Monday, December 17, 2007

Spank Rock - Babt (censored)

M.I.A. - Bamboo Banga

M.I.A. - Hussel

i like when people put the songs up with out real video. yes. you rule





PAPER PLANES official video


PAPER PLANES official video




Wednesday, December 12, 2007

Kid Cudi Live @ Fool's Gold SF

Peaches Set it Off

Peaches- Fuck The Pain Away -Irvine Ampitheater, 7/07/2006

Peaches - Fuck the pain away

RIP Ike Turner and Thank You.

Ike Turner, rock'n'roll pioneer, r&b legend, and volatile husband to Tina Turner, passed away at his San Marcos, California home today, according to TMZ. Aged 76, he reportedly died in his sleep.

Born Izear Luster Turner, Jr. in Clarksdale, Mississippi, Turner first found fame as leader of the Kings of Rhythm, whose 1951 single "Rocket 88"-- billed to Jackie Brenston & His Delta Cats-- is regarded by some as the first true rock'n'roll recording.

Turner's place in popular music history wasn't cemented, however, until he met a young, fiery vocalist by the name of Anna Mae Bullock in 1956. Bullock would eventually take the name Tina Turner, and the pair would enter a relationship, both musical and romantic, as notoriously tumultuous privately as it was electrifying live on stage and on record. Throughout the 1960s and early 70s, Ike and Tina remained at the forefront of rock'n'roll culture, touring with the Rolling Stones, recording with Phil Spector, and churning out hits like "Proud Mary" and "River Deep - Mountain High".

Turner's reputation was, of course, mottled at best. He has been painted as an abusive and domineering husband to Tina, who left him in the mid-1970s. Turner also landed in prison in the early 1990s after various drug charges, and was in fact incarcerated when Ike & Tina Turner were inducted into the Rock and Roll Hall of Fame in 1991.

Yet Turner had, by most accounts, cleaned up his act in subsequent years. He also regained some of his footing musically, winning a Best Traditional Blues Grammy this year for Risin' With the Blues. He was also apparently working with the Black Keys and Danger Mouse on a forthcoming album.

Ike and Tina Turner- Delilah Power 1975

Thank you. RIP Ike.

Ike and Tina Turner (Feels Good)

RIP ike Turner. My uncle died a few weeks ago. He was a musician like yourself and now you guys can make music in the sky.

Ike and Tina Turner

Ike Turner discovers Tina Turner

teki latex - disco dance with you

The Brand New Heavies Ft Large Prof Main Source BonafiedFunk


M.I.A. - Paper Planes live on David Letterman

Because im a girl

some good karoke


new dude but same old shit. Sorry but cum on.

Beat Stevie in Scotland 3 - Dundee

The Mitchell Brothers - Michael Jackson OUT NOV 5th 2007

Beat Stevie 14 - I don't want a Solemate

Beat Stevie 12 - Mike needs a Light-Razoring!

welcome to House, Techno Mondays.

Monday, December 10, 2007


At least until college, her life was made, remade and remade again by events beyond her control. Born in Hounslow, London, M.I.A. (an acronym that stands for both "Missing in Action" and "Missing in Acton," the rough west London neighborhood where she lived as a teen) is the middle child of Kala and Arul Pragasam. Arul moved the family to his native Sri Lanka when M.I.A. was an infant, where he helped found a Tamil revolutionary group. Wanted by the Sri Lankan government, Arul went into hiding, and, as the conflict intensified, Kala moved the family to India. But because of their poverty and scant resources, M.I.A.'s mother was forced to move the family back again to Sri Lanka. Then, fearing for her children's safety, she eventually fled the country and settled in London. M.I.A. was eight years old. The only English words she knew were "Michael Jackson."

MIA - Bamboo Banga


juan maclean dj set

Hot Chip -

LCD Soundsystem -




Death From Above 1979 - Romantic Rights

Death From Above 1979 - Romantic Rights

The Rapture Live at Studio B : First Gear

The Rapture (SXSW 2007)

The Rapture. Sister Saviour

The Rapture - Pieces of the People We Love




The Rapture: Get Myself Into It (Final Version)




Friday, December 7, 2007

Jay-Z feat. UGK - Big Pimpin

T.I. - Front Back Feat. UGK (video)

UGK - Wood Wheel



this is your day on my blog

beanie you back but with a few misfires

Add to

The Philadelphia rapper Beanie Sigel recorded his last album, 2004's The B.Coming, in the weeks between being sentenced to a federal prison on a gun charge and the beginning of his term. That album was like a rap version of Spike Lee's The 25th Hour, the sound of someone who knew he was headed for hard times. In the almost four years since The B.Coming saw release, Beanie served 10 months in federal prison and was acquitted of an attempted murder charge that would've sent him away for a whole lot longer. He was shot twice during a botched robbery attempt. His stepfather was brutally killed in a Philly alleyway, his body set on fire. He saw the chaotic, acrimonious breakup of his label, Roc-A-Fella Records, and the dissolution of his hometown rap crew, State Property. He ignited a minor internet controversy when he told Kanye West, his labelmate and past collaborator, to come out of the closet. By any measure, Beanie Sigel has been through a turbulent few years, and so it's something of a shock to turn on the first track of The Solution and hear him bragging about his money over the Runners' cheesy faux-epic synths while R. Kelly coos professionally behind him.

Beanie Sigel is not a smooth rapper. His voice is a halting, raspy snarl, and he delivers his words with hyper-emo bluster, like he's got so much rage burning in his gut that he's helpless to hold anything back, ever. When he's pissed, he sounds dangerous; when he's depressed, he sounds about ready to bury himself alive. And when he's happy, he still sounds depressed. Beanie has always sounded great playing the growling foot-soldier to mentor Jay-Z's liquid kingpin boss. But he's historically had even better chemistry with the gravel-throated Houston legend Scarface, since Face and Sigel share the same air of hard-won authority, the sense that they're trying pull wisdom from chaotic lives. Over crackly East Coast soul-rap beats, pretty much nobody sounds better than Sigel. So it's hard to figure why Sigel would play against his own strengths as completely as he does on The Solution's first half.

If Beanie's chief virtue is his embittered honesty, it makes no sense for him to drone on about bottle-popping and money-spending over Floridian synth-rap from producers like the Runners and Cool & Dre. It's depressing to hear him coming with endless money-talk cliches: "I don't windowshop/ And I don't lease, I just pick and cop," that sort of thing. This is Jay territory, however, so it's no shock when he up on "Gutted" and completely shows Beans up without ever easing out of autopilot. "Pass the Patron" has a shuffling almost-swing drum-shuffle, like B.Coming highlight "Gotta Have It", but it never even approaches that song's raging intensity. And "I'm In" finds him spitting empathy-free anti-romance over thin, tinkly quiet storm.

Beanie is a technical master, and he sounds happy just to be rapping again after so many years on the Def Jam shelf, especially when he and guest Styles P try out a Run-DMC tag-team style on "You Ain't Ready for Me". But he wasn't built to rap over halfassed club-rap, and so the only real bright moment on the first half comes when Beanie gets very, very dark. "Go Low" is a slow, eerie electro-reggae pulse, and it finds Beanie spitting terrifying jailhouse-bully threats: "No pause, no homo, no vaseline/ When I enter niggas slow with that broomstick." For four minutes, it's like he's venting all the rage that he represses elsewhere; it's not pretty, but it sure is effective. If "Go Low" proves anything, it's that this guy can't be domesticated, not even by himself.


girl talk

sample this bitches

Bonnaroo 2007 : Girl Talk

Bonnaroo 2007 : Girl Talk

Girl Talk - New Year's Eve 2007 in Chicago (entire concert)

Spank Rock, mtvU Soundcheck

Benny Blanco and Ronnie Darko of Spank Rock

© 2007 1st there was the beat - Benny Blanco





Wednesday, December 5, 2007

Kudu -

the pipettes - Judy


Spank Rock - Backyard Betty


Carlos "Patato" Valdes, 1926-2007

Carlos "Patato" Valdes, 1926-2007

We just received word that legendary Cuban percussionist Carlos "Patato" Valdes passed away last night in New York City. We profiled Valdes in FADER 36 and invited him to perform at the very first Puma/FADER Gen F Live show in 2006, at which he proceeded to shred the congas like no one we have ever seen. We recorded the whole set that night which you can download below.

