Strangely enough I have been doing precisely this when I spin... I can't
rememer the last time I spun a pure house or techno or tech-house or
whatever set without throwing in at least a couple odd records - whether
new wave, disco, funk, soul or even as some people have mentioned early
"rave" classics like "James Brown is Dead" or "O Fortuna" even. The
response I get tends to be pretty good but then again I am not playing at
huge super clubs but at tiny little crappy bars where the people are into
the music and not there for any other reason.
I find that this keeps me interested in what I am doing and tends to keep
the crowd a bit on their toes if they don't know whether to expect a techno
record or Blondie next.
Anyway I think I have started to do this in response to the mediocrity and
same-ness of techno, tech-house, etc records that seem to have swamped the
market over the past several years.
Just my $0.02.
At 09:07 PM 2/4/2003 +0000, Andrew wrote:
Ha ha ha, well, this thread has certainly gone off on a right tangent, very
funny. It's true that a lot DJs I hear in London could do with displaying a
little bit of humour and ingenuity, rather than mixing one record into
another, ad nauseum. I think this links in with what I originally meant with
this thread, which was to get opinion about boring tunes which rely on the
Pro-Tools factor to come off, rather than actual funk - and not just
'syncopation', actual REAL funk, displaying something different in their
track. It seems to me that a lot of the DJs I refer to above play exactly
these records, or maybe I'm just getting too cynical...
I suppose I'll come out and say that the main culprits are supposed 'techno'
and especially 'tech-house' records/DJs, I never fail to be bored to tears
going through the new releases, and this probably mirrors a lot of
list-members' experiences. The talk at the beginning about Suburban Knight's
releases having that bit of grime in there made me think - what do I prefer?
As Ken said at the start, too much grit is bad for club systems, and I guess
what a lot of my favourites do is find a happy medium, between rough and
smooth. I think a lot of disco records are an inspiration in this regard
because they still sound massive next to todays recordings.
I know the feeling when you play a track which you love, and you realise it
has a great big wooly hum from 70Hz downwards, completely masking other
elements in the track. Maybe the mixtape is the saviour of these kinds of
mixes, where you can put more obscure, less 'well-produced' stuff on a mix.
Am I stating the bleedin' obvious?
And now the race is on to do a house version of the Flying Pickets -
dedicated to the fire-fighters, eh? Miami's coming up....or an electroclash
version of the Birdie Song?
----- Original Message -----
From: "Brendan Nelson" <[EMAIL PROTECTED]>
To: "Odeluga, Ken" <[EMAIL PROTECTED]>; "spw"
<[EMAIL PROTECTED]>; <313@hyperreal.org>
Sent: Tuesday, February 04, 2003 4:39 PM
Subject: RE: (313) Over-production (WAS - Re: (313) Suburban Knight)
> | -----Original Message-----
> | From: Odeluga, Ken [mailto:[EMAIL PROTECTED]
> | Sent: Tuesday, February 04, 2003 2:47 PM
> |
> | You know, I think techno has a point here - UK members - remember: The
> | Tweets "The Birdie Song" also The Flying Pickets and Black Lace?
>
> Actually, the Flying Pickets might actually work in a Din Da Da sort of
> way...!
>
> Brendan
>
