Podcasts about detroit dj

People tend to remember the first time they see BEIGE DJ—and a lot of the times after, too. One RA editor described them as "doing some crazy shit" after seeing a set. The Detroit DJ is all about playing to party rock, but also gently subverting expectations. It's a cliché now that good DJs can make whole new tracks out of blending existing songs together. Few embody this as easily or effortlessly as BEIGE, who loves to take sounds you already know and present them in a context you've never heard them in before. BEIGE started DJing after they moved to Detroit roughly a decade ago, and has since become a vital DJ in the Motor City's ecosystem, bridging gaps, scenes and genres. Their DJing style is adaptable and versatile, but you can count on a few things: a techno foundation, rollicking drums, throbbing basslines and vocals coming at you from all angles. Their RA Podcast flows beautifully, with just the right amount of bumps and left turns to keep you from getting comfortable. And the edits? There's plenty of head-turning moments here, like DJ Chap's downtempo drum & bass remix of seminal emo band American Football, a 150 BPM version of "Energy Flash," a cheeky Skrillex flip from Darian and excellent weirdo beats from the freakier ends of the US underground, including producers like Davis Galvin, Alien D and the late Jasen Loveland. @justbeige Read more at https://ra.co/podcast/939

Lindsey Renee Sims is the host of the Rhythm & Soul Patrol show, airing on WPON 1460 AM, Monday through Thursday.  She plays a thoughtful mix of The Temptations, Aretha Franklin, Bobby Womack, Marvin Gaye, and others, delivered with nuggets of historic context.  But everything she spins is before her time – Lindsey's just 21 years old. The show's gained a loyal following, not just in Metro Detroit, but all over the world. GUEST: Lindsey Renee Sims, Radio DJ ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work.See omnystudio.com/listener for privacy information.

 Sndtrak on Bandcamp - https://sndtrak.bandcamp.com/Flips Vol 2 - https://streetcornerscm.com/collections/lp/products/sndtrak-flips-vol-2-lp-clear-vinyl Madlib, 9th Wonder, Ski Beatz, Battlecat—this is a shortlist of revered veteran hip-hop producers who've expressed admiration for Sndtrak. House Shoes, the vaunted Detroit DJ/producer who championed Dilla before most, executive produced And Then There Was Light… and Triple Lindy, releasing both on his label, Street Corner Music. A veritable beat scholar, Shoes articulates Sndtrak's talents and the joy of watching him dismantle a sample as well as anyone.Born and raised in East Oakland, Sndtrak is descended from a musical family. Louisianan grandparents on both sides played zydeco, a musical hybrid of blues, country, and Cajun music. His mechanic father DJed before he was born and always cued him a steady mix of '80s boogie from groups like Con-Funk-Shun and Heat Wave. By the time Sndtrak could speak, he begged his mom to request his favorite rap songs on music video channel The Box. Now, part of The Soul Council, the sky is the limit for Superproducer Sndtrak.This week's episode is brought to you by Manscaped! Get 20% Off and Free Shipping with the code THECHOPSHOP at Manscaped.com. That's 20% off with free shipping at manscaped.com and use code THECHOPSHOP. Unlock your confidence and always use the right tools for the job with MANSCAPED™.Support the showWEBSITE AND MERCH! - http://www.officialchopshoppod.com

We back in the building with professional vibe-setter & Detroit DJ, SomethingBlue! This week we chop it up with some fresh squeezed Dumb B*tch Juice, why Frederick Douglass wasn't actually the vibe, and why Black Femmes are they way, truth and light in creating safer spaces for literally everyone. LEZGO! Show some love for SomethingBlue by following them on IG: @somethingblue313 and be sure to peep their stories for updates to all their shows! You can continue your support of the show by joining, "The Hard R's" Patreon at: www.patreon.com/thehardrs313 Be sure to follow us on IG & TikTok @thehardrs313 or send us an email at thehardrs313@gmail.com *audio/video editing: Lou D | logo design/graphic art: Colleen C.*

