a dope drop. It’s dope.

Towa Tei
Butterfly (Cornelius Remix)
I meant to share this when I posted the other versions of this track a few weeks back, but I didn’t because…I forgot. Sorry about that. This is a rad remix that re-imagines the original drum and bass tune as a chill-as-fuck lounge tune with glitch elements.

Sketch Show
Ekot (Cornelius Remix)
Chronograph (Cornelius Remix)
As I mentioned in my guide to YMO-adjacent acts, Sketch Show is kind of a version of Yellow Magic Orchestra, featuring Hosono and Takahashi with the occasional support of Ryuichi Sakamoto.

They’re nothing like YMO though and skew much more towards the experimental, and especially glitch, end of the musical spectrum. Their music can be exceptionally beautiful at times, but glitch has always been a difficult genre for me to get into. Like its name suggests, it often just sounds broken to me, and the pops, cracks and other deliberate effects that are used to create a slightly off-center soundscape can sometimes just scratch the wrong nerve in my brain. I really got to be chill and relaxed to get into it. As you can probably guess, its not summer music for me.

The original versions of these tracks were already abstract, but Cornelius’ takes on them move them even further away from the mainstream, often stripping out the beats to create more ambient versions. I like what he does to them even if it’s not really always what I want out of music. If you ever listened to Aphex Twin and thought, “this could work as a pop song,” then you should probably dig on this stuff though.

Continuing to fret over the remote possibility of nuclear war with help from The KLF

Friday, July 7th, 2017

Every time I buy one of these North Korea launches a missile. I’m sorry.

The KLF
What Time Is Love? (live at Trancentral/7″ radio edit)
What Time Is Love? (The KLF vs. The Moody Boys)
What Time Is Love? (The 1988 Pure Trance original)
3 A.M. Eternal (live at the S.S.L./7″ Radio Freedom edit)
3 A.M. Eternal (Guns of Mu Mu/12″ edit)
3 A.M. Eternal (1989 “Break for Love” mix/original Pure Trance mix)
Last Train to Trancentral (live From the Lost Continent/7″ radio edit)
Last Train to Trancentral (The Iron Horse/12″ version)
Last Train to Trancentral (The White Room version/import LP version)
Last Train to Trancentral (The 1989 Pure Trance original)

I’m writing this post before I even finish listening to the box set because it’s not like I’m going to hear one of these tracks, dislike it, and then decide not to share it. More epic KLF.

I don’t have much to say about these tracks (because they’re great and you should listen to them) so I thought I would use this space to plug the store that I bought the box set from. It’s called Shop Mecano and it’s located inside the Nakano Broadway shopping mall in Nakano. If you like my blog then you’d probably go apeshit in this shop, it’s dedicated almost entirely to electronic and new wave music from the late 70s to today, with a heavy bias towards anything influenced by Kraftwerk. The dude who runs this shop loves Kraftwerk more than you love Kraftwerk. For real. I’m pretty sure he actually wrote the liner notes for the Japanese re-issues of Kraftwerk’s back catalog a few years back. Dude is hardcore.

This store has all kinds of amazing stuff, from rare and hard-to-find imports of releases from western acts like Art Of Noise and Depeche Mode, to what seems like an endless supply of YMO and YMO-related music. This store is straight-up dangerous to my wallet, I’ve probably spent more here than I have at any other store in the greater Tokyo area. It gets the Lost Turntable seal of approval to the max. I’m not saying you should make your way to Tokyo just to go to this store, but if you made your way to Tokyo just to go to this store I certainly wouldn’t judge you for doing so.

And in case you’re wondering, you can find part II of this set here.

Towa Power

Sunday, June 25th, 2017

I’ve been trying to write a lot more lately and I think the results have been relatively good. Over at my other site you can find a goofy little write-up about a strange Japanese arcade game, as well as a piece about a game music DJ set that I went to.  I don’t often say this, but I’m kinda sorta proud of the latter piece and I think it covers something more people should know about, so if you read it and like it, please feel free to share it with your friends via your social media platform of choice. More people need to know about dope underground game music DJ shows in Tokyo.

