are disco edits the new electroclash?

It seems to be about a third a degree away from bootlegging at this point.

(Also, welcome Mike!)

edits that bring something new to the table (betty botox, editions disco, krivit edit of 'trans europe express' I just got that pretty much turns it into basic channel) = now we're talking.

might be onto something w/ the electroclash comparison, insofar as it's a bit of a personality-driven thing. even the ones where pseudonyms are involved since everyone knows who they are anyway (you don't hear anyone going "oh, I wonder who this TANGOTERJE character is").

Then there is the Krivit school of editing which is more about making a track work better for you when you dj. in the early 90's I started using a hardware sampler to do edits, specifically aimed at the audience I dj to. This was much easier than cutting tape but would still take a couple of solid days work to do each edit as it meant sampling one or two bars at a time and then cutting and pasting. The memory of the sampler was very limited and the on board cutting and pasting was very slow and tedious.

Around 2000 I got a computer and this changed everything. What had previously taken days took hours and it was now possible to get tracks that had previously been wildly out of time to stay rigidly in time so that they could be mixed. About 50% of my dj set is things I have re edited. It was really important to me as a dj to have lots of exclusive edits that no other dj had and I had no intention of making them available beyond that.

After a LOT of persuasion I was talked into doing an EP of edits and then the two subsequent albums and was pleasantly surprised at the reaction.

I completely agree that the disco edit thing has gone crazy. Firstly they are in vogue so everyone wants to have a go and secondly, today's technology makes it (too?) easy to do. So, there are endless, often pointless, often rubbish edits flooding the shops. I'm sure they will go out of fashion again.

But, the edit has always been a vital part of dance culture and hopefully there will always be a place for the more creative and imaginative ones. I have several hundred unreleased edits and I intend to keep most of them unreleased as, as I said earlier, I like having versions that no one else has. I'm not sure if there will be any more Betty Botox releases but it has definitely been fun getting them out there. Learning how to edit is an important production skill to have and I think it has definitely helped when I do my own productions or actual remixes.

At the end of the day though, when I listen to something Chep Nunez did 25 years ago, I really feel like a bit of a fraud. Maybe I should dig out my reel to reel again and get real?

http://www.discogs.com/release/133043

Mantronik, Chep Nunez and Omar Santana go to town.

I think a lot of people don't realise how easy the audio editing software is (it's just cutting and copying and pasting like Word.) The hard bit is being creative!

there are definitely more edits than there used to be but i don't think there's been a deluge of them, at least not in the shops i buy from.

jess have you heard this? or this??

the first i didn't buy because i don't trust people with names like "mark de clive-lowe" (i know, so very stelfox/hunta-d of me) and the 2nd because i don't trust philly ;-)

anyway, i would get that one if you're gonna pay no more than, like, 7 bucks. seiji is usually a good sign; domu i've had intermittent luck with, though he's a seriously hot drums guy when he's on. i also don't trust people with names like mark de clive-lowe.

the presence of "talking drum and stroke percussion" leads me to believe you should ignore the other one. the problem with this shit is that these guys have such variably taste and quality issues that it's impossible to know without hearing. there could be some sick shit on that, but i doubt it.

One way I see it is a lot of DJs are using it as a way to get into production, maybe practice their chops. It's not always so easy, depending on the track, and it's definately more a question of the choices made.

'black to the future' has its jams (agent k, charlie dark, capitol a) but has too much filler. ditto on the philly distrust.

stick with the bugz fabric, seiji remixes, and the agent k album 'feed the cat' (total brilliance). and domu is 80% quality jams, 20% throwaways, but when he's on, HE'S ON.

this is pretty decent, I picked it up last week. Word is that Tim Sweeny is behind this one.

and as we've discussed elsewhere, BEARDO DISCO is not merely the new electroclash, it is actually the new TRIP HOP.

1) pastiche factor = "hey look, the best moments of old school rap, WITHOUT THE RAP"

2) uneasy hipsters = "hey, couldn't i just be spinning alice coltrane records instead of major force west??"

ronnie laws + kirk degiorgio, yizzeard??

check for it

why not start a new thread! (and leave this one alone?)

i am serious, the difference in method between the glimmer twins and, say, jon carter or freddy fresh or krafty kuts is a couple of years and a couple of cred pts

xpost it's ok dan i'm thinking out loud and i still like your dj mixes a lot!

xxpost

unless some hipsters wanna go ahead and renovate happy hardcore for me. k thnx bye.

did/do people actually dance to trip hop cause beardo disco seems more amenable to dancing crushing the analogy in the process (as structurally correct as it may be)

anyone know if there are there any reel to reel edits sets floating around the internerd?

http://www.richcolour.com/mastermix/vol1/

http://members.home.nl/discopatrick/

does anyone remember the scene from new order's "confusion" video where arthur baker and band bring the reel-to-reel spool to the club? where are the modern freestyle edits?

