Ryuichi Sakamoto – Discord Gütninja Remixes

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.

The D.C. Cab Soundtrack. I don’t know why.

June 5th, 2013

Giorgio Moroder produced three soundtracks in 1983.

The first was for Flashdance, it went on to sell millions of copies, win an Oscar for best original song, and helped influence the very sound of the 1980s.

The second was for Scarface. While not as influential, it certainly served as a memorable score for the film, and featured great songs by the legendary Debbie Harry.

The third was for D.C. Cab. And hey, two out of three ain’t bad.

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Shalamar
Deadline USA
Shalamar is how the world was introduced to Jody Whatley, an 80s pop also-ran who scored a few hits with tracks like “Looking For A New Love” and “Real Love.” She was rad. Shalamar was…less rad. But they weren’t bad, and were probably one of the only disco acts to successfully make the transition to 80s pop and score a few MTV hits. This song is certainly catchy as hell, and reeks of Morder’s production, even if it was actually produced by Pete Bellote, a frequent Morroder collaborator. Synthesized funk gold. Seriously, the more I listen to this song the more I love it. I want to set my own real-life 80s training montage to it.

Peabo Bryson
D.C. Cab
This is the hardest I’ve ever heard Peabo rock, which is saying absolutely nothing considering he’s best known for songs like “Tonight I Celebrate My Love” and his “Beauty and the Beast” duet with Celine Dion. If you hear this song and think “wow, I need more Peabo in my live!” trust me, you don’t. You really don’t.

Champaign
Knock Me On My Feet
I only barely know one other Champaign song, the minor 1981 hit “How ‘Bout Us,” which I forgot completely until I looked it up on YouTube, and then promptly forgot about again. That song is horrendous. This song is amazing, probably the most Moroder of the songs from the soundtrack that I’m featuring here. The guitar solo is dope!

Karen Kamon
Squeeze Play
Karen Kamon is a singer who is probably best known for her work on the Flashdance soundtrack. No, she didn’t sing “Flashdance,” that was Irene Cara. And no, that wasn’t her on “He’s a Dream,” that was Shandi. She sang “Manhunt,” the soundtrack for the other, other dance scene in the film. She released two albums in the early 80s as well, but I’ve never heard them and they’ve never even been re-issued on CD, so I can’t speak to them. This song is pretty great though. It’s no “Manhunt,” but it’s a nice dance tune. Unfortunately, the LP suffered from some drastic inner-groove distortion here, so it’s a little distorted.

Leon Sylvers
World Champion
Don’t know much about this guy either, apparently he was a big producer for a bit, but he hasn’t done much in a while. Not a bad song, but forgettable.

Stephanie Mills
Party Me Tonight
Stephanie Mills was the original Dorothy int the first Broadway production of The Wiz, and that’s fucking awesome. I don’t think her pop career was ever as big as her stage one though. This is a synthtastic example of Mordoder production, and would fit in perfectly on the soundtrack to Flashdance.

Gary U.S. Bonds
One More Time Around The Block Othelia
Gary U.S. Bonds sung “Quarter To Three,” one of the best soul songs of the early 60s. Twenty-one years later he was on the D.C. Cab soundtrack. Man, life can be rough. At least he got the theme song to the baddest motherfucker in the movie, Othelia, played by the ultimate bad-ass Marsha Warfield. But I’ll talk more about her when I review the movie on my other site.

Giorgio Moroder
Knock Me On My Feet (Instrumental)
I guess Giorgio had high hopes for this one if he felt he should close the soundtrack with this instrumental version. Like I said before, it is definitely very Moroder, but when you hear the other stuff he was putting out around that time, this just doesn’t compare at all. Eh, at least it’s not “Danger Zone.”

The D.C. Cab soundtrack also featured “The Dream” by Irene Cara (wow!) and DeBarge’s “Single Heart.” However, those are both available on CD and digitally, so I’m not including them here. Sorry!