Towa Tei
Butterfly (Extended)
Moth (DJ Die & Suv Remix)
“Butterfly” is a track from Towa’s 1999 album Last Century Modern, which is a great album I recommend checking out if you like 90s electronic music, very drum and bass in parts, but it still keeps some of that Towa lounge sound that he’s known so well for. “Butterfly” is a standout track from the album, I think it was a single first. It’s definitely an example of Towa incorporating the Shibuya Kei lounge music sound into a more upbeat and modern context. A really fun and upbeat track. “Moth” is the B-side remix, which makes me hope that somewhere there’s a cassette only remix of the track called “Pupa” or “Caterpillar” or something. I do have some more remixes of “Butterfly,” but they’re on an album I plan on sharing in its entirety on a later date so they’ll have to wait for now, sorry. These two mixes came from a 12″ single. That single also came with a stupid poster. Look.

Freakpower
No Way (Full Mix)
No Way (Norman’s Club Mix)
No Way (Dee Joy Delite Mix)
Pro-tip for anyone out there collecting obscure dance singles from the mid-to-late-90s (I can’t be the only one, right?). If you see the name “Norman” on it anywhere, that Norman is probably Norman Cook aka Fatboy Slim. That’s certainly the case with this one. Freakpower is one in a long line of Fatboy Slim aliases and collaborative acts, which also included Cheeky Boy, Pizza Man and Yum Yum Head Food. The next time you think that Fatboy Slim is a dumb name, keep those other possibilities in mind.

Freakpower was one of the more prolific aliases for Cook, he actually released two albums as part of the group, one in 1994 and another in 1996. I’ve never heard either of them, but if they’re anything like “No Way” I highly suspect they sound like Fatboy Slim albums.

 

YMOh Yeah

Thursday, June 22nd, 2017

Yellow Magic Orchestra
Technopolis (M.S.T. Mix)
Rydeen (Beat Sonic Mix)
Behind The Mask (Live at A&M Chaplin Memorial Studio 7th Nov 80)
I don’t know if the information regarding when and where that version of “Behind The Mask” was recorded is right. Let me explain.

A few weeks ago I picked up YMO Giga Capsule, a special edition DVD featuring live and rare YMO performances. This is not the same as YMO Giga Clips. That’s a different DVD that focused more on TV show performances and music videos. Giga Capsule is a bigger affair, mostly because it’s a two-sided disc. One side is your standard DVD video and features a nice selection of YMO live footage from various concert videos (all of which are annoyingly out-of-print right now). It’s great, but nothing out-of-the-ordinary.

The other side is what’s special, a unique digital experience full of behind-the-scenes footage, interviews, outtakes and more. Of course, that’s what I’ve gathered from reading about it online. That’s because I can’t get the fucking disc to work on my computer. I think the thing will only work using an old 32bit version of Quicktime that is no longer available and doesn’t work on modern 64-bit machines. If anyone does know anything about getting this thing to work on a new PC, hit me up.

Even though I can’t run the disc’s program proper, I can browse the file directories, which led me to some interesting discoveries. Rather amazingly, this one DVD contains YMO’s complete studio discography, as well as the Live At Kinokuniya Hall album. They’re AIFF files, but they all sound pretty good save for the live album, which is blown out for some reason. Anyone with a bit of technical skill could rip all these files off the disc, easily convert them to MP3, and then have every single YMO record on their hard drive! That kind of thing would never happen today.

There are a lot of other random audio files on this disc. Apparently, somewhere on it are the raw instrumental tracks for several songs. Tried my best, but I couldn’t find them. What I could find was this live version of “Behind The Mask.” I got the information behind its source via the disc’s Discogs page. It could be completely wrong, I have no way of checking. I think I just wrote more words in English about this disc than anyone in the history of the internet. If I’m wrong, please inform me with the correct information.