In this episode,  we welcome shapeshifting DJ,  producer and activist Lauren Flax.  Lauren began her career in the underground Detroit music scene where she evolved her style into techno, house, and electro music. More recently she is producing and recording her own music and we are pleased to showcase some of her music throughout this episode. She began her DJ career in the underground dance and rave scenes of Detroit as a resident at the Motor Lounge. Flax played the very first Detroit Electronic Music Festival in 2000 on the Motor stage. While originally starting off as a jungle DJ, Flax evolved her style into techno, house, and electro music. Flax moved to Chicago in 1999, where she honed in on music production while continuing to DJ. By 2002, she relocated to New York City which shortly followed the release of her first remix, "Much Finer" for Le Tigre. In 2019, Flax joined the mostly Detroit-born New York collective The Bunker New York, on which she released "One Man's House is Another Woman's Techno EP" (2019). The EP was highly successful and sold out quickly.More recently she linked up with UK rave veterans Jerome Hill and Posthuman, putting out suitably club-ready fare on their respective Super Rhythm Trax and Balkan Vinyl labels.  She has also found the time to release Out Of Reality, Flax's new EPa record that sits at the opposite end of the electronic spectrum.Right now, her activism is dedicated to making the Rave scene safer in the most fundamental of ways by hosting invaluable harm reduction classes and overdose response training. You can follow Lauren on Spotify and Instagram @laurenflaxSupport the show

You’ve got soul, R&B, funk…and more soul, brought to your eager ears by a former Detroit DJ and a budding songwriter with a collaborative and performance resume spanning more than 10 years Two stars are in the spotlight at a show presented by KUTX 98.9 tomorrow night, Tuesday Nov. 2 at the Historic Scoot Inn, […]

As part of the Detroit Month of Design, architect and educator Aaron Jones collaborated with Detroit DJ and producer Waajeed to create an immersive installation that celebrated the Black church.

This rumor started on October 12, 1969 when a Detroit DJ by the name of Russ Gibb, took a phone call from a mysterious caller who requested that Gibb spin the song “Number 9, Number 9” intro from the song “Revolution 9”, found on the White Album, backwards. So, Gibb did it and as he did, heard the words “Turn me on, dead man”. Then at the end of “Strawberry Fields Forever”, John says “I buried Paul”.This is the first of many symbols and clues that led many fans to surmise that the real Paul McCartney actually died in 1966. Join as we take a magical mystery ride into the Hoax Death of Paul McCartney.#TheBeatles #Music #Mystery #PaulMcCartneyDeathHoax #StrawberryFieldsForever #TrueCrime

The Blessed Madonna tells the story of the legendary but sometimes forgotten Detroit DJ, Ken Collier. Detroit is famed for being the birthplace of Techno but it has a House music story as well and that is largely down to Ken Collier's influence.

In episode 3, the production team (Reggie Dokes, Jennifer Washington, Kristian Hill, David Grandison) behind upcoming feature-length documentary God Said Give ‘Em Drum Machines: The Story of Detroit Techno celebrate their friend, and legendary Detroit DJ, Mike Huckaby. Huck is remembered not only as a DJ, but as an educator, as a leader, and as the one who gave the GSGEDM film its title and the team the inspiration to keep pushing to the finish line. Other Detroit legends - Eddie Fowlkes, Robert Hood, Rick Wade, Derrick May, and Carl Craig - also share special memories about Huckaby with the team.-Support the independent filmmaking process and get yourself some GSGEDM merch!www.gsgedm.com-Stay updated with GSGEDM on Instagram and Facebook!https://www.instagram.com/GodSaidGiveEmDrumMachines/https://www.facebook.com/GodSaidGiveEmDrumMachines/-Learn more about topics covered in the film and Detroit culture in the Detroit Techno 101https://www.musicorigins.org/detroit-techno-101/-Check out Music Origins: https://www.musicorigins.org/technomecca/-Listen to director Kristian Hill and Mike Huckaby's 1987 Michigan State Mixtape!https://soundcloud.com/chandeliers/january-7th-2021-with-mike-huckaby-kristian-r-hill-Read more stories about Huck in 5mag's Mike Huckaby issuehttps://5mag.net/issues/mike-huckaby-5-mag-181/ Learn more about Huck from Beat Drophttps://www.youtube.com/watch?v=REAjwfAe8so-Check out Rick Wade Designs!www.RickWadeDesigns.com Get yourself some Rick Wade Sample Packs!http://www.transporterstru.com/Rick_Wade_Libraries/-Support Black Lives Matter Detroit:https://www.blmdetroit.com/-Support Black Lives Matter:https://blacklivesmatter.com/-Get your global soul, events and music with Fusicology:https://www.fusicology.com/

