The College Professor vs. The Large Professor
This mix was originally conceived aboard a LAX to Paris flight where I must have listened to Large Professor's "LP" album two dozen times. The "LP" was bumping in my headphones when I boarded the plane. The "LP" was looping in my ears as all of my fellow passengers slept the 12 hour flight away while your boy Pipo was more awake than a 5 year-old on Christmas morning. Frustrated with my inability to fall asleep, I ordered as much hard liquor as that plane could hold in attempt to drink myself to sleep (which failed). Through each Jack and Coke, Jack and ice, and ultimately, Jack and Jack, the "LP" was my soundtrack to each bitter plastic cup filled dose of hard alcohol. And yes, the "LP" was still playing (though, at a lower volume) while I watched Francis Ford Coppola's latest movie Tetro, and wondered how the hell that movie's director could be the same man who directed Godfather I, Godfather II, and Apocalypse Now. Well, while listening to Large Pro's much delayed, and consequently, much slept-on album, I decided that I would devote an entire mix to one of my favorite production hero's. He may not be as heralded as Primo or Pete Rock, nor as much of a cult-like symbol as J. Dilla, but I challenge anybody to front on the Mad Scientist's production credits (and non credits for that matter). This mix is similar to the style of the Pete Rock mix I did a while back. So, if you enjoy the Large Professor and a certain college professor who is known to drop a mix every now and again, your satisfaction is guaranteed. A lot of time and effort went into crafting this mix so I hope you all enjoy it as much as I enjoyed making it.
Music from the 1960's & 1970's - Mixed by Alphabethead
This one is for all of you who have been requesting more "exotic" mixes. Below is Alphabethead's description of the mix.The mix is mostly pop, with a touch of folk and psych rock. Some of my favourite songs from that era are featured; namely Jefferson Airplanes ‘Crown of Creation’, Beach Boys ‘In My Room’ and McDonald & Giles ‘Flight Of The Ibis’. Also rare New Zealand psychedelic rock bands Human Instinct and Quincy Conserve are featured. This mix features a touch a scratching and a sprinkling of miscellaneous cut-up samples...
Please check it out – hope you enjoy. You might even discover your new favourite ‘old’ band!
Music from the 1960's & 1970's - Mixed by Alphabethead (download)
Large Pro Discusses Equipment and Rza's Influence
College Professor vs. The Large Professor drops Tuesday.
The Making of OutKast's Aquemini
Great "making of..." article courtesy of Creative Loafing. Question, how many bonafide hip hop classics have been released since Aquemini dropped? One, two, three? While you ponder that, read the article here.
African Heat - Mixed by Voodoo Funk
Re-post Friday, African edition.African Heat - Mixed by Voodoo Funk (download)
00:00 The Uppers -dankasa
03:30 Roy Hamilton -jack jones
06:40 Gyadu Blay Ambolley -sikape
12:14 De Frank -waiting for my baby
16:33 The Cutlass Band -obiara wondo
19:08 The Strangers -two to make a pair
21:44 The Wellis Band -bindiga
25:06 Ogyatanaa Show band -saman poriwa
29:42 Superman Tony Safro -i beg
34:54 The Hygrades -somebody's gonna lose or win
38:00 The Visitors -i believe in funky music
42:37 Akwassa -be yourself
47:45 Obanichronism -disco in danger
53:00 Georges Anderson -baby you know i know
Courtesy Voodoo Funk
D.O.J. - Mixed by DJ Ayres
I haven't actually listened to this mix quite yet, but DJ Ayres never dissappoints. DJ Ayres explanation of the mix below.Here are a bunch of my favorite Jay-Z songs, mostly album cuts with a few freestyles and secret joints thrown in for good measure. Since Jay “retired” and came back, his music hasn’t sounded as urgent or hungry to me. He sounds like he’s coasting along, so I wanted to go back and pull out a bunch of his music that made you bob your head, marvel at his flow, puff out your chest, or even raise the little hairs on the back of your neck. The feelings you got from songs like “Where I’m From,” “D’Evils,” “1-900-Hustler” and “You Don’t Know.” Not included: #1 singles you’ve heard a million times, lazy one-take flows, lyrics about inventing the button-down shirt, songs dissing rappers who would later be signed to Jay-Z’s label, and songs produced by Eminem.