Hope you enjoy these tunes, and after you grab them, head over to my other site for reviews of the Beggars 5CD box sets, Joyful Noise’s Cause & Effect Vol. 1, and the really bad vinyl version of the really good new Alice In Chains album. And if you’re feeling like hating humanity, check out this post too.

Audio update, now with Janet Jackson

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

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*

Yearning for Imaginary Remixes

May 13th, 2013

I wrote something at Mostly-Retro about bad concert etiquette, why I think it’s such a problem, and what I think can be done to alleviate the problem. Check it out.

Look, I’m going to level with you. I really want people to read that one. It’s kind of important to me, and I spent a lot of time on it. So if you read it and like it, please share it with a friend via…whatever your favorite social media thing is. I’d really appreciate it. I usually don’t mind that my audience is kind of small, my interests are pretty niche after all, but dammit, I want everyone to read that.

Sorry if that sounds a little vain or self-serving, but it’s how I feel.

Now, let’s walk on sunshine.

Katrina And The Waves
Walking On Sunshine (Extended Mix)
And don’t it feel good.

I am fucking shocked that it took me seven years to get this song on this blog. I’m fucking shit up. I need to go through a Billboard Top One Hit Wonders list and see if there’s any other classics that I missed. Maybe find a 12″ mix of Haircut 100’s “Love Plus One” or something.

Shit, now I want that. I hope it exists.

Freestyle Mix by Juanito
Mega-Mix 1991 by Richard ‘Humpty’ Vission
These are two megamixes from one of those special “DJ Only” records I talk about on occasion. Unlike last week’s “rock” remix collection, these megamixes are much more inline with what you would hear in a dance club in the early 90s. Like house music? New Jack Swing? That “People Are Still Having Sex” song? Then you should like these.

I’m not that familiar with Juanito, but I know me some Richard Vission, and I can’t believe that this is the first time I’ve ever mentioned his name on this blog. Dude is a legend. Back in the 90s I had a friend who had piles of burned mix CDs, and I lost count as to how many had “RHV – AWESOME MIX” written on them. I wish I still had access to those mixes, some banger stuff on those.

Of these two mixes, I’m a bigger fan of the Vission mix, but they’re both great time capsules of a bygone era and a lot of fun. I’d make a list of all the songs in both, but my knowledge of 90s house and dance pop is not nearly vast enough to do that. If anyone wants to point out any great lost gems in either mix, please leave a comment.

Just don’t mention the Color Me Badd part in the Vission mix. Best we ignore that.

These songs didn’t need dance remixes

May 10th, 2013

New on Mostly-Retro, a review of the amazing Blade Runner soundtrack vinyl re-issue, and a look at an INCREDIBLY stupid movie on Netflix.

And with that out the way, I now present the latest in my continuing efforts to share the dumbest music possible:

Collective Soul - Shine (Souza Mix) 
Queen - We Will Rock You (Bass Kicks Micks)
The Eagles - Heartache Tonight (Hell Freezes Over Mix)
Joan Jett & The Blackhearts - I Love Rock & Roll (Dance To This Mix)
The Breeders - Cannonball (Bass Line Mix)
Lenny Kravitz - Are You Gonna Go My Way (Rip That Guitar Miques)
Oh boy, these are dumb.

So in the 80s and 90s (and maybe probably today to a lesser extent) there were special labels that strictly released “DJ Only” singles and records. I think I wrote about these before. Typically, these releases would include special edits or mixes of popular tunes, or sometimes they would even include their own “megamixes,” saving club DJs the time and effort (and skill) of having to mix tracks together.

Most of the time these releases focused on “dance” tracks, or at the very least, rock songs with a strong dance focus. I’m sure there is an “Ultimix” record out there with an extended dance edit of “Centerfold,” for example. Also, in nearly all the cases I’ve come across, the songs are just mixes and not remixes. What’s the difference?

