(313) canberra?
A longshot I know - but I'm moving down to Canberra and was wondering if there is any 313 or related action I should know about? Ta, Rc
(313) Bristol?
I've got a friend who's moved to Bristol - where would he go to get down to disco, deep house, D techno et al? Ta Rc
Re: (313) Friday treat for the balearic heads
I'm really digging these mixes.harvey/black c#ck bootleg mixes seem so hard to come by..does anyone know where some other harvey mixes subside? Ta Rc on 12/11/04 9:04 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > 1) Sorry about that last post, it was supposed to be a private one > > OK, on with the post: > > One of my favourite mixes of the year came from this site, and it was > Harvey, live in San Diego. Beautiful trippy downtempo s**t. Really blissed > out. Just a cd that always put me in a good mood. > > Today there's a new one! So, I'm happy. If it's even half as good as the > last one, I recommend it. You can grab it here: > > www.loungecandelas-sd.com/Harvey_101604_Pt_1/Harvey_101604.mp3 > > www.loungecandelas-sd.com/Harvey_101604_Pt_2/Harvey_101604_Part_2.mp3 > > And, also, I think I have Harvey to thank for really getting me into the > latest Kraftwerk LP. I got the LP when it came out, listened a few times > and didn't pick it up again. But, that last Harvey mix from San Diego had > the track "Vitamin", and I've hardly stopped listening to it, so I went > back to the LP and found it a whole different experience. That track > "Vitamin" is definitely in my techno top 5 for this year. It's awesome. The > production, the little subtle melodies. It's the bomb. > > Alex > > > _ > - End of message text > > This e-mail is sent by the above named in > their individual, non-business capacity and > is not on behalf of PricewaterhouseCoopers LLP. > > PricewaterhouseCoopers LLP may monitor > outgoing and incoming e-mails and other > telecommunications on its e-mail and > telecommunications systems. By replying > to this e-mail you give your consent to such monitoring. >
Re: (313) Portable mp3 recorders?
I've got a 20gig iriver H300 series - I think they replaced the H100 series and have the advantage of a colour screen so you can view photos. the killer app for me was the line in recording. works really well and you can encode at whatever quality you want. also can transfer files via USB without the need for a computer so you can transfer directly from camera to the iriver. I don't see why updates in the firmware shouldn't allow for transfer between mp3 players in the same fashion. the firmware is updateable and so it is likely that the color screen can be used to watch movie files at a later stage. There's no software that needs to be installed on your computer either - it just appears as another hard drive on your desktop - so you simply drag files in and out without having to maintain double copies on your computer (like iTunes).nice sennheiser headphones too. cnet.com will have some good reviews for you to shop around. downsides are - fiddly buttons, a little bit of a brick, not that pretty like the way fashionable ipod, a tiny bit slow to scroll through titles and load up especially if full, only 4x scan speed which can be a little annoying for long djmixes. otherwsie i'm pretty impressed and with updateable firmware it should stand the test of time happy shopping rc on 25/11/04 9:56 AM, Anton Banks (313) at [EMAIL PROTECTED] wrote: > Thanks everyone. > > Ok. To summarize (in case anyone else had the same question) two recorders > kept coming up. They are the H-140 by iRiver and the Gmini 220 by Archos. I > still want to do a bit more research but I'm now leaning toward the iRiver > because a LOT of people seem to have it and I've only gotten one mixed > review about it. > > Thanks again, > -Anton > > > -Original Message- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] > Sent: Wednesday, November 24, 2004 5:39 PM > To: Edward George > Cc: 313@hyperreal.org; [EMAIL PROTECTED] > Subject: Re: (313) Portable mp3 recorders? > > > > > > > a friend recently bought an iriver. he's usually on 313. maybe he'll chime > in later. > archos also make a recording mp3 player http://www.archos.com/ > > i sat around for a year waiting apple to include hi quality recording on > the ipod before buying the 4g ipod. i still love my minidisk. > > > > > Edward George > <[EMAIL PROTECTED] > il.com>To > [EMAIL PROTECTED], 