D.O.J. - Mixed by DJ Ayres (download)
Hova Song / Intro
Where I’m From
PSA (Just Blaze Remix)
Crew Love (ft. Memphis Bleek & Beanie Sigel)
Squeeze First
Lyrical Exercise
Watch Me
Snoopy Track
Parking Lot Pimpin’ (ft. Beanie Sigel)
Threat
D’evils
It’s Like That
Coming of Age (ft. Memphis Bleek)
Coming of Age (Da Sequel ft. Memphis Bleek)
A Week Ago (ft. Too $hort)
Calling My Name
Laser in Your Ear
22 Two’s
44 Four’s (live)
Blunts and Army
Rap Game Crack Game
South Philly Niggaz
I Am Hov
Reservoir Dogs (ft. The Lox, Beanie Sigel and Sauce Money)
People’s Court
Can I Live
U Don’t Know (remix ft. M.O.P.)
Early This Morning
1-900-Hustler (ft. Beanie Sigel, Freeway & Memphis Bleek)
Young Black and Gifted
The Streets (ft. R-Kelly)
This Can’t Be Life (ft. Beanie Sigel)
Soon You’ll Understand
In My Lifetime (Big Jaz radio remix)
Courtesy The Rub
Please Don’t Pretend Piracy Hasn’t Killed This Industry
Here's a thoughtful article about the impact of piracy on music from my man Pizzo over at Hiphopsite.com. Read it here.
3 4 6 8 - Mixed by DJ Nikey
I remember Questlove was ranting and raving about this mix on his twitter a little while ago, but I was unable to actually locate the mix. I just found the mix yesterday courtesy of the people at 92bpm. Below is DJ Nikey's description of the mix.I made the edits in the first part of 2008. I snapped a tendon in my middle finger prising one of my shoes off and couldn't play any instruments for a while, so amused myself making edits instead. I was playing around with The Roots's "Livin' In A New World" and created what I imagined was a Medieval vibe, which I liked and thought was unusual. Listening back I realised I'd stumbled upon a method of transforming the time signature of 4/4 tracks by removing the third and seventh quarter-beats (usually the snare hits), closing the gaps and sometimes adding some subtle echo. I applyed this to other hip hop instrumentals - some worked and some didn't. I told my friends, who were like "what?!", they thought the concept was crazy and inspired. I finished off the mix by doing some interludes from a nursery rhyme album and recordings of birdsong, gave out about 5 copies on cd, my busted finger healed and I forgot all about it.
Until now! It was a pretty long slog on Pro Tools but it kept me occupied. It's great to hear that people like it, not only for the concept but also for the sound.
Thanks again for the kind words.
Best wishes
DJ Nikey
3 4 6 8 - Mixed by DJ Nikey (download)
Rock the Bells 2010 (San Bernardino) Review
So I went to the L.A. based (San Bernardino to be precise) Rock the Bells on Saturday, August 21st. It's almost three days later and I don't think my body has fully recovered yet. Overall, I found the concert to be very enjoyable and I give it a solid 3 1/2 stars (out of a possible 5 stars). The concert was definitely worth going to, but I do believe many of the reviews I've read online are overstating the excellence of the concert. I think many of these reviewers are basing their reviews more on the concert line-up than the actual performances and general experience of the event. So here is my review of the RTB from the eyes of Pipomixes.
Overall Concert Organization
Overall Concert Organization
Identical to Guerrilla Union events I have attended in the past, the overall organization of the event was good enough to avoid a riot, but not much better than that. Commuting from the freeway exit to the venue (National Orange Show) parking lot was an absolute nightmare. Many angry concert goers reported that it took up to 2 hours to get from the freeway exit to the parking lot (no more than 2 miles). Fortunately for Pipo, I was given a heads-up on the parking nightmare (from my man OmegaNYC) so I was able to avoid this mess by taking a different exit and parking away from the venue parking lot. Though I was not directly affected by this parking disaster, I can only imagine how angry many of the attendees were, given the 100 degree heat and reality of missing early acts such as Slick Rick, Rakim, and KRS-One.
