track id - acid from 1981 or earlier, sounds like the knife

Acid usually refers to a specific sound, usually created by the Roland TB-303 but most synths can get the effect, where there's a certain "squelchiness" to the sound. Get yourself any number of good Acid compilations, like recent ones on Trax or Soul Jazz.

Phuture - Acid Trax

Widely considered the first real "acid" release, this song came out in 1987.

not acid, not italo. synthpop.

in my opinion ... WAY too slow to be italo.

i'm curious as to why you don't like it. also about the meaning of IIRC. it's certainly not the best mix i've heard by baldelli but i think it's good enough for the cosmic and terrestrial disco party i'm throwing for my friend tonight (we're just playing all our cosmic and baia degli angeli mixes - we aren't djs)

I wouldn't be surprised if Baldelli had played Muscle Bound off the same album. He would've played it before or after Skatt Bros' Walk the Night, most likely.

(as an aside, the beat for the entire song was ripped off -- admittedly -- by New Order for "Blue Monday")

uhh - no, broadcasting on wobc and all around town. briefly in the arb (where we found a 'geocache,' or rather, i noticed that the log was a geocache as my friend was about to heave it onto the ice in the arb), but never naked.

and update - that party was awesome. everyone got down and i think that disco might get really popular here now.

I think thats a tad unfair. It's just a basic four to the floor disco beat -- far too ubiquitous to reasonably accuse anyone of ripping it off. Besides, 'Blue Monday' uses a drum machine and has a different high-hat pattern going on.

No it's not.. it's
THUMP
THUMP
TH-TH-TH-TH-TH-TH-TH-TH-
THUMP
THUMP
THUMP
THUMP

New Order have admitted ripping "Our Love" off in interviews.

And I highly doubt the rhythm in "Our Love" was fleshed out live on drums throughout the take.

dance music has a weird history at Oberlin, at least when I was there. There was a group of "jocks" who lived in Zeke who would smoke lots of pot and were really into "techno" but didn't know so much about it. They had a techno exco and I came in and did a history lesson, tought them about I Feel Love and such. There were a few attempts at "raves" but nothing anyone cared about. It was all about 80s night at the Sco, or your general funk and soul, hip-hop etc.

early on, I'd accompany Morgan Geist as he'd DJ detroit/chicago stuff to an empty Sco. The station manager of WOBC Carmine "shakwanda girl" was a diva house DJ who went on to do some academic studies on the concept of "diva", I still see her around the clubs in NY every now and again. She and Morgan dj'd a party at Asia house, for which we borrowed a turntable from WOBC (don't do that). Nobody danced untill some kid asked them to put on a CD of Smells Like Teen Spirit.

Kym Serrano would also start to produce electro, she and a few of her friends were into it. Todd Hutlock, Carmine's predescessor, who writes for stylus, was the big Plus 8 fan, thus WOBC's collection of DBX records, but it's not like anyone came out to dance. We all did good shows on WOBC, also this guy came in, a "townie" if you will, called Iron Man or something, who was a techno DJ. For a while techno producer Dan Curtin had a record store in Cleveland called Deep that we'd hit.

later on, when I was a senior and those people were gone, the cooler young kids included the Beige Records/8-Bit Construction crew people, Paul Davis and Cory Arcangel (now better known as a visual artist). We dj'd someone's idea of a rave in the lobby of South together, I played mostly classic electro and Paul played neo-electro, I taught him about Jonzun Crew and he taught me about Drexciya, so we all benefitted. Nobody danced though.

My final year 96/97, Andy (tel aviv, prosaics) and I applied to the do a "post-punk dance" party called Du the Du at the Sco but were rejected. Either 5 years ahead of our time...or 15 years too late. I did get to DJ the Sco once, billed as "Dan Selzer djs space disco, electro-funk and techno pop" which is why Nick from the French Kicks would later introduce me to people as "this is dan selzer, he invented electroclash."

But I did some good house parties, usually with ad-hoc gear, once with two belt-driven turntables and an a/b switch, no way to cue up, no way to fade, just....switch! One impromptu dance party was just a bunch of obie hipsters in a house and I threw on Ege Bamyasi and everyone was dancing around. I was like "holy fuck, people dancing to Can!" That was a real mind-opener.

excuse the name-dropping, really just going to show how weird Oberlin's been. Lots of music in a little, crappy, place.

Duh.

Interesting. I didn't know that (obviously). They still don't sound that close to me though. The bass drum rolls in 'Blue Monday' come every 2 bars, whereas its every bar (or more often) in 'Our Love'.

And I highly doubt the rhythm in "Our Love" was fleshed out live on drums throughout the take.

Sure, but it ain't a drum-machine either.

Either way, the rhythm must have been sequenced for "Our Love"... whether a drum machine was used or a lot of tape splicing was done really is just trivial beyond and below.

in that case, did I tell you about the time Karen O. sat next to me in some stupid computer class? She transferred to NYU shortly after that, later I'd DJ her 20th and 21st birthday parties, thanks to another oberlin alum, who'd be posting snarky comments on this thread if she was aware of it.

the member of oneida who posts to ilx went to Oberlin as well.

And Jason Molina/Songs Ohia lived in my attic.

I actually reckon it was clever use of delay. You're right though, it is trivial unless you're interested in production methods.

The idea of disco at Oberlin sounds almost laughable. I can't think of a party I've been to that hasn't involved Bloc Party and stale PBR.

then maybe you've been partying with the wrong people.

I must have missed this memo.

I don't know about that! Those guys love the techno and I know they've both played tons, Murphy is especially fond of Josh Wink acid type stuff and Sweeney likes the detroit classics.

I don't know about that! Those guys love the techno and I know they've both played tons, Murphy is especially fond of Josh Wink acid type stuff and Sweeney likes the detroit classics.

unfortunately, they've never spun at the 'sco so i wouldn't know. i was just thinking about their remixes and what murphy did with lcd soundsystem.

what is the first track on side b of cosmic 27? it is long and parsonsesque.

sample!

thus WOBC's collection of DBX records

THESE ARE ALL GONE

there is one john acquiviva record on definitive records and that's as close as we have. i get the feeling that the electronic section of wobc has every good record stolen.

table is the table busted

no! it's been, what, ten years, since dan was at wobc? looking at the playlist history for electronic shows, wobc hasn't had any DBX for a long time. besides, if table stole them, i would have seen them in his house.

i don't even think table likes daniel bell that much

i am probably the best suspect in this case, actually. i am obsessed with DBX.

and now that i think about it, i think that every section of the vaults has the best records stolen. the only amazing stuff i find is super-obscure. no kraftwerk, for example.

sample!

― elan, Wednesday, March 12, 2008 5:44 PM (7 months ago)

baldelli27-1.mp3
baldelli27-2.mp3

i think the second song is the parsonesque one.

ok so baldelli27-1.mp3 is available as an eric duncan edit -- !! it is fashionable !! -- can i get an id now?

baldelli27-2.mp3 is sky - hotta btw

sorry about that. eric duncan edit, indeed.