313@hyperreal.org > 24/11/04 03:29 PM cc > > Subject > Please respond to Re: (313) Portable mp3 recorders? > Edward George > <[EMAIL PROTECTED] > il.com> > > > > > > > > I have an iRIVER i-HP140 which is a 40Gb mp3/wav/wma/ogg jukebox which > can record in wav or mp3 from optical / analog inputs > > I've already used it to record a couple of my mates sets. > > I love the bloody thing! > > http://iriver.com/ > http://iriver.com/html/product/prpa_product.asp?pidx=43 > > iriver have loads of new product ranges now so there might be > something better now but mine is still available. > > Ed > > On Wed, 24 Nov 2004 10:20:53 -0500, Anton Banks (313) <[EMAIL PROTECTED]> > wrote: >> I'm looking for a portable mp3 recorder to save my sets from an analog > (RCA) >> mixer output? All the mp3 recorders I've seen so far have only voice > and/or >> FM record capabilities. The only one I've found that does what I want is >> this one by Coby but it's been discontinued. >> >> > http://www.cobyusa.com/product/item.php?item=MPR650&pcat=portaudio&pscat=mp3 > >> &pscat2= >> >> Would anyone know of another recorder with these features? Any help would > be >> greatly appreciated. >> >> Anton Banks >> www.antonbanks.com >> >> > > ForwardSourceID:NT00016302 > > >
(313) egyptian lover in holland
Friday 08-10-04 WaterFront - Rotterdam - NL room 1: live: Egyptian Lover, Alden Tyrell, Novamen dj's: I-f, Serge, klen room 2: dj's: Duplex, Unit4, Pametex I'm very envious - I hope one or some of our dutch listmember friends can give us a debrief after this party
(313) new innercity?
This innercity whitelabel sounds great http://217.158.65.110/MP3/SF156689-01-01-01.mp3 is this a new kevin saunderson or a re-releasewonder when the full release is?
(313) pop your funk
does anyone else have that 'Pop Your Funk' mix from Brennan Green? i can only id a few and would love some help on the rest. rc
Re: (313) P2P
> > yeah i guess it does. if you really want to get picky about it. > > as does playing these tracks as part of a mix on radio (online or > otherwise). and i think technically playing records out in public ie. > at a club. you'll actually find that virtually all terrestrial radio stations (bar the odd pirate staion) in the UK have licences in place to braodcast musical works. Most clubs will have public performance licences too. Online is a different story though.
Re: (313) P2P
> > :) why would it be? emotionelectric.com just hosts promo mixes by dj's. > nowt wrong with that. pragmatically I agree - technically however, you're reproducing copyright musical works and sound recordings and making them available online, without the licence of the respective owners. That amounts to copyright infringement in most developed countries.
(313) washington dc?
can anyone suggest some decent record stores and/or clubs in dc? i remember someone saying recently onlist that good dance music was hard to come buy in dc? there must be something though. thanks rc
Re: (313) track ID from Ron Hardy/Deephousepage
on 13/5/04 11:03 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > > > > # 1072 Ron Hardy Live @ Edge of the Looking Glass, Chicago > > around 13:42 and right at 14:00 - either it's a long break in the > disco/jazz track or a different track altogether > either way - it sounds like Ron kicks up the bass EQ so it's *really* > thumping > the part I'm most interested in figuring out is what that percussion track > is > > sounds like he's working doubles of it gaz - sing sing easily available on salsoul. doesn't sound like any mixes i've heard so could be doubles or hardy tape edit. rc
Re: (313) Jeff Mills comp on Azuli
azuli's having a big sale on at the moment: http://www.azulishop.com/ the vega 4xlp comp is only 10 squid - prerelease too pity they dropped quite a few of the best tracks off the vinyl format rc on 4/5/04 1:37 PM, Ben Britz at [EMAIL PROTECTED] wrote: > I really like the DT one, though it took me a bit to warm up to it. > He must have spent an immense amount of time on it because he > re-edits nearly every track and writes a paragrah or two in the > liner notes on each of them. > Also have the Francois K and DLC discs and they are amazing as well. > Gonna pick up Vega's asap and then Mills. > > Quoting [EMAIL PROTECTED]: > >> >> >> >> >> >> there's also a danny tenaglia and tony humphries comp in the >> series. all >> these choice series of comps are really good, the derrick