As for the remixes, they’re from a bizarre remix compilation (pictured above) that features remixes of YMO tracks as well as YMO-associates Sandii, Snakeman Show and Melon. As remixes of YMO go, these are some of the better ones I’ve heard. However, as you may know if you read my multi-part guide to the YMO discography, that’s really not saying all that much. Nearly every YMO remix is complete garbage, even the ones by prominent electronic artists like The Orb. I think it’s because YMO are, at heart, a pop band, and the majority of their remixes have been done by artists looking to make the music more like whatever dance music trend is hip at the time. That just doesn’t work.

Like I said though, these aren’t atrocious. And if you’ve ever wondered what YMO might sound like if they were a mid-90s hardcore house act, well then you are in luck tonight!

Another Diva Post

Sunday, June 18th, 2017

Coming here for game music? You’re in luck! I finally posted some. But it’s not here, it’s over on my other blog. Check it!

In other news, I decided to get back on Instagram. I figured the social media platform known more for random pictures of food is probably better for me than the one known for spreading Neo-Nazi hategroups. You can find me at LostTurntable. I mostly post pics of records (shocking I know) but I also put up pictures of flowers and the occasionally weird/funny/pretty thing I see in Tokyo. If you’re ever aching for sneak previews of what I’ll be posting here, that’s a good place to check as well.

I’ve  been posting a lot of avant-garde and Moog-centric nonsense as of late. How about some disco?

Diana Ross
Love Hangover (Tribal Hangover)
Upside Down (93 Remix)
Upside Down (Dub 2)
Someday We’ll Be Together (93 Remix)
You ever notice how most good Nile Rodgers tracks kind of sound the same? You ever notice how that’s not a problem at all because they’re all dope as fuck?

These are all from the 12″ single to “Chain Reaction.” I didn’t include the mix of that track, as it’s on one of Diana’s greatest hits albums and easily available. All of these remixes are still unavailable outside of this single. The highlight of the bunch is that “93 Remix” of “Upside Down,” an eight-minute extension of the disco track that is just more (but not too much) of a good thing. Although I think that the part where they cut up her voice so she says “up up down up up down” is kind of strange. It sounds like she’s trying to dictate the Konami code or something. Still, a great mix.

The remix of “Someday We’ll Be Together” isn’t all that bad as much as it is entirely unnecessary. The original version features a musical accompaniment by The Funk Brothers and the Detroit Symphonic Orchestra, supplementing their instrumentation with a 90s house beat just seems wrong.

Madonna
Celebration (Oakenfold Remix)
Celebration (Benny Benassi Dub)
Celebration (Johnny Vicious Club Remix)
Celebration (Oakenfold Remix Dub)
Edit: Apparently I posted these a few months back? Oh well.

I still have…one second, let me go count…51 or so rare Madonna remixes I need to get around to posting here, so I figured I should get on that. I found myself in a dirge of Madonna about two years ago when a local record shop had a massive Madonna 12″ single sale. I don’t even remember how many singles I bought that day, too many probably. I know I didn’t need that 2×12″ remix single of her cover of “American Pie,” that’s for sure.

While “Celebration” isn’t A-grade Madonna, it’s certainly better than that.

The 2×12″ single from which I ripped these also had a pair of Benny Benassi remixes that I’m not including here as they are currently in print and available on most digital music storefronts.

MORE FUNK AND MORE TURTLENECKS

Saturday, June 10th, 2017

The era of Prolific James (that’s me) continues. Over on that other site I have for some reason, I wrote about an awesome Mario Paint instructional video that I finally managed to get uploaded to YouTube. I also put together a rambling piece about my musical tastes and how they’ve changed over the years (save for my hatred of Steve Winwood). Check them out if you’d like.

And since I’ll probably have a few more readers than normal reading this post in the coming days thanks to my upcoming appearance on Retronauts, I’d like to share this post I wrote about a sexual I.Q. test on vinyl. Apropos of nothing, I just really like one and want more people to read it!

