BEARDO DISCO (finally fixed for vahid) - not idjuts / lindstrom - harvey, rub'n'tug, map of africa

it's like a dub of the original - the original has far more vocals. the arrangement has been changed slightly too and some subtle processing has been done. this version is also 100% mixable.

it's a great track

:( i'm so not there. thanksgiving weekend and i won't be in town.

This is the Betty Botox Creed, isn't it?

My copy is in the mail fuck yeah.

It’s with great pleasure that we bring you the second installment in our Rvng of the Nrds 12” edit series. The latest is brought to you by Betty Botox, the queen bee of the classic Kraut 12” and World of Betty Botox and G4 F’ot LPs. By our estimation, some of the most far out production work she’s done. Really lysergic stuff for your inner shaman.

As with the first and future installments of the series, the 12” is limited to 1000 copies. We have about 75 left for mail order after sending most of the pressing to the furthest most regions of the world (who knew Hungarians were so down?). Check out some more info and Mp3 samples from the 12” here:

http://www.igetrvng.com/shop_12_02.html

International friends will notice a new option to ship via air mail for a few dollars more. We ate shitte on the last 12” because we underestimated our shipping costs. So, if you want the 12” before 2007, we highly recommend pony’ing up.

Next time you’ll hear from us will be with news about our next mix CD – RvngMx5 feat. Justine D. We’re assembling now. It’s going to blow minds.

Until then, take good care.

Matt / Rvng Intl.
www.igetrvng.com

I seldom use the word "bliss".

the thing with these cats i dont dig is that theyre getting to the point where funk and soul diggers are at: theres just not much good material out there that is totally undiscovered. so now we're getting treated to comps and mixes of ridiculously rare, hard to find, and expensive records that i just dont care about even a tiny bit. and the funny thing is that there are a ton of relatively obscure but cheap and easy to find records out there in the disco/early house/italo genres that people just arent playing because people wont sweat their playlists online. its fucking weak. im only interested in hearing good music. if it happens to be rare and obscure, cool. if not, thats cool too.

to be completely honest, i think of disco and house and the like as black music. the way the beardo guys play doesnt give me the impression of black music at all, even when theyre playing records made by black musicians. its the same way those black deejays could play italo and new wave records in a way that made them black music, only now theyre taking black music and making it sound "white". and it just doesnt move me in the same way!

also, id like to point out that i have a very unruly beard.

;)

what do you think these guys have been jacking for years?

but...

ton of relatively obscure but cheap and easy to find records out there in the disco/early house/italo genres that people just arent playing because people wont sweat their playlists online

What's this all about? I mean, there's two kinds of people out there, those that only play the playlist as canonized by the secret meetings of the DJ elite, and those that play whatever they want whenever for whatever reason. And the latter group usually influence the former group to a great degree. By not telling us what these obscure but easy to find records are that are so great, aren't you part of the problem?

and ive seen theo and norm on multiple occasions and ive heard many mixes by them, i dont see them playing anything like what the "afro" type nonsense people are bigging up these days is like.

dan, if you want me to give you lessons on what i mean, you can check track lists of mixes ive made recently:

Mandrill "Echoes in My Mind" A+M
Minnie Riperton "Stick Together" Epic
B.B.S. & C. "Rock Shock" SAM
Twilight 22 "Street Love (Dub Mix)" Vanguard
Chip E. "If You Only Knew (Frankie Knuckles Mix)" DJ International
Cynthia MT "I Can't Stop" Dance Mania
Endgames "First, Last, For Everything" Flip
Rick Wade "Deep-N-Dirty" Harmonie Park
Painted Pictures "Something (Malik Alston + Doc Link Mix)" Truth Manifest
Coldcut + Lisa Stansfield "People Hold On (New Jersey Jazz Mix)" Tommy Boy
Povo "Hi Fly" Raw Fusion
Teddy Pendergrass "Where Did All the Lovin Go?" Philadelphia International
Indigenous Space People "Across the Universe" Future Vision

Only Child featuring Amp Fiddler - "Find A Way (Yam Who Remix)" -
Grand Central 12"
Leela James - "Music" - Warner Bros. 12"
Melba Moore - "Standing Right Here" - Buddah 12"
Imagination - "Changes (Larry Levan Remix)" - Unidisc 12"
Andrea True Connection - "Partyline" - Buddah 12"
Brenda and the Tabulations - "Let's Go All The Way (Down) [Danny
Krivit Re-Edit]" - Casablanca 12"
Mahogany - "Ride On The Rhythm" - West End 12"
Staple Singers - "Slippery People (Club Version)" - Private I 12"
Touch - "Without You" - SuperTronics 12"
Barbara Roy - "Gotta See You Tonight (Extended Dub Version)" - RCA/Victor 12"
B-52's - "Deep Sleep" - Warner Bros 12"
Reggie Dokes - "War of Decadence (Short Mix 1)" - Psychostasia 12"
Rick Wilhite - "Good Kiss" - 3 Chairs/Sound Signature 12"
Jive Rhythm Trax - "114 B.P.M." - Jive LP
Hugh Masekela - "The Boy's Doin' It (Carl Craig Remix)" - Verve 12"