carter >> is >> brilliant. the frankie knuckles comp has the incomparable 'love >> bug' by >> bumblebee unlimited. the danny tenaglia one is the weakest - but >> it does >> contain two stone cold gems; Tony Cook - On The Floor and Hugh >> Masekela - >> Don't Go Lose It Baby. >> can't wait for the jeff mills. >> james >> www.jbucknell.com >> >> >> >> >> >> [EMAIL PROTECTED] >> >> et >> >> >> To >> 03/05/04 11:24 PM Robert Taylor >> >> <[EMAIL PROTECTED]> >> >> >> cc >> Sven Venema >> >> <[EMAIL PROTECTED]>, >> >> ThReE-oNe-ThReE >> <313@hyperreal.org> >> >> Subject >> RE: (313) Jeff Mills comp >> on Azuli >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> the derrick carter one was loosly 'mixed' >> >> supposed it depends on how mixable the tracks are from one to the >> next. >> >> On Fri, 30 Apr 2004, Robert Taylor wrote: >> >>> It's a compilation, not a mix, I think. >>> The previous Choice comps weren't mixed. >>> Frankie Knuckles, Derrick Carter and Francois Kevorkian did the >> other >> ones >>> >>> -Original Message- >>> From: Sven Venema [mailto:[EMAIL PROTECTED] >>> Sent: Friday, April 30, 2004 11:08 AM >>> To: ThReE-oNe-ThReE >>> Subject: Re: (313) Jeff Mills comp on Azuli >>> >>> >>> Just now, "Robert Taylor" wrote: >>> >>>> Ryan just stuck this tracklisting on LD - I think it is part >> of the >>> Choice series of comps. It's a good indication of the sets he >> has been >>> playing at the Xmas Lost parties over the past couple of >> years: >>>> CD2 >>> [deleted] >>>> Ramirez - El Ritmo Barbaro >>>> Florence - Analogue Expressions >>> >>> Eh? That's gotta be an interesting mix :) Thanks for the info! >>> >>> Sven >>> >>> -- >>> Wer't de eangst regearret, >>> kriget de leafde gjin kans. >>> >>> >> > ## > ### >> >>> Note: >>> >>> Any views or opinions are solely those of the author and do >> not >> necessarily represent >>> those of Channel Four Television Corporation unless >> specifically stated. >> This email >>> and any files transmitted are confidential and intended solely >> for the >> use of the >>> individual or entity to which they are addressed. If you have >> received >> this email in >>> error, please notify [EMAIL PROTECTED] >>> >>> Thank You. >>> >> > ## > ### >> >>> >>> >> >> ForwardSourceID:NTB8D2 >> > >
Re: (313) New Mix up at Emotion Electric
can't remember anyone commenting so I wanted to give big ups to alex for this mix. much respect for the homage to history as well as a nod to the present - all blended via nice long mixes on what sounds like 3 decks (well it sounds like that with those rhythm track transitions anyway)nice eq work too. i dig. rc on 23/4/04 8:22 PM, robin at [EMAIL PROTECTED] wrote: > > Something for the weekend > > Alex Bond, Salford House Association presents: "Broughton Bridge Boogie" > (http://www.emotionelectric.com) > > Wuf Ticket "The Key" (Prelude) > Just One "Love2Love" (Isoul8mix) (Neroli) > Galifree Beats (Danica) > Funkmasters "Love Money" (Siamese) > Made In Usa "Melodies" (Delite) > Virgo Beats (Trax) > Hercules "7 Ways" (DanceMania) > Virgo Beats (Trax) > Kleer "Keep Your Body Working" (Atlantic) > Galifree Beats (Danica) > Electrik Funk "On A Journey" (Prelude) > DJ Kent "In The Bush" (Theo Parrish Mix) (Bear) > Max Berlin "Elle & Moi" (Joakim Mix) > Larry Heard "Daze Of Phaze" (Trackmode) > Directions "Busted Trees" (C's Spacetrumental) (Diaspora) > Hal Varian "Catalysm" (New Religion) > Juan Atkins "I Love You" (New Religion) > Galifree Beats (Danica) > Kasso "One More Round" > Erotic Drum Band "Jerky Rhythm" (Scope) > PaperClip People "Paperclip Man" (Retroactive) > Shake "Soundblaster" (Gigolo) > Virgo Beats (Trax) > Servo Unique "Servo Unique" (Luxury) > Yellow House "Jack My Body" (DanceMania) > Jungle Wonz "The Jungle" (Trax) > Virgo Beats (Trax) > React "Love Reaction" (Dub) (Minimal) > Mothers Finest > Virgo Beats (Trax) > ACR "Do The Du" (Factory) > >
Re: (313) carl craig edits
didn't he do that dick hyman moogy number rc on 19/4/04 8:44 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > there's more carl craig edits on that moxie label. > > anyone know which tracks he did? > > Alex > _ > > - End of message text > > This e-mail is sent by the above named in their > individual, non-business capacity and is not on > behalf of PricewaterhouseCoopers. > > PricewaterhouseCoopers may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring > > >
(313) london this weekend?