Anyway, bicoastal keyboards ahoy!

Electro Keyboard Orchestra
The Heated Point
The Iron Side
You probably don’t know this (because why the hell would you) but Japan has its own series of exclusive releases for Record Store Day. Almost all of them are of Japanese acts, which makes sense – because it’s Japan. This year did feature on Todd Rundgren seven inch single though, which is way more Japanese than any Japanese release (Japan loves the Runt).

Of the Japan-exclusive titles, I only bought two. One was an electro covers album of Sly Stone tracks.

It’s weird.

The other was this, a seven-inch single featuring a pair of tracks from a 1975 space-rock/funk/jazz instrumental keyboard outfit  that featured Yuji Ohno, who’s best known for his work on the Lupin series.

Why they just didn’t repress the original LP in full is beyond me, but I’ll take what I can get. These tracks are uberdope. Dope as a mother. Dopest shit. They’re dope.

There was some primo-synthsized funk coming out of Japan in the mid-70s that really embraced the electronic sound of early synthesizers and combined it with vintage funk grooves of acts like Sly Stone. Any random 70s Japanese funk track I’ve heard could have easily served as the soundtrack to a high speed car chase featuring Steve McQueen and/or a Dodge Charger.  One day I will compile a Nuggets-style compilation of pre-synthpop Japanese electronic music. Until that day, enjoy this taste. These tracks are my everything right now.

Pet Shop Boys
Yesterday, When I Was Mad (Jam & Spoon Mix)
Yesterday, When I Was Mad (Junior Vasquez Fabulous Dub)
Yesterday, When I Was Mad (Raf Zone Mix)
I have now posted every single Pet Shop Boys remix in my collection. As Pet Shop Boys singles are a bit harder to come by here (and I already have most of the ones I do stumble upon), don’t expect another post filled with remixes of PSB classics anytime soon. Longtime readers of this site (shout out to both of you) probably remember when this site was almost nothing but Pet Shop Boys (and New Order/Depeche Mode) remixes. Seems so long ago, because it was. I still can’t believe I’ve been doing this thing for over ten freaking years.

I hope to continue this prolific streak of mine for at least a few more weeks. Hopefully expect more posts than usual. Sorry if they’re all covering strange Moog records from the mid-70s. Actually, I’m not that sorry about that. But I thought I’d give a heads up.

Stay sane out there.

Second Hand Fan-Fiction and Sister Sledge

Saturday, June 3rd, 2017

I 90% quit Twitter this week. You can read why here. You can also read about my love giant Hard-Offs. I’m not going to explain that sentence. You’ll have to click the link to find out.

As I say in my blog post about Twitter, I will still check my mentions on the regular. So it’s the best way to get a hold of me if you have any questions about my blog, Tokyo, or collecting records. That’s by far my favorite thing about Twitter, so I’m not giving that up.

Anyways, here’s a goofy single.

Sister Sledge
He’s The Greatest Dancer (Remixed by Brutal Bill Marquez)
We Are Family (Remixed By Marley Marl)
I actually bought this record at a Hard-Off for 108 yen, or about a buck, making it the cheapest record I think I’ve bought in well over a decade. So that’s something.

This record was released in 1998. If Discogs is to be believed, it was a Spanish release. So, at some point between 1998 and 2017, this record made its way from Spain to Tokyo, eventually landing in a Hard-Off discount used hardware store in the outskirts of Tokyo.

Here’s what I think happened:

It was originally bought by a Spanish DJ. It was the late-90s, global economy was booming, he gets a gig at a lavish disco-themed dance club in downtown Madrid. It becomes the hottest dance club for your vintage grooves and a big tourist destination for international clubbers. One day, while mixing some Chic tracks, he catches the eye of a beautiful Japanese tourist. They fall in love.

But she has to return to Japan to finish school. With nothing weighing him down financially, he decides to ditch his home country to be with the girl he loves. All he has to his name are his decks and a crate of records. So he packs them up and heads out for a new life in Japan.