Typically speaking, a remix is a song that has been modified by someone who has access to the original masters. Remixers usually remove and/or drastically rework original aspects of a song, and almost always add their own elements as well. Remixes may also use different vocal takes or other outtakes by the original artist.

A mix, on the other hand, is more like a re-edit of a song. More often than not, mixers do not have access to the original masters, so they’re rather limited as to what they can change.  So all they really do is add in a couple extra breaks to the beginning and end of a song, throw in some new beats or maybe extend the breakdown in the middle, all stuff done to make the song easier for DJs to mix into another track, or make the song more dance-friendly. These tracks are all perfect examples of mixes, taking the original song, taking on some extra beats or basslines, and not much else.

That, however, does not make them any less hilarious. A dance mix of “Shine?” What the fuck? “Heartache Tonight?” Why? Who the fuck thought that was a good idea? I guess the hysteria from the then-recent Eagles reunion was fucking rampant.

(Side note: I remember when the Eagles reunion concert aired on VH1 that year, holy shit my dad was one stoked old white dude.)

So yeah, if you like dumb shit (and boy, if you don’t then goddamn are you at the wrong blog) then you should dig these.

And if you like The Eagles, fuck you.

Bassheads of the world unite

May 8th, 2013

A couple new posts on Mostly-Retro. First up I got a review of the Astralwerks 20/20 Record Store Day box set (spoiler: it sucks). Then I have part two in my journey down the rabbit hole of Atari “soundtracks” with my look at the Missile Command LP (spoiler: it’s dumb). Check them out both and tell all your friends who like awesome reviews of awesome shit about them as well.

In case anyone was wondering, I’m feeling a lot better now. The rage and anger from the past few days has passed and I’m actually feeling pretty good. I’m feeling so good that I had a post planned out with some really soothing and relaxing progressive trance but FUCK THAT SHIT LETS TEAR IT UP WITH DRUM AND BASS.

Dom & Roland
Parasite
Homicide
Killa Bullet
Dumbo
Dom & Roland is one dude, right? Damn, that’s confusing as hell. Why the hell did he do that?

(Goes to Wikipedia to figure this shit out.)

Oh, so his name is Dom(inic) and the Roland in question is his Roland sampler. Ah, that makes sense. And the fact that I couldn’t figure that out on my own makes me feel like a dumbass.

As much as I love drum and bass, I have a hard as hell time trying to get all the subgenres straight. What would you call this? This is techstep, with it’s sci-fi feel, twisty bass sounds and occasional vocal sample, right? Whatever the hell it’s called, I love it. I could listen to this kind of shit 24 hours a day. In fact, I think if I had to stay up for 24 hours straight, this music would work just as well as coffee. These beats kick coffee’s ass. “Killa Bullet” is the most hardcore shit ever and I love it.

Rob & Goldie
Distorted Dreams
The Shadow
The Shadow (Bing Here Mix)
The Shadow (Process Mix)
True story. I went to Ultra Music Festival a few years back. It was a horrible experience and I advise against it. It was too hot, water was overpriced, and the noise bleed from stage to stage was horrendous. Anyways, Goldie was playing the fest, and I knew I had to make my way to his stage to see him. Goldie is a god of dnb, one of the originators, catching a set by him was simply a must.

I got there a few minutes early and the tent he was playing at was already pretty packed, but I soon found out that most of the kids there were there to catch the act after Goldie, and not Goldie himself. In fact, when Goldie took the stage I heard a number of “fans” bemoan “who’s this old dude?”

This was the drum and bass tent, these people were there to listen to drum and bass. They did not know who Goldie was. He nearly invented the fucking genre (yes, I know that’s an exaggeration  but you know what I mean). That would be like going to a “classic rock” show and asking who Led Zeppelin was.

Fucking heathens.

SPECIAL BONUS TRACK
Mother
Goldie’s hour-long opener to his double-disc sophomore album Saturn Returnz, the Tusk of drum and bass records. Seriously, this song is an hour-long, so clear your schedule before you listen to it.