In addition to the parking disaster, the whole idea of a RTB card as a form of currency was absolutely HORRIBLE! Cash is usually king. Not at a RTB concert. You couldn't use cash to buy anything at the venue (such as food and water). Instead, you had to transfer your cash into a RTB card in order to make purchases. Sounds simple enough, but not really. What this meant was that instead of having to wait in a long line to buy a pizza or bottled water, you had to wait in two long lines. First, you had to wait in a long line to convert your cash to a RTB card, then you had to wait in a longer line to buy whatever it was that you wanted. All this ignores the shadiness of using a "giftcard" system that increases the promoters profit margin because most people will not use all of the money on their card.
I purchased a VIP ticket to avoid the long lines and to have some sort of refuge from the sweltering heat in the tented VIP section. Though my motivations for paying the extra hundred dollars and change for the VIP pass had more to do with wanting access to an area that was separated from the general public and wanting to have a "chill" place for a blunt session or three, it was annoying (and not surprising) when the event organizers ran out of VIP passes and t-shirts. I wasn't all that excited about the "free" t-shirt that was supposed to come with the VIP package, but I could see a lot of disappointed faces when the last t-shirt was distributed to the guy who was literally right in front of me. Also, the supposed "red carpet" entrance was nowhere to be found. I would have bet everything I owned on an absent red carpet entrance. With that said, why advertise it if you're not going to deliver it? That in a nutshell sums up what needs to be improved about the organization of Guerrilla Union events.
Performances
In addition to the parking disaster, the whole idea of a RTB card as a form of currency was absolutely HORRIBLE! Cash is usually king. Not at a RTB concert. You couldn't use cash to buy anything at the venue (such as food and water). Instead, you had to transfer your cash into a RTB card in order to make purchases. Sounds simple enough, but not really. What this meant was that instead of having to wait in a long line to buy a pizza or bottled water, you had to wait in two long lines. First, you had to wait in a long line to convert your cash to a RTB card, then you had to wait in a longer line to buy whatever it was that you wanted. All this ignores the shadiness of using a "giftcard" system that increases the promoters profit margin because most people will not use all of the money on their card.
I purchased a VIP ticket to avoid the long lines and to have some sort of refuge from the sweltering heat in the tented VIP section. Though my motivations for paying the extra hundred dollars and change for the VIP pass had more to do with wanting access to an area that was separated from the general public and wanting to have a "chill" place for a blunt session or three, it was annoying (and not surprising) when the event organizers ran out of VIP passes and t-shirts. I wasn't all that excited about the "free" t-shirt that was supposed to come with the VIP package, but I could see a lot of disappointed faces when the last t-shirt was distributed to the guy who was literally right in front of me. Also, the supposed "red carpet" entrance was nowhere to be found. I would have bet everything I owned on an absent red carpet entrance. With that said, why advertise it if you're not going to deliver it? That in a nutshell sums up what needs to be improved about the organization of Guerrilla Union events.
Performances
I didn't want to arrive too early because I wanted to avoid the heat as long as I could. As much as it pained me, that meant missing Slick Rick, Rakim, and KRS-One. As much respect as I have for those three legends, I figured that seeing them perform before a sparse audience in triple-digit heat would be a forgettable experience. Those of you who arrived earlier than me, let me know what I missed. Below is a summary of my impressions from the performances that I was able to see.
DJ Premier - Primo did his thing performing a medley of Gang Starr classics. I thought Premier was particularly on point with his cuts, scratches, and transitions. My only complaint is that the performance wasn't given enough set time. I would have loved to see Primo do his thing for another 10-15 minutes.
Lauryn Hill - It was great to see L-Boogie back on stage performing. But that's about the only positive that can be taken from her performance. Her performance consisted of a freestyle'esque jam session of all of her most known hits. I'm all for a little improvisation when performing live, but Lauryn Hill was off-beat, lacking in breath control, and her backup band wasn't good enough to compensate for what she lacked in her own performance. In my view, it was pretty evident that Lauryn Hill doesn't want to sing anymore. I don't necessarily have a problem with her not singing, but at least get the rapping part right. To be fair, her lackluster performance could be have been a case of performance rust. I'd be interested to hear what people who have/will see the later shows will say. Before you all accuse me of being an L-Boogie basher, I just want to say that I am one of the 4 people who actually LOVED the unplugged album. Judge for yourself below.