Download: Carlos "Patato" Valdes, Puma/FADER Gen F Live, Canal Room, New York City, February 2006

RIP Pimp C

Prodigy is not locked up?????

beanie got that fire-Welcome Back

New Ghostface-Merry Early Xmas

Thanksgiving YOUTUBE 07'

This is my boy, mark brizzi. Yes sir


Wednesday, November 28, 2007

Kanye West - Stronger Remix (f. Wonda)

me and maya

hmmm. when can i get some rep like this dude. keep doing your thang.


do it yourself

How We Know - The Thermals

The Thermals

Alias making beats for Sage Francis

MF Grimm / MF Doom Live

I Love You - by MF GRIMM

MF Grimm - Book Of Daniel (MF DOOM Diss)

Yak Ballz - Making of Scifentology II (2)

Har Mar Superstar - Power Lunch

Har Mar Superstar- Cut Me Up ft. Karen O (Live)

Karen O dancing

Karen O Let Me Know

Radio 4

Radio 4 - Party Crashers

Radio 4




Interpol Live, Remix EPs Available Right Now

Photo by Matt Ziegler

Today, right now, at this very moment, at select independent record stores, you will find a new Interpol record! Well, sort of. Interpol Live, the band's first officially released concert recording, is a six-song disc of live tracks culled from a set at London's Astoria Club this July.

It's a well-pared bunch: Turn On highlights "Obstacle 1" and "Stella Was a Diver and She Was Always Down" rub up against Admire's "Pioneer to the Falls", "Mammoth", "Rest My Chemistry" and "The Heinrich Maneuver". You'll want to check to see if your local noise emporium will be carrying the disc, and, if so, start movin'.

Also today, a remix EP creatively titled Our Love to Admire Remixed has showed up on iTunes. It includes that Phones remix of "The Heinrich Maneuver" as well as a take on that same track by the Scientist and a "Mammoth" rework by Erol Alkan.

In other Interpol news, the band is presently on a globe-spanning tour, though we're beginning to wonder if those photos they sent back from safari are Kosher. [MORE...]

Video: Interpol: No I in Threesome [live on Jimmy Kimmel Live]

Posted by Paul Thompson and Amy Phillips in EP, remix on Tue: 11-27-07: 03:15 PM CST | Digg this article | Add to | Permalink


Okay, that's it, Black Lips are bored. After a 2007 where they released two records, played countless (and still ongoing!) shows, and lent member Cole Alexander's vocal talents to that Fucked Up holiday seven-inch, you'd think the Atlanta foursome would want to use the beginning of next year to take a break before shooting starts on Let It Be, their upcoming silver screen star vehicle.

But nooooo, instead the band has scheduled a reallyreally big U.S. tour. The new dates start right at the beginning of February, three months before Let It Be kicks off production.

Also on the Lips' plate in May: their appearance at our very own ATP vs. Pitchfork doohickey.

Restless Lips:

11-30 Atlanta, GA - Variety Playhouse *#
12-05 Athens, GA - Georgia Theatre *
12-07 Charlotte, NC - Neighborhood Theater
12-08 Asheville, NC - The Orange Peel
12-15 Meredith, Australia - Meredith Music Festival
12-18 Sydney, Australia - Oxford Art Factory
12-19 Melbourne, Australia - The Arthouse
12-21 Melbourne, Australia - The Tote
02-01 Denver, CO - Bluebird
02-04 Seattle, WA - Neumos ^
02-05 Portland, OR - Dante's ^
02-06 Eugene, OR - WOW Hall ^
02-08 San Francisco, CA - Great American Music Hall ^
02-09 Pomona, CA - Glasshouse ^
02-10 Costa Mesa, CA - Detroit Bar ^
02-13 San Diego, CA - Casbah ^
02-14 Los Angeles, CA - El Rey ^
02-22 New Orleans, LA - One Eyed Jacks
02-23 Austin, TX - Emo's Outside
02-24 Dallas, TX - The Loft %
02-25 Lawrence, KS - Bottleneck %
02-26 Omaha, NE - Waiting Room %
02-28 Minneapolis, MN - 7th Street Entry %
02-29 Madison, WI - Memorial Union (University of Wisconsin) %
03-01 Chicago, IL - Logan Square Auditorium %
03-02 Milwaukee, WI - Turner Hall %
03-04 Columbus, OH - The Basement %
03-05 Oberlin, OH - Club Dionysus %
03-06 Detroit, MI - Magic Stick %
03-07 Pittsburgh, PA - Mr. Small's %
03-08 Buffalo, NY - Mohawk Place %
03-10 New York, NY - Bowery Ballroom %
03-11 Brooklyn, NY - Music Hall of Williamsburg %
03-13 Cambridge, MA - Middle East %
03-14 Philadelphia, PA - Johnny Brenda's %
03-15 Washington, DC - Black Cat %
03-16 Chapel Hill, NC - Local 506 %
03-20 Nashville, TN - Mercy Lounge %
03-21 Memphis, TN - Hi-Tone %
03-22 Atlanta, GA - The Earl %
05-09-11 Rye, England - Camber Sands Holiday Centre (ATP vs. Pitchfork) *$

* with Deerhunter
# with Snowden, the Selmanaires
^ with Pierced Arrows


New York rock in the years to be hated
Story Eric Ducker Photography Colin Lane, Mark Hunter and David Belisle

Squabbles and footnotes aside, in the pages of history books and The FADER, New York rock in the 21st century began with the Strokes. Of course the Strokes always evoked New York rock of the 20th Century, but that was kind of the point. The band captured the city’s borrowed nostalgia for a time when young men wore tight jackets and let their hair fall into their faces, then wrote thrilling songs about the dejected glamour such lifestyle decisions would lead to. At the time of their arrival, downtown Manhattan was still stuck in the orange plastic/white vinyl hangover of lounge culture, but the Strokes were a band for dark bars where the bathroom door was always broken and you could sink into a booth and hide out from adulthood for a few more years. They were a great band for New York because no one could agree on them: they were either the best or the worst thing that could have happened. People would tell you they hated them and everything they stood for, then a couple of beers later they’d confide that they’d never actually heard them or that they secretly loved them. They were one more part of the city you could endlessly kvetch about, then take pride in because no other city had anything nearly as good.

I went to England for four days in the early summer of 2001 to write a piece for The FADER that would be the Strokes’ first cover story. The band hadn’t done many shows outside of New York before then—some opening dates for Doves and Guided by Voices, another brief trip across the Atlantic—and they were still learning to deal with life on the road. They hugged and bickered like brothers. They turned up the volume when they heard their song on the car stereo and took trips to HMV to see their EP at the listening stations. There were no rumblings of stifled creativity. There were no rumors of breakups. Their drinking wasn’t problematic yet, it was the point.

The band wrapped up their UK tour by playing a club in London called Heaven that was usually a gay disco. It was the most important show in their short career and they dazzled a crowd that had already decided they were in love with them. When they left the next day with rock & roll hopes pinned to their collars, they were on their way to Amsterdam. The plan was to take mushrooms and look at the hookers, a goofball adventure that seemed more post-college Eurotrip than needless hedonism. The Strokes spent the rest of their summer vacation touring the world, before returning in the fall of 2001 to a New York that would become a very different city. Two weeks after September 11th, they finally released Is This It, a 35-minute bender made for the jukeboxes of those same dingy, downtown bars they reawakened.