any party suggestions for a good friend who is in london this weekend - assuming he's missed out on tickets to Lost? ta rc
Re: (313) track ID
good men - give it up fairly easy to track down later re-dited/remixed by carl craig on his ltd. subscription only 12" on planet e rc on 21/3/04 8:26 AM, ryan burns at [EMAIL PROTECTED] wrote: > can anyone tell me what track ron hardy plays on his mix on the > deephousepage.com at around 42 minutes. > its on the first page of the web site. > 1072. Ron Hardy Live @ Edge of the looking Glass, Chicago > > thanks > ryan burns > > _ > All the action. All the drama. Get NCAA hoops coverage at MSN Sports by > ESPN. http://msn.espn.go.com/index.html?partnersite=espn >
Re: (313) The story of the Original Hot Mix 5
don't forget the rodney dangerfield stings.. easily my favourite crew - farley keith was the best of the five IMHO although they each had their own style matt - where did that 'Lost In The Mix' story come from? rc on 4/3/04 11:36 AM, Matt MacQueen at [EMAIL PROTECTED] wrote: > > On Mar 3, 2004, at 5:54 PM, [EMAIL PROTECTED] wrote: > >> my car is full of hotmix 5 tapes d.loaded from deep house pages (and a >> couple of tapes by a friend that's deeply influenced by the hot mix 5 >> style). it's always chicago 1984 in my car. i've even come to love the >> ads >> - harlem globe trotters in town for one night only, bobby brown >> playing the >> world's largest house party, and i've got to get some hair relaxer. > > Hot. Also i love the station ID's... you're with Armando's Saturday > Night Live Ain't No Jive Dance Party... on W. Be, Emmm, Exxx! > (letters emphasized in time with on the downbeats of the kickdrum). > Great stuff, it's part of it all, the era of that time and the inherent > bit of cheese in any commercial radio show, the lazer beam sounds and > stereo-panning whoooshes with the Station IDs. (107.5 WGCI had some > ridiculous sound effects). > > peace > -- > Matt MacQueen > http://SonicSunset.com >
Re: (313) The right download format
on 11/2/04 7:53 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > Sounds like what mp3.com was supposed to be but I don't think for a minute > that will actually happen that way > > Apple and other communications companies are not altruistic entities - they > are in it for the money > what other communications companies are you talking about? Clear Channel? > Time-Warner? Microsoft? at this stage i'm talking about apple, napster, od2 and the other forefront digi download channels > if they become quasi-labels then I guarantee you they will have > not-so-quasi-contracts. of course not. this is the real world and change is gradual. their contracts will be real but they will ask for a smaller share of reveneue than that consistenly asked for by major labels > they may not call themselves major record labels but they will act like > them (and maybe worse since many large corporations are now considered > individual entities by the law and aren't held responsible in the same way > smaller business are). The artist will make a contract with the "marketing > department" then and music will get even more recycled. The marketing > department will take over all aspects of how to market a band because it > will be a product. The artist will be, even more concretely, a sub-brand of > the label. That is what marketing departments do. yes - i'm saying that record labels will no longer own the means of manufacture and distribution. this is their power base - it is slowly disappearing - record comapnies are undergoing a massive restrcture atm. they have shed 1000s of jobs worldwide. > >> the days of record companies asking for 70% revenue shares of sales are > over. > > what makes you so sure? i work in the industry and i've seen it happen already. > they still will have major control of distribution - look at iTunes - how > many websites would you have to visit to get 20% of the music they have > available? just one. go to kazaa and download their software. > And if you found them all online what percentage would be able > to sell the tune directly to you? The monopoly is just going to change > hands yes you're probably right to a degree - with 5 major labels its actually more of an oligopoly at the moment. > I don't see it as being as equal as you do - it never has been so why would > the already large companies who have the technological jump on it (Apple, > etc.) i never said it would be equal - this is the real world, nothing is black and white and that includes the debate over file sharing and the future of music. i see it becoming more equal than it isperhaps I'm an optmist. i have been witness to the disgusting behaviour of major record labels, as far as I'm concerned I would be suprised if we reached a situation where the power wielded by major record labels was as immense as it was up until the late 90's/
Re: (313) The right download format