If you get off the internet, a lot of the best of these edits/boots (i mean the old ones) are really easy to find, still being pressed, and kinda fun to collect. You can get the Big Apple Productions releases, like volume 2, the Latin Rascals one, at stores all over NYC.

I discovered some hot hi-nrg tracks from a vinyl mix called Aerobic Speedballer Mix.

http://members.home.nl/discopatrick/jdc.htm

don't pay more then like, a buck for these of course.

yeah i DO mean big beat! but believe it or not i spent 20 minutes this morning trying to remember what it was called ... then i was like "fuck it, i'll call it trip hop". srsly though, you could make the same case about "trip hop" re: delia + gavin.

xpost

i like some hi-nrg, but i think what i really like is the slower bpm stuff.

so there should be a beardo cover of "i wonder if i take you home". who should make it? or maybe it's one classic that should be left alone.

i am listening to big apple prod vol 2 now. (after checking out the nutso sigue sigue sputnik mix from the first link which oddly reminded me of the villalobos track on superlongevity 4)

fac 93 people
http://www.youtube.com/watch?v=C2xxuibDrhc&search=new%20order%20confusion

wonder if thats joe's pizza in the beginning

Maybe the edits are getting a little pervasive but anything that exposes me to music like I Love You More (Mr K Inst.) - Rene & Angela can be called prog rock for all I care.

I really found vahid's trip hop rant up above amusing considering the amount of space he has spent defending mowax but what the hell.

but i'm DEFENDING big beat here!

big beat ... is cool ... for the same reasons ... that beardo disco is cool!!

http://www.tropicalcomputersystem.com/

Vahid's analogy comes from the beardo thread, equating beardo's mixture of classic rock and disco with big beat's mixture of rock and club music. I haven't been able to put into words why I think it's irrelevant, other then a "there's a difference and I know it when I hear it" as mentioned above.

It may have something to do with Big Beat's whole uk sampledelic sources, where it's like, the Beatles + Coldcut = Chemical Fatboy whatever, whereas beardo is more about the sound of classic rockers playing disco, whether it's the Doors Peace Frog and The Wasp, Chicago's I'm a Man, The Rolling Stones Undercover of the Night era etc.

Lee Douglas! Nice. I love his track and the one edit I have of his.

What is the girl to boy ratio at one of those nights? Is it mainly guys scratching their chins and checking out the jams or is it pure disco fever?

I mean, they seem to flow in at a fairly steady rate and the ones done by prydzstyleremixer/discoman@hotmail.com are almost always shit

but yeah, its all about the girls and the beard scratching.

that means that one boy shows up, and one girl. That's it. 2 people. Can't beat that ratio.

Are you really looking to early evening record listening parties to score?

You're better off with Heather's on thursday nights. The skirt there is unbeatable.

I don't like the direction this thread is going.

I'm showing up at 8 and leaving early, and have no time to pick out records, so it'll be a suprise for you as well as me. Don't let Mike be the only person to show up before 10 pm!

Hey I did my best not to make this connection. I can't help it if I am mexican and love tacos.

1:1 ratio boys to girls is pretty good. I mainly asked cause I wondered if it was a dancing crowd as opposed to a record spotting crowd. Do you ever drop in housey cross over tunes in your sets Dan or Yaz? What is the cut off date for disco in your mind?

It's not a disco party.

It's not a dance party.

Dancing is not allowed.

Jeremy and I DJ dance parties all the time.

This is our chance to play Thomas Leer and Camberwell Now and Robert Wyatt and Clive Stevens and Group XEX....to a small group of friends and likeminded individuals. See the beardo thread, there's more talk about Dazzle Ships there.

As far as my dance sets are concerned, there are no cut-off dates and there's no need to drop crossover tunes. I play all kinds of hits all the time anyway.

I'll have to agree that the market is flooded with mediocre edits that serve no real purpose and that listeners as a whole would be better served with plain ol' boots of rare tracks.

A couple of comments tho'.

