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

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

mike's a good example of someone who doesn't pay much attention to the cannon. While everyone else is studying djhistory threads and buying bootleg edit comps, he's going to secret record spots, buying nameless records in bulk and playing the ones he likes.

I do that sometimes as well, but like, you have to have the time and money to go digging. The rest of the time someone props something on the internet, you check it out, and you buy the bootleg like all the other suckers.

and how do people rate the newer tirk releases?

Body: SATURDAY JAN 13
blasthaus presents
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universe bring you a freshly minted
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Ben Cook
Join an incredible cast of
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$7 tickets ($1.50 service charge)
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Fri Feb 9 (10:00 p.m.)

Red Dot and Mezzanine Presents

DEMON DAYS FEATURING

LINDSTROM
CARL CRAIG
Gamall
ML Tronik and TK Disco

10:00 PM - 4:00 AM

$10 Limited Advance Tickets

21+ with ID

DEMON DAYS: An official Planet E Selection - is a quality electronic music club night started in 2004 by acclaimed and influential Detroit-based music producer / DJ / innovator Carl Craig and New York-based DJ Gamall with special artwork provided by Amsterdam-based artist Parra. So far Demon Days events have taken place in New York, Chicago and Detroit. In 2006 the highlight was a special session at New York's PS1 with Berlin's masters of dub Rhythm & Sound. In 2007, Demon Days will be expanding operations with events in San Francisco, Toronto, and Berlin and beyond. The 2007 Demon Days series will kick off with a special NYC party at Studio B in Brooklyn on January 19th. The Demon Days night also acts a showcase for music from Carl's respected independent label Planet E Communications.

unfortunately, it's 33rpm so you can't pitch it down enough for maximum deep vibes

http://www.tropicalcomputersystem.com/

1. Bill Cosby "Yes, Yes, Yes"
2. JDilla "Workinonit"
3. Brennan Green "Divisadero"
4. Discotheque "Disco Special
5. Bama the Village Poet "Social Narcotics"
6. Norman Griscombe, Jr. "Get Up & Dance"
7. Serious Intention "You Don't Know RMX"
8. Vicky 'D' "This Beat Is Mine"
9. Plastic Mode "Baja Imperial"
10. LCD Soundsystem "Too Much Love"
11. Arturo Benavides "Muchacha"
12. Brennan Green "Little Ease (Lindstrom & Prins
Thomas RMX)"
13. ??? (rong)
14. Spank Rock "Rick Rubin (inst.)"
15. Groupo Sta. Cecilia "Africa Bump"
16. JDilla "Won't Do"
17. Eurythmics "Aqua"
18. Glorious Strangers "Deception"
19. Chicago "I'm A Man (Rub-N-Tug Re-edit)"
20. Goldfrapp "Slide In (DFA RMX Inst.)"
21. LEM "I Wonder"
22. Womb "Peace"
23. Brennan Green "900lb Man"
24. James T. Cotton "My Zel"
25. Frank N. Dank "Push (Inst.)"
26. Daybre "Hyped-Up Plus Tax (Outputmessage RMX)"
27. James T. Cotton "A Long Way Down"

I am enjoying it.

For some reason I never got around to listening to that dj harvey mix and it is AWESOME.