During the months that followed, in the midst of the mourning when everything was about “now more than ever,” the city’s young responded by hitting the streets even harder. Andrew WK’s “I Love NYC” took on new meaning, proclaiming: this is our town and we decide how we tear down the walls. Go ahead, smash yourself in the face with a brick. Get wet. Party ’til you puke.

There were more bands to put on your finest threadbare T-shirt and leave the apartment for. In Brooklyn, there was a thrashing group of liberal arts graduates called Yeah Yeah Yeahs whose lead singer Karen O wore insane outfits on stage when she wasn’t just wearing pasties, and who spit beer at the crowd when she wasn’t pouring it over her head. Yeah Yeah Yeahs usually did shows with Liars, a band that made experimental dance punk and had one song that was basically their towering Australian frontman Angus Andrews barking obtuse phrases over ESG’s classic “UFO.” If you were into ESG you would check out the Rapture, indie rock refuges from California and Washington DC who had holed up in an West Village studio with the DFA, a transcontinental production duo that pushed old Detroit house 12-inches on guitar bands like it was audio MDMA. The list went on: ARE Weapons, Radio 4, Interpol, Panthers, !!!, the Walkmen, the Moldy Peaches, the Secret Machines, the Witnesses, the French Kicks…and those were just New York outfits to keep track of. The EP was at Kim’s or they were playing an abandoned transmission repair shop in Bushwick. It was the year to be hated, and there were so many bands you had to check out.

By the summer of 2002 you could still spot Karen and Angus holding hands in Williamsburg or spend the day counting how many German tourists photographed the sign for the Bedford Ave subway stop, but the chase to find the Next Great New York Phenomenon had become draining and pointless. Groups that seemed to have had just five rehearsals and one gig were being championed like they invented amplification. In the quest to try to plant a flag on a band, the question changed from whether they were any good, to whether anyone else had done it yet. The tiger had caught his tail and eaten himself whole. While instant messaging one August afternoon, I asked an acquaintance if she was going to the destined-to-be-legendary Strokes and White Stripes show at Radio City Music Hall. She told me she had tickets, but probably wouldn’t be there. She said she’d rather see the Prosaics play at a record store in Brooklyn, and anyway, her “mom knew those bands.” Not long afterwards I left the city and the country. There were too many things that I had had enough of.

Over three months later and back in town on my way to California, I met up with the FADER editors for lunch. We were just getting into 2003 and they told me that New York rock was over. ARE Weapons were finally putting out their first album—much better and heartfelt than anyone could have predicted, but sure to be hated. The Walkmen’s “We’ve Been Had” was in a commercial for Saturn. The Rapture were going on the cover of the next issue, though as it turned out, their long-finished Echoes would still be stuck in the disco incubator for another nine months until the major label deal had been worked out. A new venue called Piano’s had opened on the Lower East Side, and everybody was already sick of it.

“A lot of bands tour for many years and they're learning as they go along. We took all this time to understand music. We were rehearsing every fucking minute of the day. If you think we got off easy, that's bullshit, because we fucking know what we're doing.” -Julian Casablancas
New York rock wasn’t really over, it just didn’t belong to the city any more. The best of the boroughs had risen up and were now out there for the rest of the world to pour over. Who knows how many seeds would be watered by Karen O’s video tears.

When thinking about that era now, the first memory that comes to mind doesn’t even take place in New York. It is in London, during the morning that was actually the afternoon after the Strokes show at Heaven—before they would become a touring band, perpetual headliners that never open for anyone besides idols like the Rolling Stones and Tom Petty. The gear was packed, the hotel bill was paid, and everyone had been recovered from whatever bed they slept in the night before. Talk turned to laundry and when they would finally get to do it. “I’m really starting to smell like a bum. An old, dirty bum,” said permanently good-natured drummer Fabrizio Moretti, holding the sleeve of his jacket to his nose to take in the layers of foreign smoke, booze, body odor, bus rides, shows and after parties that were already caked into its fabric. I took a whiff. He did.

The Strokes, "Last Night"

Andrew WK, "Party Hard"

Yeah Yeah Yeahs' television debut on Late Night with David Letterman

Liars, Live at DCAC, 2002

Radio 4, "Save Your City"

Moldy Peaches, "Who's Got The Crack?" live at WFMU Record Fair, 2001

Walkmen, "We've Been Had" Sponsorship


Monday, November 26, 2007

yes sir-New Cadence Weapon-enjoy

Cadence Weapon

Ciara - OH! ( Cadence Weapon Remix )


Cadence Weapon



Known for his productions as Murk and Funky Green Dogs alongside Ralph Falcon, and a DJ residency at Space Miami, Oscar G is one of America’s most influential house heads.
With his new mix album for Cr2 — ‘Oscar G Live & Direct Space Miami’ —out now, DJmag snagged Oscar to talk dance music in the US, club memories and new productions...

Being resident at Space Miami must have provided some memorable moments. Any recent occasions that stick out in your mind?
“Having an audience like the one I have at Space, in my hometown, is a DJ’s dream come true. There's a level of trust built over the years with that audience that allows me to experiment at will. That makes for a lot of memorable nights.
“One morning that sticks out in my head was during a Winter Music Conference a few years back. We had a closing party on the terrace with a last minute line-up. I ended up playing with Danny Howells, Sasha and Sharam. Halfway through it began pouring with rain and people just seemed to take it up a notch at that point. It was pretty amazing, it lasted till 7pm the next day.”

Much of North America is immune to the charms of house music. Why do you think that Miami is an exception?“Miami has a long history of dance music so it’s no surprise that it has welcomed house as well. I think the combination of so many different cultures that live in Miami make it a hot bed for music. It’s similar to New York, Chicago and other big American cities.
“House has remained somewhat like jazz is in the US. It was born here but is appreciated greatly across the globe. Yet it remains a niche market and small club scene in the US.”

What kind of vibe did you want to capture with your ‘Live & Direct’ mix?
“I wanted it to be honest and unpretentious, to give people a feeling of what a Saturday night at Space Miami is about. I prepared this set for a live audience, playing music I felt would move that room and define what I like to play. I set up microphones across the room to capture the audience’s reactions. I wanted to hear them because I felt they would really bring an element of energy to the CD with their reactions to the music.”

What’s going on with your Murk project alongside Ralph Falcon?
“We have recently re-released Funky Green Dogs’ ‘Reach For Me’ with great new mixes on Cr2. They will also be re-releasing our Murk Records catalogue with all new mixes. We are also re-launching the Murk label digitally and have several original things in the works.”

Do you have any more production work in the pipeline?
“I’m releasing a new track titled ‘Chunky Buddha’, which is also featured on the ‘Live & Direct’ album. I think Ralph and I may also have a new Funky Green Dogs single finished soon.”


Dinky delights
Dinky delights
Get lost with the new first lady of techno
Words: Ben Murphy

Dinky - Alejandra Iglesias
Alejandra Iglesias

Chilean electronic queen Dinky — or Alejandra Iglesias — is back to claim her techno throne with a stunning new mix for Crosstown Rebels: ‘Get Lost 3 Mixed by Dinky’, out 26th November.
An excursion deep into foreboding ghost-house and warm post-minimal beats, she pushes far into the uncharted realms, those Detroit tech inter-zones between electronic and organic rhythms, where many would fear to tread.
Like a somnambulist stroll in the woods after dark, this mix is mind-altering, mysterious and not a little scary.

“I worked on the concept of the mix,” Dinky explained. “It’s a bit more of an after-hours mix, a bit more mysterious, which extends to the whole concept of the artwork as well.”
A spooky illustration of a girl in a dark corridor, the image warped out of recognition, it perfectly reflects the music within.
Containing several of Dinky’s own new tracks, including the ghostly ambient intro ‘Lost in the Forest’, and the hip wiggle of ‘Horizontal’, her new compilation collects cuts from Dennis Ferrer, Dan Berkson and Radio Slave, illustrating a cosmopolitan and creative approach that takes the most potent grooves from all over and always avoids the obvious.