I've heard of Betty B's edits, but haven't heard 'em.

My understanding is that Theo's edits are old edits off reel that he pressed up a few times but has now flooded the market so much that there are no new ones. Funny how he got pissed when they got booted 'cause they were pressed in such small quantities and at such high prices.

The A side of the Slying Squad record is real nice.

Suprised that no one mentioned the Underdog Edit series which re-introduce very obscure releases, nicely re-edited to re-express the material, nicely mastered.

New edit series that I'm privy to is called Members Only, which is super-raw, Chicago-style. The first one is sort of a re-creation of an old Sneak edit of a Trammps track. There are more in the works, #2 smokes.

Has anyone heard of some guys who faithfully re-created Ron Hardy edits that they heard on live mixes?

I know Hardy's nephew or something was selling some vinyl of Hardy edits.

once again sorry for sowing confusion the beardo thread is answering so many questions I have been having recently.

This comparison is dumb because of the huge disparity between the two scenes in the time-lag between the source material and its recontextualisation.

People hate on Big Beat because its seen as recontextualisation of black american music as dance music for white people. At the time it happened the source material was hip hop from about 10-15 years earlier therefore it could be seen as gutting a still-vital music genre of its controversial, violent and middle-class baiting aspects.

Beardo-disco is recontextualisation of 30-year old dance music of varying ethnic and geographical origin for white hipsters. Disco as a scene does not exist today in the way that hip hop did in the mid 90s, and furthermore, disco as a scene has already been made 'safe' in 2006 by endless cycles of revivalism and recycling so beardo disco can hardly be making it safe for white people.

Additionally given that big beat was a UK-driven thing, and the beardo thing is pretty much international its not even like you can claim its the same sort of people doing it!

If anything its more like rare groove or acid jazz.

----yikes! i thought the beardos were just Mancuso worshipers? i must be totally in the dark.

uh ... sure you can! weatherall, chicken lips, harvey, idjuts, lindstrom + prins thomas all dabbled in big beat.

If anything its more like rare groove or acid jazz

i don't think it's a big jump from acid jazz / rare groove to big beat, do you?

but the audience for the latter was certainly more male than the audience for the former, at least in UK.

"Listen to this. 303 + 808 + Karen Finley. They're called S'Express. Is this the shit or what?"

I'll finally be able to make a fortune on eBay.

(re: Chip Nunez et al.. remember the remix they did of Skinny Puppy's "Stairs And Flowers"? Alien Sex Fiend's "Haunted House" (which was basically a disco dance medley of many song off Another Planet)? Remember the second version of Colourbox's "Breakdown", with all the crazy edit action? "Faggot shit" said the fans of Violent Femmes, Camper Van Beethoven, and Carnival Art... ok, not all of them.)

don't forget T.Z.'s "I've Got the Hots for You".

OH
MY
GOD

I did something like this on the radio once. We played the Luomo's remix of Smiling Off with Finley's "I'm An Ass Man" drifting in and out. Started playing her just because it was late enough that we could but it sounded really great next to all those moans in the song.

great meaning gross

i listened to one of those "Larry" bootlegs today. a side was some Paradise Garage classic while the b side was 3 Karen Finley monologues, one being Ass Man.

i assume they are made for mixing, as thye dont stand much on their own.

---i have been doing that a lot lately. i like pitching down disco and house really slow. i dont have a beard though. (but my hair is kinda long)

Map of Africa actually covered a song, no? Not just put the original song in some cool edit type software looping the bridge and attaching it to the intro while taking credit as an artist. Or at least that's what's been described to me by some of this "new exciting thing".

Again, I don't know what the fuck I'm talking about here. I'm asking if that's what Mike is saying because Mike and I share friends who have been ranting lately. I'm wondering if they've been ranting the same things to him.

uh, hello ben cook / dj spun / idjut boys / rong music etc

Terje, Rong etc, are producing new stuff, and some pretty good new stuff.

Sort of. There is definately a difference, but house did inspire the previous pop style to change into Kwaito.

Why do you fight Vahid? Why?

The 'Delayer' remix is fukin awesome.

Ace edits to feed all your cosmic needs! An essential summer floor-burner, played endlessly by Beppe Loda back in the '80s! TIP!

not relevant to the thread but pitch way up Happy Monday's "Hallelujah" and its even wilder, with nary a trace of helium.

jaxon, mr. gill, et al. more about Tom Petty cosmic please, particularly the b-side (who did it?)

ok, i lied. my mp3 was mislabled. it's really Ugly Edits 7 that i love. GQ's "Lies". god, what a fucking amazing song.