SMASH MONO

May 3rd, 2013

Let’s talk about anger.

Anger for me is fuel. Especially when I’m writing. If I love something and think it’s great, I have a hard time writing about it. I suspect a lot of critics have this problem, that’s why so many of us love to review bad works. It’s easier. It’s easier to shit all over something that sucks than heap praise upon praise over something that’s great. There’s probably something you could read into that about the negative nature of humanity and humankind’s eagerness to knock others down as well. But I’m pissed enough as it is, so I’d rather not dwell on that.

But that’s just one kind of anger, and I guess a better word for it would be outrage. When you see a social injustice and it upsets you, you’re not angry, you’re outraged – it’s anger + indignation. And I guess that’s a good thing. That’s how shit gets done, even if said shit is a mean review of North.

Outrage and anger can be productive. They can be motivators.

But then there’s blind fury, rage and frustration. The kind of feeling you get when you find out you locked yourself out of your car, or stubbed both your big toes at the same time.

Rage is…probably a bad thing. Too bad I’m really good at it.

Now, I’m not the Hulk (I wish I was the Hulk!) and I’m not the kind of person to unleash fists of fury on someone because they look at me the wrong way. No. I’m the kind of braindead idiot who will fly into a blind burst of fury because I hit my head on my desk one too many times while hooking up my new computer. Or I’ll lose it after I find 20 typos in a blog post that’s been up for three years. Most often, I go a bit apeshit when I find out that I’ve screwed up something all on my own, with no one else to blame but myself. I would never beat someone else up for their mistakes and fuck ups, but I’ll batter myself to death if I find out that I’ve washed my laundry on the wrong cycle.

Basically, I’m trapped in an abusive relationship with myself. Don’t worry, we’re thinking about seeking counselling.

Why do I say all this? Well, if you follow me on Twitter (and you should, it’s a real shitshow sometimes), then you know that earlier today I found out that I accidentally recorded several weeks of recordings in mono. Why? Because I got lazy and forgot to reset my settings after changing audio ports.

Now, keep in mind, this isn’t something that should be a fucking problem in the fucking first place. Fucking Windows should fucking remember my fucking audio settings from port to fucking port. And even if if fucking shouldn’t, then it shouldn’t FUCKING ASSUME THE FUCKING DEFAULT IS FUCKING MONO EVEN WHEN MY FUCKING DEFAULTS IN MY FUCKING RECORDING SOFTWARE ARE FUCKING STEREO. FUCK.

Okay, yeah…that’s the kind of rage I was talking about.

Anyways, now I have to re-record about 30 hours of audio. A blast huh?

But don’t worry, even in my fits of smashing rage, I think of other people first. And the first things I re-recorded after finding out about this royal clusterfuck was everything that I shared here. It’s pretty much the sole reason why I’m up right now, at 1am, so the few of you who do actually read the words with the posts know about this and can download proper versions of the songs you got earlier.

So if you’ve downloaded any of the following files, and you don’t want shitty mono versions, download these copies now.

And if you appreciate my efforts to make things right for my own idiotic mistakes, maybe check out my other site and show it to some friends via Facebook, Twitter, Reddit, whatever? I’d appreciate it. Feelings of accomplishment make me rage less, I think.