It’s a natural approach for the DJ/producer born in Santiago, Chile, who’s lived in New York City and Berlin, absorbing the rhythms inherent in all three cities and emerging with her own sound. First entering our consciousness in 2005 with the strange, burbling lysergic tech-funk of ‘Acid In My Fridge’ on Sven Väth’s Cocoon imprint, now she’s hooked up with the Crosstown Rebels crew, who’ll also be putting out her eagerly-awaited debut artist album next year.
“I really like the Crosstown Rebels crew, they’re like my little family, which I was missing. This mix for them is kind of like a preview for the album so people can get more used to my name,” Dinky declared.
“The album itself is sounding different. It’s definitely very danceable. I’m working with vocalists and I’m singing myself on a couple of tracks. It’s a little bit pop-ish but still underground,” she revealed.

Her label Horizontal also has a deluge of new releases due to drop, with cuts from several Crosstown heads as well as new names.
“I’m putting out a new single from Matthew Styles in a couple of weeks, and another single from Andrés Bucci, Pier Bucci’s brother, a really good artist. And then Hector as well, he works at Phonica, and he also just joined Crosstown Rebels,” Dinky asserted.
Like fellow females Cassy, Magda, Chloé and many more, Dinky is carving her own niche in the male-dominated realm of techno, and she’s only just begun. And is there any acid in her fridge at the moment?
“I have something else but no acid in my fridge right now. It was gone a long time ago,” she giggled.


Dinky delights
Get lost with the new first lady of techno
Words: Ben Murphy

Dinky - Alejandra Iglesias
Alejandra Iglesias

Chilean electronic queen Dinky — or Alejandra Iglesias — is back to claim her techno throne with a stunning new mix for Crosstown Rebels: ‘Get Lost 3 Mixed by Dinky’, out 26th November.
An excursion deep into foreboding ghost-house and warm post-minimal beats, she pushes far into the uncharted realms, those Detroit tech inter-zones between electronic and organic rhythms, where many would fear to tread.
Like a somnambulist stroll in the woods after dark, this mix is mind-altering, mysterious and not a little scary.

“I worked on the concept of the mix,” Dinky explained. “It’s a bit more of an after-hours mix, a bit more mysterious, which extends to the whole concept of the artwork as well.”
A spooky illustration of a girl in a dark corridor, the image warped out of recognition, it perfectly reflects the music within.
Containing several of Dinky’s own new tracks, including the ghostly ambient intro ‘Lost in the Forest’, and the hip wiggle of ‘Horizontal’, her new compilation collects cuts from Dennis Ferrer, Dan Berkson and Radio Slave, illustrating a cosmopolitan and creative approach that takes the most potent grooves from all over and always avoids the obvious.

It’s a natural approach for the DJ/producer born in Santiago, Chile, who’s lived in New York City and Berlin, absorbing the rhythms inherent in all three cities and emerging with her own sound. First entering our consciousness in 2005 with the strange, burbling lysergic tech-funk of ‘Acid In My Fridge’ on Sven Väth’s Cocoon imprint, now she’s hooked up with the Crosstown Rebels crew, who’ll also be putting out her eagerly-awaited debut artist album next year.


R.I.P.Guitarist Dies Aboard Band's Tour Bus

Posted Nov 26th 2007 6:25PM by TMZ Staff
Filed under: Music, R.I.P.
Casey Calvert, bassist for the band Hawthorne Heights, died Friday while on the band's tour bus. There has been no ruling on the cause of death, though it has been reported that Calvert suffered from asthma and that may have played a role.
Casey Calvert

Lupe Fiasco -


Chromeo - Bonafide Lovin' (Promo Video)

Chromeo - Rage


Chromeo - Needy Girl

thecobrasnake Mickey Avalon Jane Fonda LIVE

Mickey Avalon - Jane Fonda Video




Kevin DuBrow and Quiet Riot hit No. 1 with "Metal Health" in 1983.

DuBrow died at his home in Las Vegas, Nevada, according to The Clark County coroner's office was examining the body to determine the cause of death, according to TMZ.

"I'm at a loss for words. I've just lost my best friend," Quiet Riot drummer Frankie Banali told CNN. "Out of respect for both Kevin and his family, I won't comment further. There's going to be a lot of speculation out there, and I won't add to that. I love him too much."

Quiet Riot hit the top of the charts with its 1983 album, "Metal Health," considered by some sources as the first heavy metal album to hit No. 1. The album was driven by the group's cover of Slade's "Cum on Feel the Noize," which hit the Top 40.

The band's other hits included "Bang Your Head (Metal Health)" and another Slade cover, "Mama Weer All Crazee Now."

The band formed in the mid-1970s behind DuBrow and guitarist Randy Rhoads, who later joined Ozzy Osbourne's band and died in a tour accident. After several years, during which time the band disbanded, regrouped and built an audience, everything came together for "Metal Health," which put Quiet Riot in the vanguard of the Los Angeles heavy metal movement.

But the band's rushed follow-up, "Condition Critical," didn't do as well, and DuBrow started taking shots at other L.A. bands, such as Motley Crue and Ratt, according to Within a few years, the band had mutinied (leaving DuBrow at a hotel in Hawaii while other members returned to California, Allmusic's Eduardo Rivadavia observes) and taken on a new lead singer. The bad blood prompted a lawsuit from DuBrow.

By the 1990s tempers had calmed and the band got together again, putting out a live album in 1999 and a new studio set, "Guilty Pleasures," in 2001. According to Allmusic, the band broke up once more after its release.


France has produced some killer DJs of late. And the resurgence of gritty electronic music fusing raunchy rock and pop with even raunchier house beats has created a sound of its own. Much of this popularity can be attributed to the electro music label Ed Banger Records, which has been globally broadcasting their tracks over the last five years. But beyond bringing electronic music back, a hype has evolved -- not only amongst the nü-ravers, but with the jock rockers as well.

Electro duo Justice (the most popular of the Ed Banger crew… so says Wikipedia) seem to appeal to a younger and more pop-oriented audience. MTV’s college division, mtvU, aired its annual Woodie Awards the other night to celebrate university-student-approved music. Amongst the TRL-favorite nominees like Motion City Soundtrack and Say Anything, Justice was up for Best Video Woodie with their single “D.A.N.C.E.” They lost. But their music still made it onto the iPods of beer-pong-playing students (and even into the crime drama show C.S.I.: NY).

This past October, New York City concertgoers were graced twice by Justice members Gaspard Augé and Xavier de Rosnay -- once for a CMJ showcase and again for the final set of their world tour. Justice kept the crowd rowdy as they spun their anthem hits both nights at the Mad Max-esque venue Terminal 5. But what miffed some fans was the crowd that the show pulled in. The floor was covered with frat boys protecting their underage girlfriends. Just when we thought the boy band sensation was over, Justice comes along!



Was sad to hear to the passing of Michael Blodgett, who was so memorable in Russ Meyer’s 1970 cult masterpiece Beyond the Valley of the Dolls as L.A. studmuffin Lance Rocke. As rock promoter “Z-Man” Barzell (John La Zar) describes Lance: “Greek God and part-time actor. See how he performs. His is a special talent. The golden hair...the bedroom eyes...the firm young body. These are the tools of which he plies his trade. All are available for a price.” Blodgett, who also acted in such movies as The Velvet Vampire (1971) and alongside Kirk Douglas in There Was a Crooked Man (1970). He was also a novelist (Captain Blood, The White Raven) and wrote screenplays (with Dennis Shryack) such as Rent-A-Cop (1987) and Turner & Hooch (1989). But he’ll always be burned into my brain as the cocky, sexy, Lance Rocke getting beheaded in Beyond The Valley of the Dolls.

Pitbull ft. Trina: Go Girl

Pitbull -

Ay Chico - Pitbull

old pitbull but so nice

new video for Birdman

Cash money is an army


Afterparty Babies explores friends and feelings, crews and club nights, hometowns and heroes, media and fashion. The recognized wordsmith continues to push the theme, surrounded by socially conscious commentary, and personal subject matter while dropping it over punishing electronic dance jams.