Kid Creole & The Coconuts - "Yolanda" - Antilles
Karen Silver - "Nobody Else" - RFC
Warp 9 - "No Man Is An Island (Dub Version)" - Prism
Modern Romance - "By The Way... (Trumpet Voluntary)" - WEA
Janice Christie - "One Love (Dub I)" - SuperTronics
Suzi Lane - "Ooh, La, La" - Elektra
Vivian Lee - "Dub Is So Wonderful" - Jeffer Seif
Theo Parrish - SS-023 Side A - Sound Signature
Maurice Joshua - "Feel The Mood" - Serious
Bas Noir - "My Love Is Magic (Dub)" - Nu Groove
Omar-S - "Just Ask The Lonely" - FXHE
Theo Parrish - SS-023 Side D - Sound Signature

feel better now?

Have you heard the unclassics CD?

As far as your list is concerned, I don't really get what you're getting at. You're saying these songs are all as good as what's in the cannon and the only reason people aren't playing them is because they're cheap records and not rare or expensive? Or DJs are lame because they like the songs that are in the cannon and shouldn't be playing them?

Don't you think it's likely because of his influences? That initial cannon of italo hits were the italo records made popular by american DJs in the early/mid 80s, especially those that were actually released over here, and thus made it in. Fact is, DJs and kids getting into those sounds now are not aware of the cannon in the same way, it's all new, there's no difference between an italo record released on a NY electro/club label that became a big breakdance hit in the early 80s and some obscure weird italo record that only got popular because some dutch DJ started championing it 3 years ago.

Louie Austen - Disco Dancer - is this choon "Beardo Disco"

GUCCI SOUNDSYSTEM : aCarpenter
http://www.phonicarecords.co.uk/detail.aspx?ID=12858

ysi?

as for the unclassics mix, aside from that pluto and the humanoids 12", the records on unclassics are NOT the super rare and sought after ones! thats why i like the choices they made, they just picked good songs that arent massively hyped up by compilations or CBS or the cosmic/balearic type deejays. they went their own way!

as for the historical significance of what carl plays or what theo plays, thats one of the reasons i like what they do. they know why they play the things they play. and they do throw in some obscure joints that maybe not alot of people are going to know, but not for obscurity's sake, simply because theyre good songs.

another interesting thing has to do with the perception of what music was being played at the early house clubs. you see these comps with lots of italo and new wave and shit, and those were being played, but not as much as is hyped. check this:

http://www.woebot.com/twanboc_html/kirk.html

dont know if thats been discussed here before, but it just goes to show that the perception is not necessarily what the reality was. im not saying people should restrict themselves to what was played before, but i am saying that there is some revisionism going on here and i think that is part of what is leading people down this "obscure for obscurity's sake" path.

and i just cant agree that those selections are "par-for-the-beardo-course". there's no silly AM radio nonsense (beach boys, osmonds, etc), no hippie jams, none of that kind of thing. its "just" disco and house music.

I just think you're judging some of these people for the wrong reasons. Half this thread is about how DJs who grew up listening to rock, who love the Beach Boys, who love rock, are excited to mix those aesthetics with their disco. To criticize them for not being "just" disco and house music is to hold them to a goal that may be your goal, but isn't theirs(or mine).

I read the kirk interview when it happened, and I've talked to Woebot and Simon Reynolds about those things. The reason a lot of DJs now are excited by the idea(l) of Chicago/Detroit being raised on italo and especially experimental electronic stuff from europe is because most of us probably come out of a new wave and industrial background anyway. Personally, as a white dude from the suburbs who wore a Throbbing Gristle patch on my jacket in high school, exploring Liasons Dangerous's impact on house/techno is going to make a lot of sense to me.