It seems so, over on the DJ History board (aka Beardo Central.)

I have been thinking about something like this for a while, too. "right" would be especially good...

-- flëétwøöd måçk (jaso...) (webmail), Tuesday 1:53 AM. (jaxon) (later) (link)

this afternoon i listened to a unnamed DJ's shockingly bad "Think Twice" edit, it simply stretched the best breaks in the song by looping them ten or twelve times and then returned to those passages on occasion to bloat the length from 6 mins to 12+ mins. appalling.

to understand how brilliant TP's "Lies" edit is, track down the original GQ track. Parrish removes all the chaff and distills the best moments of the song into something entirely new.

mine too & probably my favourite track from last year.

http://www.electrofunkroots.co.uk/credit_to_the_edit/how_to_edit.html

Anyway, I know I keep mentioning this, but Big Daddy magazine a few years ago published an amazing 2 part article on the history of cut-n-paste, covering everything from Danny Krivit's old bootleg disco edits, to Latin Rascals/Omar Santana type stuff to Coldcut or whatever. Really good stuff.

Kevin "Boy Wonder" Fluornoy (who we now know as Life) and his apprentice Crash were the Whiz Kids, while their rivals were Albie Nieves and Felix Sama aka The Bladerunners. Everything they touched, they destroyed.

Ask Life about Phil and Bob they next time you cross paths. This is the height of this stuff, and he was not only there for it, but a key player.

yeah, yeah, I've been told, some people have made good ones, whatever that means...

but the rest of the song is great too!

TS: Edits that extend the cool instrumental parts in addition to the fun pop song parts vs Edits that Extend the cool instrumental parts to the exclusion of the fun pop song parts

If anyone is in NYC today, I'm DJ'ing at Savalas tonight with another Miami style DJ (Egg Foo Young of Secret Frequency Crew)

It's totally different to the version of Go bang that you know, but rather than extending the beat-led sections of the 24-24-music version, it takes the snatches of vocals from that and turns it into a pop song. It kind of reminds me of the Velvets (with Mo Tucker singing) and The Eels, bizarrely. It's great.

The B-side is meh.

I want to get the Cowboys and Gangsters one. Has anyone heard that?

http://www.audiofile-engineering.com/wave_editor.php

late to to teh party m8s, but here are my two #####. there's no mood anymore because people aren't looking for magic, an experience, a transcendant kinda thing (despite the whole "cosmic" motif these days, no one's doing any of that 'open ur mind + heart' shit). people want the coke, bat-shit out of your minds kinda experience, or the "I'm so cool cuz I'm here" - so, you get "UP UP UP", corny gimmicks, horribly lame underground clothing label-type mixes, etc.

When psychotropic drugs and that social atmosphere come back into fashion (if ever, and maybe they have somewhere cooler than me), then you'll probably get people favoring music that's a little weirder and moodier. But, 2007 = lindsey lohan, obsessive materialism, narcissism, cocaine, internet-age ADHD, etc. - so it's what u get.

are you saying its hard to enjoy disco music on coke?

I get those emails too, the Can one is probably the worst one. I like the JJ Cale, Frankie Valli, Human Beinz the best.

2007 = lindsey lohan, obsessive materialism, narcissism, cocaine, internet-age ADHD

this and this

you get "UP UP UP", corny gimmicks, horribly lame underground clothing label-type mixes, etc.

is OTM, but you're making a mistake conflating the disco edit movement with this. if anything, that movement is about decreasing the energy - cutting out all the fun bits and only keeping the dull, "tasteful" parts. worst idea ever, i say.

i'm quite fond of the idea of Diplo as our generation's Jive Bunny, i must say.

are you saying its hard to enjoy disco music on coke?