this will change. within the next 3 years you will see apple and other communications companies becoming quasi-labels. as major record companies lose their powerful role as manufacturers and distributors - they will become marketing departments and that's all. the days of record companies asking for 70% revenue shares of sales are over. there is no reason that in 3 years time, when the majority of all legit music sales are digital that apple and similar won't start dangling contracts in front of recording artists. revenue shares will become more realistic and hopefully it will be possible for less successful musicians to make a moderate revenue. on 11/2/04 3:10 AM, Martin at [EMAIL PROTECTED] wrote: >> sale. Suddenly that 99 cent song you just bought has a cost of 50 cents. >> Split >> that 50/50 with the artist and everyone makes 25 cents. As you can see >> nobody >> is going to get rich any time soon. > > Read on fella... > http://www.downhillbattle.org/itunes/ >
Re: (313) RIAA v. DJ's
sorry jurren but that's incorrect. in a piece of recorded music there are two copyrights: 1) the copyright in the sound recording (generally owned by the recording company) 2) the copyright in the musical work or composition (ultimately owned by the composer(s) who may be represented by a publisher) if you want to copy a song from a cd/vinyl to another medium you need to clear both copyrights. if you wanted to to cover a song (ie. just use the composition but not the recording) you only need the permission of the owner of the musical work. BUMA/STEMRA (NL), SACEM/SDRM (FR), BMI/ASCAP/SESAC/FOX (US), APRA/AMCOS (AUS), MCPS/PRS (UK) are composer based organisations - they have nothing to do with record company associations like RIAA (US), BPI (UK), ARIA (AUS). Typically the relationship between composers and record companies is adverserial. For record companies, payment to composers represents a leakage of profits and generally record companies will do everything they can to underpay composers for the use of their copyright works. you won't be able to license the use of singular sound recordings through associations like the RIAA. you will need to go directly to the label itself. the riaa may however offer 'blanket' licenses for the use of a whole heap of their sound recordings on a radio or tv station. on 2/2/04 1:06 AM, jurren baars at [EMAIL PROTECTED] wrote: > Michael Elliot-Knight wrote: >> >> OK - so here's another question >> It's the Record Industry Association of America - which I then assume >> excludes UK, Japan, Euro, Oz, etc. labels so then, hypothetically, I could >> make a mix CD consisting solely of labels and artists from these countries >> and the RIAA then legally can't touch it because it has no jurisdiction >> over the content. > > no. > > the RIAA is the organisation that controls the copyrights in America, like > BUMA/STEMRA in the Netherlands or SECAM in France. this means that if you > use copyrighted material IN the US, you'll have to go through the RIAA to > get permission. if you use it in the Netherlands, you'll have to go through > BUMA/STEMRA. the RIAA, BUMA and others exchange their revenues, so in the > end every coppyright owner gets what he/she deserves. > > so even if you use - for example - pepe braddock's 'deep burnt' on a mix, > you have to license it through the RIAA, who in turn will make sure the > money goes to SECAM, who will give it to pepe or his recordcompany. > > jurren > > _ > Talk with your online friends with MSN Messenger http://messenger.msn.nl/ >
Re: (313) RIAA v. DJ's
the RIAA can only purport to control and then enforce copyright in the sound recordings of its members. Its members are mid size and large recording companies. so it really depends on what your mix tape contains. alot of the riaas members are large enough to support business in other countries, with local offices managing local repertoire as well as imports from worldwide. So territoriality won't be an issue in those cases. Also, it is possible to sue in a foreign country with local legal representation. It depends how the large record companies in the territory concerned are choosing to enforce copyright. Usually the big 5 (although BMG and Sony are merging) stick together and sue together. down here in sydney there's been a few busts recently. Some commercial dj got taken away by the federal police while he was in the middle of a set in a nightlclub in darling harbour - it was in the papers. Some hip hop/r&b djs got caught cutting up j.lo, busta rhymes etc and selling as mix cds - I think they had to pay for the costs of proceedings which they lost. Also late last year - the first criminal charges were brought against 3 young ozzie students for setting up and operating winmp3land.com - a site hosting and offering downloads of 1000s of commercial hip hop/r&b tracks - millions of downlaods were clocked up. They were very lucky to get away with suspended jail sentencesbut then they were pretty dumb in the first place. I think if you're using other peoples work (without permission or payment) in order to make money for yourself, you've gotta accept what's coming to you. the article posted does refer to '$100,000¹s worth of mix CDs'. Well someone is obviously making money from the music.it only seems fair that a portion of that money goes to the composer and the record co's involved. but there's scum in the dance music industry just as in