DJ Premier - Primo did his thing performing a medley of Gang Starr classics. I thought Premier was particularly on point with his cuts, scratches, and transitions. My only complaint is that the performance wasn't given enough set time. I would have loved to see Primo do his thing for another 10-15 minutes.
Lauryn Hill - It was great to see L-Boogie back on stage performing. But that's about the only positive that can be taken from her performance. Her performance consisted of a freestyle'esque jam session of all of her most known hits. I'm all for a little improvisation when performing live, but Lauryn Hill was off-beat, lacking in breath control, and her backup band wasn't good enough to compensate for what she lacked in her own performance. In my view, it was pretty evident that Lauryn Hill doesn't want to sing anymore. I don't necessarily have a problem with her not singing, but at least get the rapping part right. To be fair, her lackluster performance could be have been a case of performance rust. I'd be interested to hear what people who have/will see the later shows will say. Before you all accuse me of being an L-Boogie basher, I just want to say that I am one of the 4 people who actually LOVED the unplugged album. Judge for yourself below.
A Tribe Called Quest - This was the highlight of the show for me. As advertised, Tribe performed Midnight Marauders in its entirety (I think?). At first, it seemed as if they felt a little shackled by the album format. I don't know if it was a lack of rehearsal, or first show jitters, but something seemed to be "off" during the first 20 minutes of their performance. However, after those first 20 minutes it WAS F*CKING ON!! It was when Tribe started performing songs not from the Midnight Marauders album that they really hit their groove. The cherry on the Sunday was seeing Busta Rhymes come out and perform Scenario with ATCQ. I can now die knowing that I was able to see ATCQ perform Scenario with Busta Rhymes. With the exception of the slow start, the ATCQ performance was top notch. A sample below.
Wu Tang Clan - The Wu were the only performers that really tried to stay true to the whole album concept. As far as I could tell, Enter the 36 Chambers was performed in the order in which the tracks appear on the actual album. As dope as the Wu is, they've never been accused of being in the upper echelon of live performers. As a result, I wasn't exactly rushing to finish my blunt session to see the Wu. Due to a longer than planned blunt session, I missed the first third of Wu's performance. However, what I did see far exceed my expectations. My only complaint was that somewhere, someone decided that it would be a good idea to close the Wu set with Method Man and Redman's Da Rockwilder (with no Redman). WTF?! If we're going to do Wu solo joints, why can't we get into something from Ghost, Raekwon, Gza, or a solo Method Man. Can anybody explain this? In all seriousness, I'd take a U-God joint over Da Rockwilder.
Snoop Doggy Dogg - I'll admit that by the time the Wu set was finished I was physically spent. I was out of blunts, dehydrated, hungry, tired, etc...Approximately one hour separated the end of the Wu set and the beginning of Snoop's performance. Though the waiting was physically taxing, the highlight of my entire concert experience came while waiting for Snoop to take the stage (see explanation below). Hell, the highlight of my entire 2010 came while waiting for Snoop to take the stage (still see explanation below). Overall, Snoop's performance was strong. It was great to hear him perform all his Doggystyle classics along with Warren G, Lady of Rage, The Dogg Pound, and RBX. I'd go into more detail, but I was literally too physically exhausted to remember more.
Highlight of the Concert. Correction, HIGHLIGHT OF 2010
As mentioned above, the highlight of the show came while waiting for Snoop to take the stage. This wonderful event in human history had nothing to do with the actual musical performances of the concert. The scene has three characters. We'll call our first character Wannabe Tough Guy (approx. 25 yrs old). Our second character will be called Skinny White Kid (aprox. 19 yrs old). Our third character will be called Big Black Dude (approx. 6'2, 195 lbs, 30 yrs old).
The scene takes place while a hot, tired crowd impatiently waits for Snoop to take the stage and begin his performance. Wannabe Tough Guy is standing around talking to a group of friends that consists of about 4 guys and 2 girls. Skinny White Kid unintentionally walks into one of the girls that Wannabe Tough Guy is talking to when the following occurs...
- Wannabe Tough Guy (speaking to Skinny White Kid) - "Say you're sorry."
- Skinny White Kid - "I'm sorry."
- Wannabe Tough Guy - "No. Say you're sorry."
- Skinny White Kid - "Look, I'm really sorry for walking into you guys."