In AND IN THE END, McNab reconstructs for the first time the seismic events of 1969, when The Beatles reached new highs of creativity and new lows of the internal strife that would destroy them. Between the pressure of being filmed during rehearsals and writing sessions for the documentary Get Back, their company Apple Corps facing bankruptcy, Lennon's heroin use, and musical disagreements, the group was arguing more than ever before and their formerly close friendship began to disintegrate. AND IN THE END draws on more than 30 interviews, many with people who have never spoken publicly before, such as Les Parrot, a cameraman on "Let It Be"; Bruce McBroom, the photographer who conducted the band's last shoot; Derek Seagrove, an Abbey Road employee depicted on the album's cover; Roy Connolly, a journalist caught between the Lennon and McCartney camps; and Russ Gibbs, the Detroit DJ on the ground floor of the "Paul Is Dead" conspiracy. All have fascinating insights into how the band, in the middle of disharmony and rancor, created the ragged genius of Abbey Road, their incredible farewell love letter to the world.

In AND IN THE END, McNab reconstructs for the first time the seismic events of 1969, when The Beatles reached new highs of creativity and new lows of the internal strife that would destroy them. Between the pressure of being filmed during rehearsals and writing sessions for the documentary Get Back, their company Apple Corps facing bankruptcy, Lennon's heroin use, and musical disagreements, the group was arguing more than ever before and their formerly close friendship began to disintegrate. AND IN THE END draws on more than 30 interviews, many with people who have never spoken publicly before, such as Les Parrot, a cameraman on "Let It Be"; Bruce McBroom, the photographer who conducted the band's last shoot; Derek Seagrove, an Abbey Road employee depicted on the album's cover; Roy Connolly, a journalist caught between the Lennon and McCartney camps; and Russ Gibbs, the Detroit DJ on the ground floor of the "Paul Is Dead" conspiracy. All have fascinating insights into how the band, in the middle of disharmony and rancor, created the ragged genius of Abbey Road, their incredible farewell love letter to the world.

This week, our “Virtual Out The House Experience” features Detroit DJ and Night Club owner, Mike "Melody" Watts. Tune in to hear his journey through djing during the days of Disco, owning night clubs, and more. 

Linda Lexy was Jill’s first guest on Dream Big. They reunite to discuss spiritual growth, health of mind and body and any other topic the universe decides to guide them into!

Dj Deadlines has been a staple of the Detroit DJ scene for nearly two decades. With skillful mixing techniques, and an excellent track selection borne out of near obsessive research into depths of electronic music, this veteran of the Detroit Industrial Crew always delivers on creating a hard-hitting and eclectic dance floor experience. The dirt and elektro blend with deep industrial/ebm currents to bring you this hot mix of urban media culture - Industrial Detroit https://soundcloud.com/djdeadlines https://soundcloud.com/industrialdetroit https://www.instagram.com/industrialdetroit/

Carlos and guest Sara Aldridge, a Detroit DJ and event host, munch on the Iris, the David, and a HOTDOG from Nosh Pit, a vegan restaurant, Hamtramck, Michigan.