Eurythmics
Sweet Dreams (Are Made Of These) (’91 Remix)
Sweet Dreams (Are Made Of These (Nightmare Mix)
I Need A Man (Macho Mix)
I Need A Man (Edit)
Beethoven (I Love To Listen To) (Dance Mix)
Beethoven (I Love To Listen To) (7″ Edit)

Orchestral Manoeuvres in the Dark
Brides Of Frankenstein (Mix)
Brides Of Frankenstein (Dub)

Frankie Goes To Hollywood
Born To Run (Live)

Underworld
Underneath The Radar (12″ Remix)

Frank Black & Teenage Fanclub – The Peel Sessions
Handyman
The Man Who Was Too Loud
The Jacques Tati
Sister Isabel

Psychic TV
Joy (credited to DJ Doktor Megatrip with Luv Bass)
Thee Politics Ov Ecstasy (credited to Psychic TV & Jack The Tab)

Garbage
Milk (D Mix)
Milk (Trance Mix)

Dead Or Alive
You Spin Me Round (Like  a Record)
Mighty Mix 2

Bonnie Tyler
Band of Gold (Extended Version)
Band of Gold (Dub)

Röyksopp
Eple (Shakedown Remix)
Eple (Fatboy Slim Remix)

Moby
Porcelain (Torsten Stenzel’s Remix)
Porcelain (Force Mass Motion Remix)

Krust (Featuring Saul Williams)
Coded Language (Roni Size Desert Road Remix)
Coded Language (Roni Size Desert Road Instrumental)

 

This Post Is Straight Edge

May 2nd, 2013

Quick self-serving news: new post over at Mostly-Retro, a look at the “soundtrack” LP to Atari’s Asteroids. It’s pretty ridiculous. If you like it, please share it with your friends.

Now for a brief public service announcement for everyone who I turned onto Boom Boom Satellites, you should know that they’re doing a live “360 degree” webcast of their Budokan show this Friday! Check out this link to see the countdown timer. Should be pretty awesome.

Finally, if anyone thought last night’s post was excessively stupid. Don’t worry, so do I. Don’t blog drunk kids. If you’re going to write something stupid, write it sober. Own it.

Chumbawamba
Hear No Bullshit (On Fire Mix)
The Day The Nazi Died (1993 Mix)
There’s a lot to say about Chumbawamba, but for a Cliff Notes version of their crazy history check out this great video by critic Todd In The Shadows. He tackles their crazy career pretty well.

As for these songs specifically, “Hear No Bullshit” features lead vocals by the UK rap group Credit To The Nation, and it’s a great radical left-wing hip-hop jam that attacks mainstream sell outs, and the fact that too many rappers can’t seem to get past their sexist bullshit when it comes to lyrical inspiration. This song was written over 20 years ago, and judging from disgusting wastes of humanity like Odd Future, it’s sadly just as relevant now as ever.

Same goes for “The Day The Nazi Died.” It’s an attack on Nazi sympathizer politicians, and if you’ve been paying attention to the current clusterfuck that is Greece as of late, you’ll know that this song has once again become topical as well.

Sigh and ugh.

Eurythmics
Sweet Dreams (Are Made Of These) (’91 Remix)
Sweet Dreams (Are Made Of These (Nightmare Mix)
I Need A Man (Macho Mix)
I Need A Man (Edit)
Beethoven (I Love To Listen To) (Dance Mix)
Beethoven (I Love To Listen To) (7″ Edit)
Most of these are reposts, I put up the “I Need a Man” and “Beethoven” mixes a few years back. But I wasn’t happy with those rips and recently re-recorded them. So if you have those old rips and like those songs at all (and you fucking should) then you ought to download these new rips and replace your old ones.

The “Sweet Dreams’ mixes are new to this site though. I grabbed them off of a very odd DJ bootleg 12” called “Disco Ballroom.” However, they were both official remixes and were first released on legitimate 12″ and CD singles. If you’re listening to the ’91 remix and thinking “oh wow, this is the most amazing dance beat ever” well that’s because that remix is by Giorgio fucking Moroder. He may have done the “Nightmare” mix too, but I don’t think so, it really doesn’t sound like his kind of work.

Orchestral Manoeuvres in the Dark
Brides Of Frankenstein (Mix)
Brides Of Frankenstein (Dub)
Another pair of reposts. Put these up several years (and turntables) back so grab them again even if you have them already.