- Wannabe Tough Guy (Clearly trying to punk the easy mark to impress the girl) - "Say it again."
- Skinny White Kid - (Looks like a deer in headlights that is clearly in over his head)
- Big Black Dude (as Skinny White Kid vanishes into crowd to seek refuge) - "Tell ME to say it again."
- Wannabe Tough Guy - "I wasn't talking to you."
- Big Black Dude - "Tell me to say it again."
- Wannabe Tough Guy - (Begins to stare at his phone pretending to be preoccupied with texting a friend)
- Big Black Dude - "You ain't punking nobody with that phone. Tell me to say it again."
The scene takes place while a hot, tired crowd impatiently waits for Snoop to take the stage and begin his performance. Wannabe Tough Guy is standing around talking to a group of friends that consists of about 4 guys and 2 girls. Skinny White Kid unintentionally walks into one of the girls that Wannabe Tough Guy is talking to when the following occurs...
- Wannabe Tough Guy (speaking to Skinny White Kid) - "Say you're sorry."
- Skinny White Kid - "I'm sorry."
- Wannabe Tough Guy - "No. Say you're sorry."
- Skinny White Kid - "Look, I'm really sorry for walking into you guys."
- Wannabe Tough Guy (Clearly trying to punk the easy mark to impress the girl) - "Say it again."
- Skinny White Kid - (Looks like a deer in headlights that is clearly in over his head)
- Big Black Dude (as Skinny White Kid vanishes into crowd to seek refuge) - "Tell ME to say it again."
- Wannabe Tough Guy - "I wasn't talking to you."
- Big Black Dude - "Tell me to say it again."
- Wannabe Tough Guy - (Begins to stare at his phone pretending to be preoccupied with texting a friend)
- Big Black Dude - "You ain't punking nobody with that phone. Tell me to say it again."
- Wannabe Tough Guy - (No response. Continues to look at his cell phone as if the President is going to call at any moment)
- Big Black Dude - "Didn't think so... "
Skinny White Kid is gone and safe in the anonymity of the crowd. Big Black Dude walks away having proved his point and saving Skinny White Kid from public humiliation. Wannabe Tough Guy feels about 3" tall and is reminded of the natural order of bullies. And for that moment, if for nothing more than that moment, all is just in the world.
- Friend of Wannabe Tough Guy - "Hey, that guy really pulled your panties down bro."
Closing Thoughts
In the end, I am glad that I went to the 2010 Rock the Bells. Was it as good as some of the professional reviews suggest? No. Was it worth experiencing? Yes. Maybe I'm biased because I'm a deejay, but I find myself having little patience for live performances that aren't seamless. In my view, a live performance should have peaks and valleys, but no pauses or interruptions. In other words, a live performance should play like a great mixtape. In a nutshell, that is why I have always been a fan of The Roots and eternally frustrated with most Hip Hop performers. There just seems to be some sort of ceiling on what many hip hop performers can do live. I was hoping the whole album concept would force these acts to put more thought into the actual performance of their live shows, but ultimately most of these acts fell short.
Skinny White Kid is gone and safe in the anonymity of the crowd. Big Black Dude walks away having proved his point and saving Skinny White Kid from public humiliation. Wannabe Tough Guy feels about 3" tall and is reminded of the natural order of bullies. And for that moment, if for nothing more than that moment, all is just in the world.
- Friend of Wannabe Tough Guy - "Hey, that guy really pulled your panties down bro."
Closing Thoughts
In the end, I am glad that I went to the 2010 Rock the Bells. Was it as good as some of the professional reviews suggest? No. Was it worth experiencing? Yes. Maybe I'm biased because I'm a deejay, but I find myself having little patience for live performances that aren't seamless. In my view, a live performance should have peaks and valleys, but no pauses or interruptions. In other words, a live performance should play like a great mixtape. In a nutshell, that is why I have always been a fan of The Roots and eternally frustrated with most Hip Hop performers. There just seems to be some sort of ceiling on what many hip hop performers can do live. I was hoping the whole album concept would force these acts to put more thought into the actual performance of their live shows, but ultimately most of these acts fell short.