RELEASE DATE 8/9/19 I have an in depth conversation with DJ DISTANT LOVER about music, travel and the dichotomy of beauty and danger in modern day Detroit. We also get into self determination, self awareness and building a set of coping mechanisms that will serve you. It's a pretty deep conversation about learning to manage your mental health and owning those aspects of yourself in a culture that is still struggling to have a conversation about mental health. Get the show for any platform, including here:Spotify: https://tinyurl.com/y82nebr6Apple: https://tinyurl.com/ybtplnmgAndroid: https://tinyurl.com/yctpuzo9 You can always also listen online at https://tinyurl.com/y3jpbsmt and www.coffeeoversuicide.com#suicideawareness #mentalhealthawareness #socialanxiety #selfcare #DETROIT

I sit down with DJ "Melt Down" From the iconic Rock Station WRIF in Detroit. We talk about what let him to a career in radio? I ask him whats one track you NEVER get sick of playing? He tells some awesome story's about interviews with ROCK STARS. He even tells us about Worst & Funniest things that happened to him On & Off The Air. This Episode was a lot of FUN. EPISODE: EP016 Rockin Detroit - DJ "Melt Down" PODCAST: Outstanding Life Podcast HOST: The Motivational Cowboy - Johnny D. (John Dmytryszyn) WEBSITE: https://www.MotivationalCowboy.com/podcast/ SOUNDCLOUD PODCAST: https://soundcloud.com/outstandinglifepodcast iTUNES APPLE PODCAST: https://itunes.apple.com/us/podcast/outstanding-life-with-the-motivational-cowboy/id1410576520?mt=2 SPOTIFY PODCAST: https://open.spotify.com/show/4OFNmM9Rv9jNA0gQMPv8XU YOUTUBE PODCAST PLAYLIST: https://www.youtube.com/watch?v=tttQkLT7SfE&list=PL1Jmeb31MqLiNLxcnufzmCCca3HGH20Rj&index=2&t=0s STITCHER: https://www.stitcher.com/s?fid=389557&refid=stpr SUPPORT with PAYPAL: https://www.paypal.me/motivationalcowboy SUPPORT with PATREON: https://www.patreon.com/motivationalcowboy FOLLOW: facebook.com/john.dmytryszyn.3 @MCJohnnyD4 #motivationalcowboy DESCRIPTION: LISTEN for FREE to ‘Outstanding Life’ PODCAST with Johnny D. the Motivational Cowboy on iTunes, Spotify, SoundCloud, Stitcher, YouTube & other major platforms and stations. Now with Over 1 Million Listeners! Motivational Speaker, John Dmytryszyn (Johnny D) has developed a strong brand as “The Motivational Cowboy”. He impacts audiences across the country with his message of “Living the Outstanding Life”, helping to change lives by reshaping thoughts about Image, Attitude, Focus and Consistency. His podcast is the latest in a long list of platforms that allows him to reach people. Among his most notable accomplishments is a 2nd Grammy consideration for his recently released spoken word CD “Time to Stand Out!”. Book the Motivational Cowboy for Your Next Event! https://www.MotivationalCowboy.com

Angels are all around us. Do you have a friend who just seems to be tapped into the light? Tapped into the positive energy? Today Jill has just one of those energy angels as a guest Linda Lexy. She is co-founder of the 4 time Detroit Music Award Winning Record Label - Funky D Records, 7 time Detroit Music Award Winning DJ, Yogi and all around spiritual messenger.

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DJ Roach, DJ Disc...Detroit, DJ Psycho Binural Frequencies- Episode 20

2 версия!