any other industry. generally speaking, for a record company to bother to litigate they have to be able to prove that they have suffered considerable financial injury. so getting caught will depend on just how commercial you are with your copyright infringements and how many units you want to push so as to fatten your wallet. down here the most popular dance mix cds would be progressive trance, tech house, MOS and all that sort of crap.if they've been compiled without permission it probably makes for a better society if that stuff is off the shelves anyway. as always - if people were a little more educated, and introspective about music and didn't consistently lap up the crap marketed to them by major record labels - these problems may be avoided to some extent. if you don't like the terms and conditions that go with the music you buy - don't buy it. on 31/1/04 7:17 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > > > > OK - so here's another question > It's the Record Industry Association of America - which I then assume > excludes UK, Japan, Euro, Oz, etc. labels > so then, hypothetically, I could make a mix CD consisting solely of labels > and artists from these countries and the RIAA then legally can't touch it > because it has no jurisdiction over the content. > > this, I believe, is the most complete list available of labels that are > members of the RIAA > http://www.riaa.com/about/members/default.asp > > so don't use those labels in your mixes or stick with independent labels > from outside the US and you're golden... unless those artists and labels > ask you to remove the track from your mix > > let me know if this is or isn't true > > MEK > > > > jonathan morse > <[EMAIL PROTECTED]>To: <313@hyperreal.org> > cc: > 01/30/04 05:00 AMSubject: (313) RIAA v. DJ's > > > > > > > DJs mix CDs attacked in attempt to control copyright > > > > > > > Words: Terry Church > > The Record Industry Association of America (RIAA) has launched > a new campaign against DJs in an attempt to control copyright infringement. > > They have already confiscated $100,000¹s worth of mix CDs > from independent record stores across the US. > > DJ mix CDs, sold in almost every independent record store are > on the whole unlicensed and technically illegal to distribute. However, > DJs and producers alike often rely upon these illegal mixes in order > to gain credibility, and to promote themselves to the general public. > > The practice is in fact approved of by most producers who see it > as fundamental to the survival of the dance scene - even if it is > their tracks that are being copied and played without permission. > This latest attack by the RIAA is therefore hypocritical > they claim that their pursuit of copyright infringement is primarily > in the interest of the artist, yet most dance producers actually > approve of and rely upon this illegal distribution. > > > The dance scene relies upon these ?illegal¹ ways tosurvive, > and it seems that the only people who actually
Re: (313) re: Saunderson/Disney
with a decent lawyer it shouldn't be difficult specially with a company like disney that guards its copyrights\ vehemently. all ks needs is a copy of the movie and a decent ip lawyer and i'm sure disney will settle in good faith. someone should tell him rc on 19/1/04 11:44 AM, Dan Sicko at [EMAIL PROTECTED] wrote: > > On Jan 18, 2004, at 7:03 PM, [EMAIL PROTECTED] wrote: > >> I was watching Pixel Perfect today (a new made for tv movie on the >> disney >> channel), and I heard Saunderson's "Forcefield" (i think it was >> Forcefield) about 2/3 of the way through it, uncredited. I'm guessing >> because these songs are produced by independent labels it happens >> often? > > Yep. I remember hearing Metro Area's "Piña" in a Volvo radio > commercial back in 2002. Pretty sure MG hasn't gotten anywhere chasing > that one down. > > -d >
(313) kai alce' mixset
live mix on the deephousepage fornt page right now rc
(313) glimmer twins mix
i've really been digging this mix.lots of oldschool, disco and new wave re-edits.no fancy mixing but would have been cool to have been dancing to this one wherever it was recorded. find it at: http://www.glimmertwins.com/glimmmix.html along with a couple of ron hardy mixes rc
Re: (313) Detroit Technology archives
thanks Matt I'm listening to the Derrick May mix on this page: http://www.theplayground.com/static_music/derrickmay.ram what the track he plays at 18mins:40seconds in. I've seen derrick play quite a few times and he loves this one. "I wanna do anything" What is it? - it sounds like something Carl Craig would do in the early-mid nineties. ta rc on 23/12/03 6:23 AM, Matt MacQueen at [EMAIL PROTECTED] wrote: > Every once and awhile you stumble across some nice web archives from > the past that didn't get rinsed out when a server crashed or a domain > name expired or a start-up folded (R.I.P. Groovetech)... but here are > some good Real Audio sets from the "Detroit Technology" show from 1999 > > http://www.theplayground.com/static_music/ > > currently kicking the Common Factor one.. very nice > > peace, > -- > Matt MacQueen > http://sonicsunset.com >
(313) hey ya?