The R Mixtape Volume 1.0 - Mixed by DJ Hedspin & Sharks & Hammers
This is the first Rakim mix that I can remember hearing that incorporates his breaks into the mix. Highly Recommended.The R Mixtape Volume 1.0 - Mixed by DJ Hedspin & Sharks & Hammers (download)
You Gots To Grill Vol. II - Mixed by DJ Zimmie
Perfect mix for a Sunday afternoon in late August.You Gots To Grill Vol. II - Mixed by DJ Zimmie (download)
DJ Zimmie Soundcloud
Disko Dave Making "Smile Again"
It's been a while since I posted a beat making video. Well, it's been a while since I found a beat making video.
Large Professor Interview
This is the first I've heard that Eric B and Rakim were supposed to bring Nas out (part 2).
Blaxploitation - Mixed by DJ 3D
Original post below.It's not every day that I hear a mix and wish I would have made that mix. Having made and heard as many mixes as I have, I'm pretty damn finicky when it comes to giving props to a mix. With all that said, DJ 3D's "Blaxploitation" mix is one of those mixes that I wish I had made. Taken from WBAI's (99.5 fm) Underground Railroad Show, enjoy DJ 3D's Blaxploitation.
Blaxploitation - Mixed by DJ 3D (download)
Editorial: Last Stop for Hip Hop?
The news announcing the closing of Fat Beats' retail stores in L.A. and NYC was made official yesterday. I can't say that I'm terribly surprised by the news, but I am saddened to hear that a symbol of vinyl and hip hop culture will be no more. I was actually at Fat Beats two weeks ago and remember saying to myself while inside the store, that there simply isn't anything for me to buy here. Not that they didn't have any quality music in the store, it was simply that anything worth buying in the store, I already had. While in the store, I also remember thinking to myself that I didn't understand how a retail store like this (even Fat Beats) stays in business. I thought that either there are a lot of younger cats buying music that I'm simply not feelin', or not aware of, or this store won't last much longer.Well, now we know which conclusion was correct. Though Fat Beats will now tweak its business model to become an exclusively online retailer and record distributor, I don't see Fat Beats or more successful online retailers like UGHH lasting that much longer in their current form and business model. Maybe I'm wrong. Maybe there is some market that online vinyl providers cater to that I am not aware of. With that said, I believe there are two HUGE factors working against your favorite vinyl outlet (online or not). First, we are all buying less music. Less music sales means that there is a shrinking pie for all of our music providers to operate within. Second, the digital vinyl revolution has virtually wiped-out the loyal client base that was once the heart and soul of all of our favorite music shops, deejays. I just don't picture stores like Fat Beats or Undergroundhiphop.com surviving without hip hop deejays continuing to frequently buy vinyl.
That is where we currently stand. I don't think anybody really knows what to do in this new world. I'm sure if someone had the answer(s) it would have been implemented by now. All I know is that the current iTunes downloading status quo is simply unacceptable. You can't blame someone for opting to download a song for 99 cents (or free for that matter) instead of paying $6-8 for vinyl if that same somebody can ultimately do the same with the song (manipulate the music on his turntable) regardless of how it was purchased. It is also unreasonable and unrealistic to expect someone to pay $6-8 for a piece of 12" vinyl instead of 99 cents simply because they want to be loyal to a particular record store. Simply put, music consumers (specifically, deejays in this case) won't purchase vinyl unless there is a reasonable economic incentive to do so. That doesn't make the current music consuming climate right, nor does it make the closing of Fat Beats any less sad, but it does help explain why things are how they currently are. We see similar conundrums facing the industries of news, television, publishing, and movies, to name a few. Ultimately, we know that all of these business interests will figure out a way to adapt, survive, and advance. However, things will be different because they already are. That is why it's a little sad.
When I last visited Fat Beats two weeks ago I didn't go because I was looking to buy anything in particular. I went because I wanted to go. I wanted to be at Fat Beats and inhale the scent of incense, weed smoke, old vinyl, and poor ventilation. I wanted to see the walls covered with classic hip hop posters and vinyl covers. I wanted to overhear the clerks talking to one another about recent shows and overhear things you can't read on blogs. I went because there might be something there that I couldn't see, hear, or buy elsewhere. I went because I wanted to feel a little more "hip hop." After September, I won't be able to do that anymore.