I also said this back when I first posted this track (which is really a megamix), but it’s worth repeating; this cut has one of the greatest basslines ever.

I AM PREDICTING A HEADACHE

April 30th, 2013

SPOILER I’M DRUNK

Let’s talk about things that suck.

These are some of the things that I think suck the most

  • Imagine Dragons
  • “Men’s Rights” Advocates
  • Whatever the fuck Amanda Bynes is doing to herself
  • APRIL
  • The random painful red bump on my face that showed up out of nowhere yesterday
  • Mean parents
  • Assholes
  • APRIL
  • Geo-political situations keeping you from people you love
  • People who don’t like kittens
  • The inability to prove yourself as a writer
  • Hardees’
  • APRIL
  • Dropping food in the dark
  • Scott Miller dying
  • No one caring about shit you care about
  • Ohio
  • APRIL
  • The Inevitable Heat Death Of The Universe
  • Throwing your back out
  • The fact that Eve 6 still exists and making music
  • Chris Brown
  • The fact that no one has murdered Chris Brown
  • Seriously, fuck Chris Brown
  • Amanda Palmer
  • The death of “longform” writing

So much shit that sucks! It’s everywhere. The world sucks all around you! How do you combat it?

You combat it by focusing on shit that doesn’t suck! What doesn’t suck?

  • Whiskey
  • People who love you
  • Pizza
  • Whiskey
  • Records
  • Movies about ninjas
  • That Crosby Stills and Nash song with all the doots
  • Playing “This Corrosion” by Sisters Of Mercy alone in your room and rocking out like a monkey on mescaline
  • Pictures of kittens in shoes
  • Movies about breakdancing
  • Adorable nephews
  • Monkeys
  • Hypothetical movies about breakdancing ninjas. Okay, real talk for a second. How come no one has made a movie about a breakdancing ninja I would watch the shit out of that shit.
  • Awesome people who pick fights with misogynists, sexists and racists because its fun to fuck with them
  • Walter Hill movies from 1977 to 1984
  • Months that aren’t April, because fuck April
  • Whiskey

Seriously, you gotta focus on the positive and non-suckage of life (and/or drink lots) or it’s all gonna bring you down. And fuck that shit for bringing you down. You’re better than that bullshit! Be awesome! You’re awesome aren’t you? Well then fuck that shit! Go be awesome! I am so awesome. Holy shit. It’s like, woah, how awesome I am.

Yo! Here’s some awesome music to help you be awesome and crush  the evil powers of suck. Rock this shit like He-Man rocked the power of Greyskull.

Frankie Goes To Hollywood
Born To Run (Live)
Are you ready for some indisputable facts? Cuz you’re gonna get some.

FACT:  Frankie Goes To Hollywood is awesome.
FACT: Born to Run is awesome
DOUBLEFACT: Frankie Goes To Hollywood covering Born To Run is mega-awesome awesome.

Underworld
Underneath The Radar (12″ Remix)
More bold  facts for you. Underworld was an  awesome synthpop band before they were an awesome electronic band.  I posted this eons ago but that rip was less than awesome. I re-recorded it today. Now it has awesome.

Yukihiro Takahashi
Kid-Nap, The Dreamer
I-Kasu!
Japan is the most awesomest place on Earth and this is a fact. Yukihiro Takahashi (which I spell right despite being HAMMERED so I’m proud of myself) is in Yellow Magic Orchestra, a synthpop band from Japan. Since synthpop is awesome and Japan is mega-awesome then YMO is like, so fucking awesome that there aren’t even words.

Takahashi’s solo work, while not as awesome as YMO, is still pretty damn awesome. This is a crazy track, cuz it’s like synth-ska. Hard to explain, but it sounds like a Specials song put through a moog.

(Kid-Nap and I Kasu! are two tracks, but really one long song, so I call them one song because that’s just easier)

BIG AUDIO DYNAMITE II
RUSH (12″ mix)
THE MOST AWESOME