1. Souvenir (DMC Postcards From The Edge) - Orchestral Manoeuvres In The Dark 2. I Touch Roses (Full Bloom Version) - Book Of Love 3. The Good Samaritan - Counterfeit 4. New Dress (Razormaid! Mix) - Depeche Mode 5. Animal Magic (Dance Vocal) - Belouis Some 6. Bizarre Love Triangle (Shep Pettibone Remix) - New Order 7. It's Alright - Pet Shop Boys 8. The Great Commandment (Acid Commandment) - Camouflage 9. Last Train To Trancentral (Razormaid! Mix) - The KLF 10. The Sun Rising (Norty's Spago Mix) - The Beloved 11. 900 Hours (Mr. E Mix) - Boxcar 12. How To Be A Zillionaire (Bond Street Mix) - ABC 13. Cccan't You See (Razormaid! Mix) - Vicious Pink 14. Get The Balance Right! (Combination Mix) - Depeche Mode 15. Goodbye Horses (Extended Version) - Q Lazzarus ***SPECIAL NOTE FROM CRC AND DJ TINTIN***: Apologies to everyone who has attempted to download and/or listen recently, but gets a pre-recorded bandwidth notification. For awhile I had a pro account with much more bandwidth, but I couldn't justify the cost with my time limitations over the past three years. That said, I also don't like fans and followers to be cock-blocked for weeks on end by bandwidth overages. Right now, I have to be satisfied with a free account, but I didn't anticipate using up my bandwidth three days after the reset date each month. It's a good problem to have, but still a problem. Anyway, I'll keep you all in the loop should things change. For now, I guess, circle the 24th of each month on your calendar to remind yourself to grab these episodes when you can before my 15 gigs of bandwidth per month evaporates! Thanks to each and every one of you for tuning in. It really makes a guy feel good. Notes and other random things: Alright! It's 3 hours to dawn, I've got a full bowl of cereal, half a glass of water, it's dark and I'm making a podcast. Hit it! This sassy little number contains ABCs and OMDs, Counterfeits and Camouflages, Boxcars and Beloveds, something "vicious", something "new" and even a double DM! Happy Listening! Okay, so like any normal testosterone-fueled male member of the species I'm a competitive guy, my own worst critic and I can't stand giving a less-than-competent effort in whatever it is I choose to undertake. That said, I do read comments and check reviews with regard to my 'casts to make sure I'm living up to some realistic level of excellence. For the most part, I've been thrilled that this insignificant little program I assemble in my basement has brought so much joy to so many of you. I try to be honest and forthright in my write-ups for my sake, for your sake, for band's sake, for God's sake. Most of what I write is knowledge I've gleaned over the years from being a fan, from reading music mags, from collecting umpteen thousands of records and reading umpteen thousands of liner notes on the bands I feature here. Often, however, I look up artists to confirm or deny stuff I thought I'd read, thought I'd heard, figured I'd seen or otherwise dreamed. Most importantly, I try to get it right. But I don't always. ...Which brings me to the first band I'd like to mention here: Counterfeit. In episode #23, I included Lee McFadden and Co.'s song "The Good Samaritan" At the time, it was a new find for me, one I discovered on a compilation I had just purchased. Until that point I knew nothing of the band and had a difficult time finding much information on them. I jumped to the conclusion that the song I possessed was probably their only release. Thankfully, a kind listener made a comment to the contrary. He wrote: "In fact there is a three-track EP of "The Good Samaritan" that was released a couple of years ago. Myself and the other two members are still in contact and work together occasionally on music." - Lee McFadden. Holy S#!+, Lee McFadden just wrote to tell me I'm full of crap. That's so COOL! Anyway, thanks to Mr. McFadden for correcting my error. I thought it appropriate to let you all know there is more to the band than just one song. I also figured that by using Lee's comment as part of my write-up it would give me another chance to feature the excellent track here. So, back to the "my own worst critic" comment a moment ago. One of the things about this podcast that is endearing/aggravating is that it's a live mix. That is, I hit record and go for an hour or more - typically 15 songs. As you can imagine, things can sometimes go wrong when performing live, especially at 3 in the morning when I recorded this one. Some errors are bad enough I scrap the whole thing and start over. Sometimes, I just accept