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Caribbean Paradise – Mixed by DJ Sport Casual
Not a whole lot of mixing here, but a pretty damn good selection of joints.Caribbean Paradise – Mixed by DJ Sport Casual (download)
Courtesy Martini & Jopparelli
Live at The Get Back Vol. 3 - Mixed by DJ John Doe, Z-Trip, & DJ Melo-D
It's been a while since I last lost my wallet in Las Vegas, but I may have to make a return appearance to Sin City to experience all of this live.Live at The Get Back Vol. 3 (download)
Courtesy Get Back
Gaslamp Killer Live at Do-Over
Here's some video footage from the mix that was posted yesterday. Is it me, or is GLK the Billy Walsh of the deejay game (and I mean that in the most complimentary of ways)?
Live Do-Over Mix - Mixed by Gaslamp Killer (6/27/10)
Here is a GLK's Do-Over mix from a few weeks back.Live Do-Over Mix - Mixed by Gaslamp Killer (download)
Courtesy Do-Over
The Best of Raphael Saadiq Mixtape - Mixed by DJ Uncle Q
Had to re-post this after just watching Saadiq do his thing on VH1 Soul.The Best of Raphael Saadiq Mixtape - Mixed by DJ Uncle Q (download)
I Love Her
Soul sister - Bilal
It Never Rains (live @ the house of blues)
Whatever You Want - Tony! Toni! Tone!
Ain’t nobody worryin - Anthony Hamilton
Everyday - Lucy Pearl
Still RayTrippin’ - Lucy Pearl
Ask of You (live @ the house of blues)
Anniversary - Tony! Toni! Tone!
Lady - D’angelo
Love of My Life - Erykah Badu
They Can’t - Lucy Pearl
Music - Joss Stone & Lauryn Hill
Rifle Love
Glow - Kelis
So Lady - Mary J. Blige
La La - Lucy Pearl
You’re The One That I Like
Be Here - Raphael Saadiq & D’angelo
Bad Habit - Joss Stone
Marathon - Kelis
Body Parts
Proper Nice -Joss Stone
Excuse Me
Soulfood Love - Joss Stone
Tick Tock
Dance Tonight - Lucy Pearl
This One
Let’s Get Down - Tony! Toni! Tone! & DJ Quick
Attention - Kelis
Chic -Raphael Saadiq ft. Teedra Moses
Don’t Mess With My Man -Lucy Pearl
Feels Good - Tony! Toni! Tone!
Nightlife NYC - Mixed by DJ Shortkut
Recorded live in NYC with Large Pro and Mr. Choc on the mic.Nightlife NYC - Mixed by DJ Shortkut (download)
Courtesy Shortkut Mixcrate
DJ Craze Live at the Do-Over (7/25/10)
Here is some video from the Craze set that I posted on Sunday.
Expanding Horizons - Mixed by DJ Ada
Excellent mix of some funk, some soul, and even a little disco thrown in for good measure. Highly recommended.Expanding Horizons - Mixed by DJ Ada (download)
Bob James Interview
If you have some time, I highly recommend that you watch this interview. In the interview, Bob James discusses his changing viewpoint on sampling along with refuting the longstanding Biz Markie claim that he owns a version of "Mardi Gras" without the bells.
via CrateKings
via CrateKings
Cut Chemist and Biz Markie - Disco Records
Those of you in the L.A. area may want to check this out tonight.
Cinespia Presents: Cut Chemist at the Cemetery from cinespia on Vimeo.