This remarkable achievement will be available March 2008 in Canada on Upper Class Recordings/EMI, the U.S.A. on Upper Class Recordings/Anti-/Epitaph and in the UK & Europe on Upper Class Recordings/Big Dada. (Press Release)


Roland Pembertom (aka Rollie) says he "wanted to make music that afterparty babies are created to" and the Afterparty Babies experience takes shape from this premise. Afterparty Babies is an explosion of ideas, feelings and musical genius fuelled by Mr. Weapon's experiences over the last few years as a writer, producer, touring artist and club DJ.

In the course from his debut album Breaking Kayfabe to his sophomore record, 21-year-old Roland Pemberton has come of age. While most youths were struggling to focus on a sneaker brand for more than a week; the young (and underage) Pemberton would slip into clubs to play shows with Spank Rock, Lady Sovereign, Jurassic 5, TTC, New Pornographers, Final Fantasy, and De La Soul. He rocked guest performances with The Klaxons, Hot Chip and Islands; he remixed Lady Sovereign, Kid Sister, Disco D, Busdriver, Rick Ross/Simian Mobile Disco; he's been featured on tracks with Buck 65 and Anti MC. He inked deals with legendary labels, Epitaph USA and Big Dada for the UK and Europe; all before he was barely legal.

Pemberton's explosive debut, Breaking Kayfabe was an impossibly accomplished hip-hop album stacked with clever writing and impressive rhymes, paired with the electro-tones of UK grime and West Coast hip-hop. The album yielded instant praise and notoriety, culminating in nominations from the Polaris Music Prize (modeled after the Mercury Prize), the Canadian Indie Awards and "Best Rap Album of 2006" at the Plug Independent Music Awards, and won the CBC Radio 3's Bucky Award. Cadence Weapon and Breaking Kayfabe garnered fans from, Urb Magazine, XLR8R, CMJ, Q Magazine, Uncut, Drowned In Sound to name only a few.

Pemberton is back and he is firmly establishing his legacy as a pioneer in a passionate crusade to push the rap and electronic music envelope. His new offering, a 14 track, 58 minute dance rap party epic is dedicated to 'all the accidents out there' as a testimony to Rollie Pemberton's first influence, his father, Teddy Pemberton. A native of Brooklyn, NY, Mr. Pemberton created The Black Sound Experience radio show on the University of Alberta's CSJR station in 1980, and is credited for introducing hip-hop to Rollie's hometown of Edmonton, the capital city of Alberta.

Following in his father's ground-breaking footsteps, Rollie discovered that he wanted to rap at the tender age of 13. His mother had other plans; she wanted him to pursue a career in journalism, so he attended journalism school in Virginia. Finding the insular environment stifling, the burgeoning rapper quickly decided to ditch the books in pursuit of his goal, and still, by 18, Rollie had established a name for himself as a tough music critic, writing for the Brooklyn-based Stylus webzine and the influential Pitchfork Media.



Friday, November 23, 2007

Masters At Work - Work

Club Night cont.. Lets go

Kate Nash - Pumpkin Soup

i like sweet potatoe pie


Kate Nash -Foundations

they say she is the next lily allen. You decide?

just jack - mourning morning

Glory Days

sitting back listening makes me feel like i am in a lounge/club. Uk mc does different.

Just Jack - Starz In Their Eyes

this is an old school masters at work type jam with a new mc. I like it. A good starter to the night.

PDC Underground Kingz

Project Mayhem PDC Freestyle Grim Grime Garage DVD

Mr Vegas - Hot Wuk

Club Fridays Lets Go


Kat DeLuna feat Elephant Man- Whine Up

Your boy Elephant Man has a new deal-Bad Boy and a new energy. The Energy god is back. My mentor fo sure


i do not know this dude but yes sir

This the remix for the clubs

Soulja Boy Crank Dat IMVU style (Travis Barker remix)

ok, so it is overplayed. My cousins are going crazy for this and the rock remix makes me crank dat .

Derrick Carter Live @ Coachella Music Festival (2006)

killing it out there.

Derrick Carter at Apple Store 5th Ave.

pioneers-i love it. Club Fridays-Lets Go

carl cox @ space ibiza

Jordin Sparks - Tattoo

i swear i heard this before.....hmmmm...

Bloc Party - Helicopter

i still like it

Bloc Party - Flux

i am not sure what went down with their second album, but this track lets me get loose. Club Fridays-Lets Go

Los Campesinos - You! Me! Dancing!

yes sir

Simian Mobile Disco - Hustler

i still love this song and this beat

Simian Mobile Disco - It's The Beat

stay focuse. I will rap over this soon, Its the beat. CLUB FRIDAYS lets go.

Scarface - G Code

old school scarface


Scarface, the sometimes morbid, always enlightening herald of Southern Hip-Hop, period, makes his return.

The cream always rises to the top. While it may seem like the world is suddenly the land of one billion rappers, only a select few deserve or will receive the prestige of a lengthy career. Of that handful, an even smaller minority will possess the longevity to remain just as relevant in their twilight (no offense, please) years as they were during their precocious rise to rap infamy. In that regard, Brad “Scarface” Jordan is truly a rap icon, in every sense of the word.

You should know the history. Texas rapper (Scarface) rises to enough prominence to inadvertently overshadow his none too shabby group (Geto Boys), achieving critical and commercial rap success in the process (four gold albums, three platinum plus albums), while maintaining as much street cred as cats with names like Hoover and Tookie. Notoriously finicky with prodding media, if you catch Face on a good day, you’ll be privy to the rap OG’s fascinating takes on everything from Black music history to the Feds to his appreciation of Soulja Boy. Sure, his new album Made is out December 4, but when the Houston native opines this much, it’s all the more clear why his mastery on the mic has touched so many souls.

That lyrically uncommon sensibility is why even when he gets bored and takes a hiatus to pursue a hobby—lately, playing golf on the daily—Mr. Scarface knows his true calling involves thanking the Lord that his voice is recordable, and especially you, the listeners. What do you think has been the key to your longevity in the rap business?

Scarface: I think just to make the best f*cking records man. Continue to make records that are relevant, rather than just making f*cking fad records. People make fad records, man. They make records for the times but they don’t make records that’s timeless. My approach on a song is to make sh*t timeless. I go back to my sh*t and be like, “Damn man, can somebody play this in ten years and get the same feeling they got when they first heard it?”

I remember when I first heard the “Kashmir” record by Led Zeppelin. Damn! I had to go get that record. That’s a bad ass song dude. I remember where I was; I was in my momma’s Monte Carlo and we was jamming. Even my momma was like, “Damn!” You play the record today you get the same feeling. Like when I heard the “Eric B Is President.” I was in the back of my partners blue Cutlass Oldsmobile, he had about a 1977, I’ma say. He took the springs out of it so it bounced. It was riding five deep, we was going to this place called Rosalie. And everybody from Houston know what the hell was on Rosalie back in the gap. We heard, “Clap your hands to what he’s doing!”; the car bouncing with the beat, baby.

We heard that sh*t man, smoking that god damn fry; some people call it clickums, some people call it sherm. [Ed. Note: Scarface is reminiscing, don’t use drugs.] I don’t know, we was formaldehyde funk men, that’s what we were. I heard that record, I just knew it was something special man. It was going to change the face of what Hip-Hop was. When I first heard LL’s “Rock the Bells” record, oh sh*t! When you heard the, “Too black, too strong…,” the Public Enemy “Welcome to the Terrordome” record. When you heard, “Listen to my 9 millimeter goes bang.” Those kind of records are the records that are timeless. Those are the records that I want to try to create. Not re-create. But I want to be responsible for making those types of records.

You can’t even make records like that no more. Cause the artists today didn’t take the time out. See we studied this sh*t man. We studied R&B, we studied Rock & Roll, we studied Blues. My house is like a f*cking school of music. You’ve mentioned great artists with great albums, have digital singles affected album sales?