But it also doesn't take a lot of research to see that it's a valid thread. Hit deephousepage.com and check out all the Ron Hardy and WBMX stuff and there's plenty of italo and new wave stuff.

in fact im saying that those tracks are mostly BETTER than alot of the commonly sought after "rare" italo jams that are around but dont get play or love from many people because theyre not rare and expensive

Look, MOST DJs, and most people, need to be told what's good, so they follow their leaders. It'll always be that way. I happen to like a lot of the beardo stuff so when something like Chilly's For Your Love enters the cannon and becomes an obvious track or whatever, that's good news for me, I get to hear it more often when I go out. But looking at your list, it doesn't seem like someone who genuinely likes the sound of of those rare italo records would ever prefer most of the stuff you're playing.

http://www.cornwarning.com/pipecock/ (the one starting with kid creole)

and here:

http://www.cornwarning.com/tomcox/

(severe thunderstorms is the one that starts with only child, the bleep43 mix has 1 hour by toby frith (good stuff, soundtracky electro type stuff) before my hour which begins with the mandrill jam)

as for the BMX mixes, when i hear them i hear house music much less than when i hear hardy mixes. the logical continuation of what hardy was doing was the early chicago records, im not sure there WAS a logical continuation of the BMX style sets. sure they had some influence on the sound, but not like hardy's looped up and tracky aesthetic which basically went on to define house.

as for whether people who really love italo would like what im doing, i guess i cant really say. certainly i play stuff that is far less cheesy and over the top for the most part, so if thats the aesthetic that appeals to them the most, i guess they wouldnt dig it!

double? cat gang? clive stevens & brainchild?

ok, but these groups had great one-off tracks and are they really any more or less obscure than omar s or suzi lane or karen silver?

pipecock - 20-Apr-05 02:40 AM
Omar-S is the latest man of mystery from Detroit. His records are low key minimal dirty house music, usually issued only on white label with handwritten info. His love for the music is quite evident from the deep emotional tracks he writes. His music is indebted to tracky Chicago house, dirty Detroit house, and of course Detroit techno. The release of the vinyl of his "Just Ask The Lonely" album is sure to catapault him into the same revered air as Theo Parrish and Kenny Dixon Jr. For me he's already there: I buy double copies of every release he has without listening to them first. Thats some of the highest praise I can give to any artist. I've never been disappointed....

i mean, come on man! sounds like your fingers are pretty dusty, too!!

Dan already brought up the fact that your goals as a DJ may be different from other people's, but piggybacking on that: Is it so worng to want to use two turntables and some records for purposes other than moving bodies? I like dancing and playing to a full dancefloor as much as the next DJ, but music can do other things.

i really want a mobile wedding/event DJ w/ a caselogic full of burned top 40 tracks (usher, chris brown, jt, lil jon, etc) to come on this thread and start sneering at your "dancey" selections.

But my understanding re BMX and Hardy...some of those Hardy mixes from the early 80s are straigh up no different from Knuckles, classic disco, deep house, but within a few years he's definitely playing the earliest tapes of the serious new "house" records, but to be honest, it still sounds to me like those artists wanted to sound more like Electra, New Order, Gaz Nevada etc, then the philly/NY disco. Perhaps that's just due to the house music I gravitate towards, which is the New Waviest of the time. The BMX mixes I love, particularly Mickey Mixin' Oliver's, are where there's a great mix of early house, UK new wave, italo-disco, and then current top 40 hits. But maybe he's the "whitest" of the hot-mix 5, and maybe that's why I like him(using your terminology, I usually try to avoid equating funky music with black people and electronic pop with white people in public).

and ginny, john forde, etc. plus all the hype behind the black cock stuff and idjut stuff that just isnt that good.

and hell yeah, i dig for my shit. but ive passed on "rare" records because i dont like them, many times in fact. what im irritated with in fact is that these guys are taking the easy way out by just playing stuff that is rare instead of stuff that is rare and really good. really, anyone can take some $$$ and go to a dealer (and i know harvey and the idjuts buy from dealers, ive seen the dealers mentioning so on DJH) and buy their most expensive rare records and then play them. again, the parallel to what has happened in funk/rare groove digging is really obvious to me, where its just becoming about who has something that NO ONE ELSE has. its exactly the same attitude as jungle and dubstep and whatnot use in "exclusivity", and its something that turns me off. in the end it should all be about the music, and i feel like in this case it's not.

And for the record, hipster rock nerds have been talking about the Osmonds for a few years before the hipster disco nerds.

see, one of the main reasons i like the house/disco/techno/electro "scenes" (for lack of a better word) is their continuity. people have continually done these things and at the end of the day, you can mix up all these parts from over the years and it all still makes sense. its these little over hyped hipster cults that form around any given music (dubstep was killing me for a while since no one cared when that shit was being born!) that irritates the shit out of me. there has been hype around good music, and bad. but no music has ever truly benefitted from it. and i feel like this one is indeed one that is just way overblown already......

BTW, i did like alot of the selections on your boy's "italians do it better" blog, some nice shit on there (like that starbow 12") that isnt way overhyped but is still really good.

-- Dan Selzer (danselze...) (webmail), September 15th, 2006 2:19 PM. (Dan Selzer) (link)

i drop the originals of some of the unclassics records

-- pipecock (twelve.bi...) (webmail), Today 3:08 PM. (pipecock) (later) (link)

lol, DJs