They’re in love but life can cruel, life in Tokyo. The club scene is different there, and he’s having a hard time finding work. The occasional gig comes along every now and then, but he’s not making ends meet. She just finished school. She’s a new recruit at a company. The money is decent, but barely enough to support them.

He’s about to give up and head back to Spain. He loves his girl but he doesn’t want to be a burden. Then he finds out that there’s a market for Spanish teachers. Luckily, he does have a degree, it’s in electrical engineering, but that’s all he needs to get a visa to teach. So he puts his DJ work on the back burner and takes up teaching.

Turns out he’s really good at it and soon he’s making enough money not to be a burden on his girlfriend anymore. Relieved of financial pressure, the two get married. He likes to DJ still but it’s just not financially feasible anymore. The teaching pays so good. He’s getting private corporate teaching gigs now. That’s too much money to pass up.

The wife gets pregnant and they decide that the city is no place to raise a child. They head out to the outskirts, toward Saitama. They find a nice neighborhood with good schools. Their place is even pretty big (for Tokyo standards anyway) but those records, turntables and mixers are taking up a lot of space. With a heavy heart, he decides its time to move on. He keeps one turntable, he still likes to play music at home, but he packs up the rest of his gear and his B-tier records (Sister Sledge single included) and hauls them down to the local Hard-Off. He doesn’t get a lot of money for them, but he’s able to take the wife out for a nice dinner that night.

Sometime later, a giant gay man from Pittsburgh buys the record and plays it for his boyfriend. He tells his boyfriend that the “He’s The Greatest Dancer” remix is okay, but the “We Are Family” one is a lot better. His boyfriend agrees.

George Clinton’s Extended Beef

Sunday, May 28th, 2017

Me: I’m going to buy an old VCR this week.

Literally everyone I know: Of course you are.

In case you’re wondering, I’m looking for an old VCR/DVD dubbing machine and if I score one then expect maybe the very first Lost Turntable video feature.

Yes I know I could buy a video capture unit for my PC but have you tried to do that shit? It’s hard. My A/V expertise begins and ends with phono.

George Clinton
Bullet Proof (Extended Version)
Do Fries Go With That Shake (Extended Remix)
Scratch Medley: Do Fries Go With That Shake/Pleasures Of Exhaustion (Do It Till I Drop)
Double Oh-Oh (For Your Ears Only Mashed Mix)
Some of these tracks have been on my Lost Turntable playlist for nearly five years. I have no idea why I’ve never gotten around to uploading them here. I’m such a slacker sometimes.

I definitely need more 80s George Clinton in my life. I’ve said before that “Atomic Dog” is a perfect song that I could listen to all day, and while these tracks aren’t perfect, they’re sure fucking close. “Bullet Proof” might have some of the illest drums of all time. Just a monster track for sure.

This sound is making a comeback of sorts, is it not? Or is it just Bruno Mars dipping into that nostalgia well and no one else? More people need to get on that shit. Hell, more people need to mine vintage R&B sounds. Modern R&B is just boring as all hell. When Dumptruck got elected a lot of idiots were saying that it would be good for music because we would see the return of vicious and revolutionary protest music. Well, it’s been nearly six months now and I’m still waiting for that. Secondly, while I’ve long been clamoring for the return of politically insightful music (especially in R&B and hip-hop), I would also settle for the return fun and upbeat pop music.

The pop charts are a dour disaster zone right now. It’s like everyone is depressed, but not woke enough to write socially conscious songs, so instead they’re just writing mopey-dopey songs about how much partying sucks. Partying is dope. Write about how dope partying can be while how shitty the world is. And try to have fun doing it.

What I’m saying is, more songwriters need to listen to Maggot Brain.

Additionally, I would a top ten hit single akin to “Do Fries Go With That Shake” but gay. It’s not fair to the gay community that the only super-popular openly gay singer in the world right now is Sam Smith. We’ve been through enough.

Thank you for listening.