Sounds from the 7th Dimension - Mixed by DJ Alex J
I never thought this mix got enough love the first time around, so we'll give it another try.Sounds from the 7th Dimension - Mixed by DJ Alex J (download)
1.Digable Planets-Rebirth of Slick (King Britt Rmx)
2.Digable Planets-Rebirth of Slick instr (DoodlebugftDOR Outtaspacefunkadelic acc)
3.Doodlebug feat D.O.R.-Outtaspacefunkadelic
4.King Britt-Instrumental #18
5. DJ Shadow Feat Blackilicious-Swan lake
6.Ghostface killa feat MF Doom-Angels
7.D.O.C.-Its Funky enough
8.Kai Chi-Got Green
9. DJ Alex J-tribal drums (Doodlebug vox)
10.Butterfly and Doodlebug-Fresh Out
11.J.Period and K’naan -Relationships Lay (Bob Dylan Tribute)
12.Butterfly (Shabazz Palaces)-Sparkles
13.MF Doom-Dead Bent
14.Digable Planets-Brooklyn Sky
15.Young Buck-Bang Bang instr
16.Cee knowledge feat CFO Allstars-These Eyes
17.Black Moon-Buck ‘em Down-Beatminerz instru
(Doodlebug feat D.O.R.-Back in da Daze Accap)
18. DJ Premier-Its All Real instru
19.Chali 2na Feat Talib Kweli-Lock shit down
20.Pete Rock & C.L. Smooth-T.R.O.Y.-They Reminisce Over You instr
21.Talib Kwela & Hi-Tek-Back Again
22.Buster Rhymes-Put ya hands where my eyes can see instr
23.Camp Lo Feat Butterfly-Swing
24.Butterfly (Shabazz Palaces)
25.Sonny Bonoho-Judge Brown
26.J Walk-Soul Vibration
27.Digable Planets-Where I’m From RMX
28. DJ Honda Feat De la Soul-Trouble in the water instru
29.Digable Planets-The May 4th Movement
30.9th wonder-Nightriders instru
Bonus track
31.Doodlebug Feat D.O.R. JBizness,The Tones-Sweet Music
Live Do-Over Mix - Mixed by DJ A-Trak (7/25/10)
You can either stream this mix via zshare, or you can download the mix through the Do-Over link. Please, no more complaints about zshare or any other site. In case you haven't noticed, I use limelinx for mixes 100mb and below, and I use zshare for mixes over 100mb. There are countless blogs where you can download mixes, most of you probably come to this one because you know that I post the mixes on filesharing sites where you can stream the mix before downloading. Unfortunately, there are a limited number of sites that allow streaming music with unlimited downloads. So unless you all want to start paying for mixes, I suggest that we all learn to be patient with the options we have.Live Do-Over Mix - Mixed by DJ A-Trak (download)
Sendspace link
Breaks 'Em Down 2 - Mixed by DJ Crates
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Live Frozen Files Mix - Mixed by DJ Soul
Here is an excellent live radio mix brought to you by DJ Soul. Below is Soul's description of the mix.Back in the late 90's when I used to harass record labels for music, one label that I would check on the regular was Loud Records. Damn near everything they released back then was certified classic. Debut albums from the Wu Tang, Mobb Deep, Raekwon, The Alkoholiks, Xzibit, Sadat X and Big Pun moved major units without radio friendly singles and helped pave the way for indie labels such as Rawkus and Penalty.
The first time I visited Loud, their office was on Lexington and 32nd Street (Vibe Magazine was also in that building) and it was a few weeks before the release of Mobb Deep's second album. I didn't know anybody who worked there but had heard that promo records were given out every Friday to club and mixtape DJ's. That week, I made it a point to go and wait in that lobby until somebody either hooked me up or kicked me out. I don't remember who laced me but I got an advance copy of Mobb Deep's Hell On Earth and Xzibit's At The Speed Of Light.
A week or two later, I made a mixtape titled The Set Up and went back to the office and gave out copies to some of the staff. Slowly, I became cool with Malachi & Jabbar in the A&R department and damn near everybody in promotions (Shouts to OJ Wedlaw, Budda, Gabby, Chris Green, Howie McDuffy and Puerto Rico Rob). Soon I met Sean C (who was working with a new group by the name of Dead Prez) and shortly after that, I met the two A&R's who were responsible for signing Mobb Deep and Raekwon. Their names was Schott Free and Matt Life. Matt had also worked at The Source Magazine where he was responsible for The Unsigned Hype column and was the one who introduced Puff Daddy to an up and coming rapper out of Bed-Stuy by the name of Biggie Smallz.
Up until the demise of Loud Records in 2002, these guys looked out for me whenever they could. So when Schott called me up last week and asked me to come up to his and Matt's new show on East Village Radio as a guest DJ, you know I had to repay the favor. Hopefully this will turn into something we do a few times a year.
Live Frozen Files Mix - Mixed by DJ Soul (download)
Courtesy DJ Soul
Maker Interview
I found this interview to be inspiring (probably because it shows Maker's home studio), hope you do to.
Interview with Maker [Elevator HipHop] from Elevator Hip Hop on Vimeo.
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