Scarface: F*ck what it affects man. If ringtones is your hustle…I ain’t going to knock no one's hustle. Digital f*cked up records sales. But it didn’t f*ck artists up. The downloads don’t mean sh*t. The downloads are paid for, the artists need to be getting their f*cking money.

You remember when the record came out “Video Killed the Radio Star”? Okay, that’s what’s happening right now. The Internet killed the record selling star. Some exceptions are Kanye West when his sh*t dropped or Eminem when his [album] finally drop, you know his sh*t is out of here. Them the kinds of artist that Internet sales don’t affect, in my opinion. Keep in mind this is just my opinion now. This is how I think. It doesn’t necessarily mean it’s the truth. You’ve long been able to maintain your lane without pandering to radio or the clubs, how have you pulled that off?

Scarface: That’s Face, that’s my life man. That’s how I was raised. I always tell people, if I give you a bag and I tell you there’s a million dollars in quarters in this bag, you can take that motherf*ckin’ bag with you. Cause you know that it’s a million dollars, in that bag, in quarters. That’s just way I am. If I tell you I’ma do something, I’ma do it. It may not be today, it may not be tomorrow, but it’s gonna get done. I make the records that I feel. If I did a f*cking song with a catchy f*cking hook and I wasn’t talking about sh*t, how could I face my kids? Or your fans too.

Scarface: Fans is one thing but them kids is heartless man. Them the most brutal, kids, when it comes to making records. I got an 18 year old son in college, I got a 20 year old daughter in college. Dude, if my sh*t ain’t up to par man, they be like, “Man dad it’s a-ight, but I don’t know bruh.” Now my nine year old, he’s brutal and my five year old, he’s brutal. You be playing your sh*t and they be like, “Man, I don’t know who that is dad but you need to cut that sh*t off. We want to hear some Soulja Boy!”

I coach a Little League football team. The kids ask me what do I think about his record, the Soulja Boy kid. My kids love the record. Now me on the other hand…I love that record man! [laughing] I don’t know what the f*ck he said man, but you one hundred with me pal! Good for him. That’s a huge f*cking kiddie record. I never knock a hustle. I like what he do for the kids when that come on.

We need records like that so when Dr. Dre drops a record, you appreciate it. When Kanye drops a record, you appreciate it. I appreciated Kanye’s record man. Cause it let me know that there’s still some heart in it. My honest opinion man is music [is] looking real dumb right now. Let’s go back to the early 1920’s. Let’s even go back further than that. Those records were so timeless. I’ma give a rundown of my music. If you think about the records and how innovative these musicians were. Imagine how innovative Son House was, how innovative Robert Johnson was. How innovative Blind Willie McTell was; he played a 12 string guitar, and he made it sound like a piano, and he was blind. Start picking these records up. They mean something. And then you go to the 60s records, the Chuck Berry records, the Little Richard records. Go to the 70s and then you look at Brass Construction and how innovative those records were and the Parliament records and the Bootsy records and the Prince records.

Think of how innovative these Black artists were to music, and what they gave to music and what these people mimicked, okay? Innovators, of music. And then you get off into the 80s. You got Cameo and look at The Time and just f*ckin’…beautiful records man. Then you think of “The Message.” Then you think of Kurtis Blow, wow. Then you think of Run-DMC, then you think of LL, then you think of what the Beastie Boys did for Hip-Hop, the Joeski Loves and f*ckin Kwame’s and, Kane, Marley! Kris, ya know, Boogie Down Productions Kris. Uh, Ludacris [chuckling]. Look at what Eric B and Rakim did for Hip-Hop. Then you gotta stop and say god damn dog, when did we stop evolving? When did man turn into a machine? We have made some of the best f*ckin’ records known to mankind. And right now we stuck at a standstill. Even R&B. It’s the same f*ckin’ melody over and over. Come on dude. Let’s turn this sh*t back into some innovative sh*t again.

I always wanted [laughing] to be like Jimi Hendrix, when I was a little boy. Who do you want to be like? Who do you see lasting from today’s crop of artists?

Scarface: You know who I really like man, I like that Talib Kweli cat man, he’s f*cking bananas. I like the sh*t that Lil Wayne is doing. I like Jeezy. I like all these little ni**as man. These ni**as got some great sh*t.

Twenty years, umm, we’ll see. I remember the Master P era. I remember when Master P had 30 records spinning at one time. I remember the Def Jam era. Remember when every record you heard was Def Jam sh*t? Like damn, is these motherf*ckers going to ever fall off? You just gotta think about it man. What records have you heard in the past 10 years that’s going to last another 10 years. Ten years ago was ‘97, the “Smile” record is still playing. Tupac’s Don Killuminati came out in ‘96. OutKast dropped ATLiens in ‘96

Scarface: Outkast will be forever, okay. Those kids are exempt. They can go in a studio and put on a record and package it, and I’ma get it. They can just put they ass on a mic and fart, and I’ma buy that b*tch. Man, these motherf*ckers just farted on a record and sold like 10 million. What?! “Man, check the fart out.” [lauging] You know whatever they come with is going to be so far out there and so innovative to what music is. Hip-Hop is just one kid to music, music is the mother of all that sh*t.

OutKast is forever. Makavelli is forever. Biggie is going to be forever. Hey man, that big old heavy motherf*cker was a rhyming son of a b*tch man. He was cold man, he was cold blooded. “Escargot, my cargo, 160, record by a new one…” His sh*t was freestyle cuz! Look at [Ice] Cube. Cube got a song called “When Will They Shoot”. I think it’s from The Predator. You got to hear this sh*t man.

I remember Tupac playing the Don Killumanati record in the studio and that ni**a got mad as f*ck at me. I was doing The Untouchable album and I was trying to get my singles out the way. Pac was like, “Man, you sitting in the studio all the f*cking time, just get your sh*t out the way man. Just write your sh*t and let’s go! This bullsh*t, just make some records man, just do that sh*t!” [yelling] That’s what he said. From there I just make f*cking record man, you pick it.

You talk about a f*cking mule, a f*cking horse? That f*cking Tupac Shakur, that was a working motherf*cker. Tupac worked from the time he got out of jail to the time he died. He got so many records right now that people ain’t heard. Man, I got some old Tupac sh*t that he laid. This kid worked his @ss off. That’s another thing I wanna tell these little ni**as, keep working bruh. Don’t do like I did. I took off. I was tired of this sh*t. I started coaching Little League football, playing poker, started learning how to play golf. F*cking bored man. If you put your heart and soul into what you do, don’t nobody appreciate you but your fans.

Hip-Hop, that sh*t went off the street to into one of the biggest f*cking businesses man. I give that to anybody that’s out here getting legal money, be real careful because you have people that want you down. You have people that want to see you on your ass. You have people that want to be on your ass because you escaped the plan. And the plan was to keep ni**as in the field.
I look at Michael Vick situation, it just makes me think man, these motherf*ckers hate ni**as so much man they’ll pull some sh*t out the closet about him doing some dog fighting. God damn it, come on man. I got an 18 year old son that’s in college, that plays football. And he doesn’t have time to do sh*t, okay?! Even in the summertime, he’s always working out. And when he’s done working out, he’s too f*cking tired to do anything else. And my son play college football. Think of a dude that’s in the pros man. All this f*cking sh*t he gotta memorize; the playbook, his workout regimen, his eating and all that, you have to know this. And the man gonna have time enough to fight some dogs? F*ck outta here man. What he did is probably gave one of his partners some money to buy some dogs and start a dog breeding business and them ni**as took it to another level and started squabbling them motherf*ckers, and turned on him. That sh*t ain’t cool man. Ya know luckily he can get out of that sh*t. He can do 18 months. He’ll go to a little pre-release program or some sh*t, they’ll let him go.

But T.I. on the other hand. Have you seen the federal sentencing guideline book?