things like variances in recording levels or slightly mismatched beats because it's too time-consuming to spend an hour or more redoing an entire 'cast for small inconsistencies, especially when you're using cheap, finicky mixing equipment as I do. In the case of this podcast it turns out two of the tracks here had questionable endings. The first, Book Of Love's "I Touch Roses" mix had a repeated phrase for the last 30 seconds that sounded as if the track were skipping. Of course, I remembered that at the last possible moment and quickly began mixing it out. So, if it sounds like an unnatural point at which to fade in/fade out, it is. And now you know why. I'd say Daniel Miller should be flogged for ending the track in that way, but how can I possibly stay angry at the fellow who founded Mute Records? I forgive you Daniel. Just don't do it again! In case you were wondering about the other track with the weird ending it was 900 Hours by Boxcar. Thankfully, the first gaffe reminded me to avoid a second. I'd like to spend a moment to write about Belouis Some. Frankly, I could spend a day debating the correct pronunciation of Neville Keighley's alter-ego ... but I won't. Just know that all the variants I've encountered rank right up there with bands like INXS, Cetu Javu, EBN-OZN and others whose names were all butchered during their infancy. (C'mon ... admit it. You called them "Inks" the first time you saw their record in the storefront window. You know you did!) Anyway, the track "Animal Magic" was released in 1987 on Belouis Some's self-titled album, two years after the band found chart success UK and stateside with the songs "Imagination" and "Some People". Those songs led to opening gigs for Nik Kershaw and Frankie Goes To Hollywood during their heyday in 1985 and a track called "Round Round" which appeared on the Pretty In Pink soundtrack. The soundtrack is notable for two things: it's association with a John Hughes film and for being killer back when soundtracks were mostly filler. (That rhymes!) As an interesting side note: Nik Kershaw's song "Wouldn't It Be Good" also appeared on the Pretty In Pink soundtrack as a cover version by Danny Hutton Hitters. Belouis Some's "Some People" would also surface on a Swatch commercial circa 1986. Australia had its share of good rock music in the 80s. Men At Work, INXS (however you pronounce them) and Midnight Oil represent just a few of the names. But as club culture began to consume record racks in the mid-80s, fledgling bands began to dabble in electronics, shifting their focus from guitar-infused pub rock to synth-based dance music. Brisbane's Boxcar were one of those bands that gained prominence world-wide. But old pub-rock habits die-hard and the band had a difficult time of things even in their home country where they were often met by a chorus of boo-birds during live performances. The group was also ridiculed for being too derivative of established artists like New Order (whom they toured with at the turn of the 90s.) Thanks in part to producer Robert Racic, who had worked with Severed Heads (also an Aussie electronic band) and Single Gun Theory among others, Boxcar's first full-length release "Vertigo", issued in 1990, was praised by critics for it's sophisticated electronic sound. Tracks like "Freemason", which charted at #8 on the Billboard Dance Chart and "Gas Stop" brought the group some recognition outside Australia. But despite support gigs for Depeche Mode, Erasure, The Pet Shop Boys and the aforementioned New Order, the band was never really able to gain much traction and after two more albums, "Revision" in 1992 and "Algorhythm" in 1994, the band's output and live dates began to ebb even though they never officially called it quits. ABC were like the cool kids in high school that everyone wanted to be like. They had the swankiest clothes, the hippest hair cuts, listened to the coolest music and seemed to always have their finger on the pulse of whatever the "it" thing was to do at the time ... at least until the 20-year reunion rolled around and you saw them wearing the same clothes and sporting the same haircuts, albeit with much less hair and carrying around 50 extra pounds and you realized there had been little personal growth there. The band's roots grew from a band called Vice Versa. Both guitarist and synthesizer player, Mark White, and saxophonist, Stephen Singleton, were members of that group and are notable for their first ever gig being the opening act for Wire. (Not a bad way to kick off a career). After the release of an EP