No, it's hard to enjoy disco when everyone else is on coke and your quad-dipped tabs are starting to come on and the guy next to you with the lava lamp for a face just won't shut up...

i'm still not understanding the point of edits like this edit of the turtles 'happy together' by Todd Terje. sounds like he looped the intro once, pumped up the bass and added a bit of effects towards the end. what'd that take him, 10 minutes?

http://americanathlete.blogspot.com/2007/06/introducing-wade-nichols.html

But that's often the point of an "edit" as opposed to a "remix". And they often take 10 minutes.

it's for people who would do mashups but don't have the talent, basically ;)

naaah edits generally don't fuck with the originals too much, just make them more "deejay-able" - ie a bit more intro, bass and effects

Exactly, nowadays it can be as simple as just running a live drum based song through ableton to set the tempo perfectly.

boring

like putting stabilisers on your bike

Eh, works for me.

no one here is taking a purist "all edits are bad" stance, right?

we can all agree that there are good ones and bad ones, however different that may be defined.

anyone who says all edits are bad has obv never heard anything by beatconductor or tangoterje

well i think the thing that should be questioned is whether or not they should be pressed and offered for sale. altho of course it'd be impossible to make that kind of judgement, the impression i've always gotten is that dj's would make em for personal use, personalized for their own sets. i mean, if you're a budding producer or whatever it's probably a nice way to learn stuff but i don't know about building a whole reputation on edits.

Oh yeah, I'm speaking purely in terms of edits as a DJ tool. Occasionally, an edit is worth releasing, but it's rare.

nothing wrong with stars on 45 is there?

Love the Tangoterje edit of Paul Simon's "Diamonds on the Souls of her Shoes". It ends up halfway between Studio and Arthur Russell's "In The Light of the Miracle".

If they are using Ableton/Audacity/Whatever to tighten up the beats on these edits they need to do a lot better job cause I still have to warp the shit outta them!

Rune Lindbaek's Afrika I'm looking at you here.

Geraldo Pine - Heavy Heavy Heavy (Catch & Release Heavy Lifting Edit)

I am obsessed with Peter Visti's remix of Dolly Parton's "Jolene". Amazing.

how do you all feel about bands doing covers a la mountain of one "can't be serious"

Who/ what is this a cover of? It's cool.

it's by Ginny.
http://www.flexx.be/distro/items.php?id=flexx004

got big on the DJ Harvey Sarcastic Disco mix.

surely the irony is that AMO's cover version is totally serious and straight faced.

holy crap -

http://discoedits.com/

ahha
this one is one of the best out there...

http://sci-fi-pogo.blogspot.com/

this just in: disco edits are still 99% retarded. that said, hearing Mike Dunn play disco records in Chicago sort of changed how i look at edits.

thank god ILX is ok until end of june

http://www.grahamphillips.net/Ark/Ark_2_files/moses_with_tablets.jpg

best edit i have heard lately is the dr. dunks' 'keep it cheap', nice echoey looping business as heard on rub n tug's beats in space mix.

yellow cards? are we playing soccer here?

the yellowcard is ILXs own way of calling you retarded, bro

Soccer? What's that then? I

^^ RIP us / europe zinger

Is pipecock banned again already or something? If not, I'm interested in hearing more about the Mike Dunn set and in what way it changed your view.

http://img340.imageshack.us/img340/4662/img00036v.jpg

no wai

wai

that wasn't even at a nerdy record store. was just at your run of the mill hipster haberdashery

This has been a fun thread to reread.

Was this a joke TOM PETTY - You Got Lucky (Cosmic Instrumental) b/w Don't Come Around Here No More (Synth-drum Dub)?

never heard a version of You Got Lucky but there is definitely a track out there called Don't Dub Around Here No More (Italians-related ... I think it's done by Tiedye under a different name)

it's by västkustska ryggdunkarsällskapet, which is tiedye + sankt goran. if you're actually curious

I made a 'combination' mix with Let Me In by El Perro Del Mar and Don't Dub Around Here. I enjoy listening to it this way. Maybe you will to.

^ this is awesome! good work

Okay, the Cleo & Patra On the Nile EP is really wonderful.

haven't heard an edit i've liked for weeks and weeks now

"african disco power" sort of a nadir in my mind

tornado wallace does stuff that sound like disco edits but aren't

cool, i'm hoping people can prove me wrong on this one

and why is it the nadir?

how funny is it that the only edits i've heard of being released in the past few months is by the starter of this thread

more like a personal nadir - the track title / credentials had me totally excited, and then when i heard it, just total pffffft

the new edits from Personal Nadir are amazing.

Afro Cosmic with a Halloween vibe.

(xxpost) Jaxon - Bim Marx just released our latest 12" this month.

and how are those Simonetti edits? i was underwhelmed by a 12" he put out and have avoided the others since then.
seconding Bim Marx.

are r&b edits the new disco edits?

my friend charles sent me a disco edit that he made - and made an acetate of - in 1979 of Instant Funk and man was he ahead of his time. so cool. everything new is old again.