AllHipHop: No, but that mandatory sentencing is…

Scarface: Ni**a…sheeit. I got a partner that was in federal prison for 18 years. He know the book by heart. He told me where to look in this book. It’s called the Federal Sentencing Guidelines Book, it’s a book for lawyers and sh*t. One of them books. Dude, do you know that a silencer is a mandatory minimum [of] 30 years? Do you know that an automatic weapon, mandatory minimum, fully automatic, is 30 years. Imagine two silencers and two fully automatic weapons? And that’s not counting the guns that was in the car, or the guns that was in the house and him being a convicted felon. For every gun they find you add, like a level or two, I think. That sh*t is life. All because…motherf*cker couldn’t hold it, told on him. Oh man, "He told me to do this." He told you to jump off that skyrise right there too didn’t he? Did you jump? Hell no! Motherf*ckers know the difference between sh*t and tar, don’t let nobody fool you man. They set this kid up man. Damn Tip! F*ck! They set him up man. They set that dude up man. He ain’t going to get nothing but a f*cking conspiracy. He going to get a conspiracy case. They’ll probably give him 8 to 10 years, damn! You’re all too familiar with that, Rap-a-Lot and the Feds.

Scarface: You feel me? They tried to put me in that sh*t. The same sh*t they did to T.I. Get a motherf*ckin’ snitch to come in and infiltrate and start talking about dope. Ahh, this ni**a here like weed, start talking about weed. Nah, man! You not going to get a motherf*cking word out me. Read it. It’s on the Internet. Indicted, never. You can’t. You couldn’t indict me for a motherf*cking thing. Do you think that the Feds are targeting rappers? Or brothers in general?

Scarface: I mean, ni**as is in trouble man. I can’t even begin to tell you how serious this is man, with the ni**as and feds. Know this, as long as they fishing, they ain’t got sh*t. [But] the minute they do, you got a 2% chance of getting out. They have a 98% conviction rate. As long as they ain’t got sh*it—they keep turning over stones, they keep shaking trees. But the minute them motherf*ckers have it, you're assed [out].

Just remember man, they can say whatever the f*ck they want to say about you man, just don’t let it be so. That’s something to live by. That’s something to grow up and grow old on. Man, they can say whatever the f*ck they want to say about you, just don’t let it be so.


Tis' the season to be thankful and as such I’d like to show some thanks to a couple of things that while loved worldwide, just don’t get the recognition they deserve. There will be no ranting today, simply raving about things that we’ve all come to love! These things stand out to me not only because they’re fantastic but, also because they were never met to be created. So out of nothing, I’ve found something…they’re real and they’re wonderful!

Sidenote: I’m buying a drink on Friday night for the 1st person who knows where that “they’re real and they’re wonderful” line is from!!!

1) Cereal Milk – We’ve all had it. We’ve all grown up on it. For those whom it hasn’t clicked for yet, Cereal Milk is what’s left after you’ve had a big bowl of your favorite, be it Cheerios, Frosted Flakes, Rice Krispies, Raisin Bran…you get the picture! Right after you’ve had that last spoonful of cereal, there’s nothing left but milk flavored with the goodness of your cereal. You put the spoon down, grab that bowl with both hands and take the Cereal Milk straight to the head! It’s best when you have some of the sweeter cereals like Trix or Fruit Loops but, either way, it don’t get no better!

2) Soda Juice – This is when you got a tall glass of your finest carbonated beverage. I don’t get advertising dollars so, I’m saying that it really doesn’t matter which one you got, Coke, Pepsi, Sprite, Mountain Dew, Fanta, who cares! The key here is that something pulls you away from your drink. Could be you rushing off to the club or your jump-off just got to the door and he or she is ready to get it going (yes, females have men as jump-offs too!!!). Anyway, you leave your drink and don’t get back to it till the next day. If you’re lucky, you got a chance to put it in the fridge cuz Soda Juice is oh so good when chilled. The point is that by now, your soda has gone flat since it wasn’t covered and you have the yumminess of a drink that has the taste of your favorite soda but, goes down smooth like grape juice or red Kool-Aid, without all the bubbles and acid. Thank you Mr. Soda Juice! The ultimate in a two-in-one drink!

3) Ham – This one doesn’t really fit with my theme so I’ll keep it short but, I just love ham. I always say that pigs were made to be eaten because they have such fat bodies and little legs. They can’t run, you don’t see anyone eating cheetah and cheese sandwiches do you???

Happy Thanksgiving y’all! And there’s no better way to celebrate it than eating all you can on Thursday and partying with all your family and play cousins at Opus 22 on Friday night. Yes, I said Opus 22 and NOT Dirty Disco. We’re still doing Dirty Disco every Friday but, before we started there management had a pre-booked party for Thanksgiving weekend. We’re calling it Sweet Potato Pie and it’s our 2nd annual Thanksgiving weekend event as it’s huge for partying cuz everyone comes home from college or wherever they moved to for work and wants to do it up in the Big Apple nightlife. It's 3 of the 4 teams that brought you Wish 26 for the last year and a half on Thursdays afterwork so, you know it's gonna be a problem in there. We also got Commish on dem wheels of steel so I know I got my two-step, which means I’ll be at the bar getting my drink. Hit me for the guestlist and come early as it will definitely be packed. Gotta do a quick shout out to bonita Kristen Carter as she’s gonna party like it’s her birthday (cuz it actually is)

Keenan “Does Raving About Food Make Me Fat?” Davis



As we round up 2007, one certainty is times are changing for reggae and dancehall. Vinyl production in Jamaica is at a virtual standstill, the apparently unstoppable flow of riddim albums on international labels such as VP and Greensleeves has now come to an end, Jah Cure can no longer make records about being in jail, and some of the best roots music of the year has been made by white people. It leaves me at a bit of a loss for anything definitive to say, really. But while the industry faces an uncertain future as it adapts to the realities of digital music formats, piracy, and file-sharing, plenty of great songs have been written, awesome stage shows have taken place, and sound systems have continued to clash all over the world.
Specialist radio shows, including Robbo Ranx's Dancehall Splurt on BBC 1Xtra, are still playing groundbreaking music, dances remain rammed, kids on my bus today armed with antisocially loud cellphones were playing and singing along to songs that have yet to see the light of day as retail product, websites are buzzing, and the inspiring Woofah magazine-- a wilfully anachronistic and obsessive do-it-yourself paper-based zine specially made in East London by enthusiasts for enthusiasts-- has proven to be an unqualified success. Add all these things together and they prove that there's still a huge audience for reggae. As long as that enthusiasm and love is there, it's hard to be anything but hopeful for 2008.

While there may have been less music compared to the torrential release schedule of previous years, the quality of the songs that have been released has been almost universally high. Just flick through Greensleeves' recent Biggest Reggae One Drop Anthems 2007 compilation, for example. Although it's half as long as usual at only 20 tracks, killer tunes including Ray Darwin's "People's Choice" and Tarrus Riley's "Protect Yuh Neck" are as good as anything we've heard so far this decade. Clear winner on this album with "King Selassie", and the best artist of the year for my money, is Alborosie. A little while ago and few had even heard of this guy. Even less had any idea that he was, in fact, not Jamaican at all, but a pale-faced Sicilian dude with even less Yard credentials than Collie Buddz or Gentleman (both of whom have been doing well lately). Say what you want about white reggae-- you'll only need to hear him once to eat your words, especially the fantastic summertime hit "Kingston Town".

Despite having listened to less dancehall than ever before, it's been imposibble not to get a serious kick out of old favourites including Buju Banton, Mr. Vegas, and Sean Paul all on firing form, and my favourite party-starter by grade-school deejay QQ. With a wealth of revivals and re-released albums commemorating various anniversaries, notably Greensleeves' 30th birthday, and exhibitions of Tony McDermott's seminal sleeve art for the company occurring in both London and Manchester, there's been a lot to be happy about amongst all the gloom.