called "Music 4", future ABC singer Martin Fry, at the time editor of his own fanzine called Modern Drugs, interviewed the band. Shortly thereafter, they asked him to join. From the start, the band were pretty set on making 100% machine-made music. Having mega-producer Trevor Horn of The Buggles Fame, a guy affectionately nicknamed, "The Man Who Invented The Eighties" in your corner can certainly help chart a solid course for success. And did it ever. The first album, "Lexicon Of Love", went #1 in the UK, spawned innumerable imitators, featured great songs like "Look Of Love", "Poison Arrow", "Tears Are Not Enough", "Date Stamp" and others, and should be on a short list of the best albums from start to finish to come out of the 80s. From there, however, the band never ventured far from their original song-writing formula and were unable, despite some hits here and there, to duplicate the immense success of "Lexicon". In ABCs defense, not many bands could. Further, the group continued to splinter, losing members as the years went on. Drummer David Palmer left to join Yellow Magic Orchestra shortly after "Lexicon" was released. Stephen Singleton left in 1984. Remaining members Fry and White then recruited Fiona Russell-Powell (known as Eden) and David Yarritu to mitigate the departures of Palmer and Singleton. That line-up produced their biggest hit stateside with "Be Near Me". Mid-1987, ABC's album Alphabet City spawned the Top 10 hit "When Smokey Sings", a tribute to the great Motown singer, Smokey Robinson. Interestingly, Smokey was in the midst of a career resurgence for a new generation of fans and was himself firmly ensconced on the pop charts with his single "One Heartbeat" at the same time as ABC's tribute. It marked one of the only times in chart history a singer had a Top 40 hit while simultaneously being the focus of another. Not many bands can say they were responsible for coining a term that would become part of the vernacular. In an earlier CRC, I mentioned that Throbbing Gristle's Genesis P. Orridge is widely recognized to have created the "industrial" tag with the advent of his label, Industrial Music, in the mid-70s. March 27, 1982 - that's the date Vicious Pink described their music as "techno" in a feature published in Sounds magazine - almost 4 years before the term gained wider acceptance in the Detroit DJ subculture. Band members Josephine Warden and Brian Moss formed the group in 1981 in Leeds, England, getting their start as backup singers for Marc Almond and Soft Cell. Originally called Vicious Pink Phenomena, Brian describes how the name came to be: "I met [Josephine] when I was DJ at an alternative night, I put on with friends, at a pub called “The Adephi” in Leeds. I also met Dave Ball and Mark Almond there through Jose, as she went to the same College as them, Leeds Polytechnic. We decided to start a band together for a bit of fun. Jose, Dave Ball and I wrote our favourite words down on pieces of paper, turned them upside down and shuffled them about. Then we each chose one of the pieces of paper, after that we rearranged them into the name Vicious Pink Phenomena, Jose’s word was Vicious, Dave’s was Pink and mine was, well, Phenomena. It was a kind of lottery I guess, but it worked. We thought it also sounded like it could be the title for a 50’s / 60’s Science Fiction B Movie." In all, the duo would release 5 dance singles, many produced by Dave Ball of Soft Cell. Despite zero promotion and garnering next-to-no mainstream support Vicious Pink managed to chart all five of those singles in the UK. The particular track here, "Cccan't You See" was their third single and was produced by the great Tony Mansfield of New Musik fame. It was the highest charting single of the bunch, reaching #67. That's it for this episode. I'll be back soon with another. Thanks everyone and Happy Listening!

трек в стиле Klaas

Detroit DJ/producer House Shoes and LA rapper Busdriver join MC Nocando & Jeff Weiss this week to discuss white rappers. The guys talk about the origins of the white rapper with Blondie, Beastie Boys being the white Run-DMC, 3rd Bass dissing Vanilla Ice, rapping actors, and Eminem’s long lasting impact. They also explain why white rappers getting a co-sign is important, describe what differentiates white rappers and black rappers, and vent on why certain white rappers get to places that they don’t deserve.

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Этот ремикс – некий эксперимент с тем, что получится если превратить достаточно играбельный трек в более спокойный.