As ever this round-up is a collaborative affair and adding their vews on the high points of the past 12 months are friends and collaborators Masta G and Gabriel from London sound The Heatwave and don selector and writer John Eden. You'll see a fair amount of crossover between our charts and a lot of agreement of the state of the game, but there are also plenty of points where we differ. From John's inclusion of dancehall-inspired grime tracks to the Heatwave's set of bashment bombs, there's enough versatility and fire in this music to meet even the toughest challenge. Far from being dead in the water, reggae will keep making a splash for a little while yet.

The Pitchfork Year in Reggae/Dancehall Top 10
1. Alborosie: "Kingston Town" [Forward]
2. QQ: "Tek It to Dem" [Greensleeves]
3. Buju Banton: "Crazy Talk" [Black Shadow]
4. Sean Paul: "Pick It Up and Drop It" [Birchill]
5. Alicia Keys [ft. Jr. Reid]: "No One (Remix)" [J Records]
6. Ray Darwin: "People's Choice" [Tads International]
7. Various Artists: Summer Records Anthology [Light in the Attic]
8. I Wayne: "Book of Life" [VP]
9. Maxi Priest & Richie Stephens: "My Girl Dis" [Joe Frazier]
10. Capleton & Jah Mali: "Mama Love" [Kickin]


Bashment Top 10 from London sound The Heatwave
1. Natasja & Enur: "Calabria 2007"
2. Mr Vegas: "Tek Way U Self"
3. Shaggy: "Heathen"
4. QQ: "Tek It To Dem (Rum Ram)"
5. Macka Diamond: "Hula Hoop"
6. Damian Marley: "One Loaf of Bread"
7. Sean Paul: "Pick It Up and Drop It"
8. Busy Signal [ft. Mavado]: Badman Place"
9. T.O.K.: "Masculine Gender"
10. Beenie Man: "Reverse Di Ting"

2007 may well be remembered as the year that the long and glorious tradition of the Jamaican 7" single, loved by reggae collectors the world over, entered its death throes. It's an eloquent comment on the changing face of the music industry that this iconic format is falling out of use. Some of the riddims that have run the dancehalls throughout the second half of the year (e.g. Tremor and Rae) are still only available as mp3/CD promos, and QQ's massive dance tune "Tek It to Dem" is only out on vinyl as a Greensleeves 12" single. Veteran selector David Rodigan now announces ironically on his radio show that certain tunes are available on vinyl, commenting "That's a Jamaican 45, remember those?" Still, that's not to say there wasn't a lot of great dancehall music being made on the island and around the world this year.

Despite (or because of?) the various controversies surrounding his private life, Beenie Man continues to defy the rules of the novelty-obsessed dancehall fraternity and churned out yet another 12 months' worth of big tunes. Mr Vegas staged a return to form, with hits like Hot Wuk and Tek Way U Self, while artists like Sizzla, T.O.K., Shaggy, and Sean Paul have been as dependable as ever. Young talents like Mavado and Busy Signal have developed and brought their fresh. distinctive vocal styles to the scene. Outernationally, Bermudan Collie Buddz and Sicilian Alborosie have both had big years but it's Denmark's Natasja who takes our number one spot for 2007 with her wicked bashment vocal on the funky house anthem Calabria. Sadly, Natasja died in a car accident in the summer, a great loss both to her friends and family and the world of music.


John Eden, proprietor of the Uncarved blog and editor of Woofah magazine

1. Bitty McLean: "Lately" [Silent River/Taxi 7"]
Bitty's return to reggae a few years back was warmly embraced by "big people" everywhere, not least because of the slew of tunes he released over original Treasure Isle riddims. From then on he's continued to amaze people. This single features his soaring vocals singing Stevie Wonder's classic over Sly and Robbie's "Unmetred Taxi" riddim, with added Saxon soundsystem "bloop" sound effects. His forthcoming "No Love" single looks to be just as good. Perfect.

2. Alborosie: "Kingston Town" [Forward 7"]
Last year's "Herbalist" was a classic out of nowhere and we've since discovered that Alborosie is a white Italian who rocked up in JA to record some songs that are so great, that the debate about his "authenticity" has had to take a back seat. This features some nice "biddley bong" scatting with growling vocals about the harsh realities of his new home over a hard 21st century roots backing. If you were to buy any Alborosie single on sight you would be happy, and I can't think of anyone else you could say that about this year. In 2008 this guy is going to be massive.

3. The Bug [ft. Killa P and Flowdan]: "Skeng" [Hyperdub 12"]
For me, 2007 is the first year for ages when I didn't buy any JA bashment. Compensating for this with tunes from nearer home has proved ridiculously easy, with a vast quantity of grime mixtapes. This landmark release sees Roll Deep MCs Killa and Flowdan ramp up the bleak yardie bizzness over Kevin Martin's 22nd century grimy ragga. So scary you'll be chuckling maniacally.

4. Levi riddim [Roots Garden 2x7"]
A lovely bit of laid back digital roots which brings to mind some of the early Unity Sound productions from the 80s, but with those little deft touches that Manasseh are famous for. Three excellent conscious vocal cuts by Jah Mali, Luciano & Ras Zacharri and Ava Leigh (who continues the "white people making jaw-droppingly high quality reggae in 2007" meme). Plus a dub that you want to go on forever.

5. Tippa Irie: Talk the Truth [Lockdown Productions CD]
Finally the UK foundation MC gets an album that does him justice, probably because it's on his own label. An embarrassment of riches here, not least because of the high quality productions from people like Curtis "Necessary Mayhem" Lynch, Peckings, Pow Pow, and more. Collaborations include Frankie Paul and Elephant Man, and Tippa walks a steady path between revisiting his classic lyrical slammers and newer material. I have to admit I was sceptical about this album, but it's been on rotation since the first time I heard it.

6. 007/Shanty Town riddim [Big Yard 4x7"]
Shaggy's label revisits the Desmond Dekker classic which came to prominence on the "Harder They Come" soundtrack. Rayvon's conscious "Arm of the Wicked" rubs up against Screechy Dan's "Panty Town" but any lyrical contradictions get lost in the sheer exuberance of the party vibe here. Shaggy's cut is of course essential and anyone who raises their eyebrows at this needs to get beyond their hipster inverted snobbery about "pop" reggae.

7. Alicia Keys: "No One (Curtis Lynch Reggae Remix)" [J Records]
Our boy done good! From knocking out wicked sevens in south London to remixing Alicia in New York, Curtis is definitely going places. 2007 has been a really good year for pop remixes and mash ups: and this one is the cream of the crop. Which all bodes very well if you ask me.

8. Ashtech: Walkin' Target [Interchill CD]
Shockingly good electronica/reggae crossover which brings to mind the cinematic remixes of Primal Scream by Andy Weatherall and Adrian Sherwood. Yes, the production really is that good on here. The album features vocals from MC Cheshire Cat who has previously worked with Leftfield, who would be another reference point. This is just great: a proper varied 13 tracker from an unknown which makes you wonder how much other great stuff you've missed out on. Investigate!

9. Continuation riddim [Penthouse 7"s]
Is it reggae, one drop, roots? Call it what you like, but there is some amazing music coming out of Jamaica during the death throes of vinyl. Donovan Germain comes up with a lilting rootical riddim on which everything has its own place. The Beres Hammond & Buju Banton vocal cut is one of the highlights of Greensleeves' essential "The Biggest Reggae One Drop Anthems 2007" compilation. Meanwhile Queen Ifrica's "Put on Yu Thong" is a bittersweet romantic reality lyric worthy of your attention.

10. Rihanna: "Umbrella" remixes [Black Chiney 7" and mystery mp3]
Everyone's soundtrack to a torrential summer, a couple of refixes of this showed up when the original was beginning to get on your tits. The first is in a pounding bashment style from Black Chiney featuring Vybz Kartel, whilst the other is an unreleased mp3 on a one-drop tip featuring Collie Buddz.