dunno if its been discussed on the list yet but outkast's 'hey ya' is definitely one top 10 mainstream chart hit I really enjoy hearing on the radio. how come no stores seem to sell 12"s of it though? rc
Re: (313) Poison of Babylon (was Derrick May Melbourne)
i've gotta agree with that. i hope you didn't behave hypocritically and refresh yourself with an alcoholic beverage after 'lecturing' people about taking 'drugs'. drugs are an important contributor to dance music culture. it would be naive to ignore that. conservatives that pay out on weed and stimulant whitegoods whilst happily sucking down a beer are annoying. as i enter the older part of my 20's i'm noticing that i'm no longer in the younger half of the crowd in clubs - you should accept it as a compliment that people think that you look hip enough to be in the 'know'. as for derrick - the last 4 or 5 times I've seen him he's been alright..after i see him I always pull out my old mixes of him from 87-89 on WJLB detroit radio - when he used to work doubles of eddy grant, into doubles of liasons dangereuses and scratch in 'can u feel it', with lil louis 'music takes me away' mixed over the top followed by Harry thurman's disco classic 'underwater' into Todd Terry's 'can u party'pretty diverse s%$t mixed in an adventurous way like it should be.he doesn't really push the envelope any more for me. on 5/12/03 10:07 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > > > > > huh? > you were in a bar, honky tonks--a business that profits from selling the > drug alcohol--and you question someoone who wants to use a different drug > to the state sanctioned one. > jeez, try to be a little more open minded, maybe alcohol isn't for eveyone. > let people choose the recreational drug they want to take. > > james > > > > > > > "Cyclone Wehner" > <[EMAIL PROTECTED] To: 313 Detroit <313@hyperreal.org> > ail.com.au> cc: (bcc: James Bucknell/ARD/AU/ReadersDigest) > Subject: Re: (313) Derrick May Melbourne > 04/12/03 06:31 > AM > > > > > > > "Grandmas are catching the Holy Ghost in churches on Sunday mornings > without > taking drugs, why do you need that to feel this music?" > > They could have been undercover cops, Home is apparently very strict on > that > thing. > > ;) > > -- >> From: <[EMAIL PROTECTED]> >> To: <313@hyperreal.org> >> Subject: Re: (313) Derrick May Melbourne >> Date: Thu, 4 Dec 2003 4:46 PM >> > >>> I had at least two people ask me where they could buy drugs and gave > them >>> lectures >> >> what kind of lecture?? >> >> k >> >> >> - Original Message - >> From: Cyclone Wehner <[EMAIL PROTECTED]> >> To: 313 Detroit <313@hyperreal.org> >> Sent: Thursday, December 04, 2003 5:10 AM >> Subject: Re: (313) Derrick May Melbourne >> >> >>> I had at least two people ask me where they could buy drugs and gave > them >>> lectures plus some wasted girl burnt me with her cigarette otherwise >>> there were good things for sure. I met some nice people, for sure. ;) >>> I think the best techno crowd I saw lately in Syd was at Biz-E's Chinese >>> Laundry with Kevin Saunderson, that was a really live crowd. >>> >>> -- From: David Gillies <[EMAIL PROTECTED]> To: Cyclone Wehner <[EMAIL PROTECTED]>, 313 Detroit >> <313@hyperreal.org> Subject: Re: (313) Derrick May Melbourne Date: Thu, 4 Dec 2003 3:00 PM >>> Cyclone Wehner wrote: > Ace!!! > Better crowd. > Intimate. Two days of promotion and full house on a Wed. > Blood was spilled, but it happened. > Someone said it was "a statement" and it was that. I was scared the >> system > would blow up (he he Patrick, remember the time), but it held up. > He played Nina Simone's See Line Woman twice, Latin, techno, deep > house, > etc, etc, etc. > You know, the crowd that was at home nightclub on Saturday night would have to be one of the better (if not best) crowds that I've witnessed there over the years... And that's not just because of all the techno heads who descended on the place. >>> >> > > >
(313) wax for sale
hi, sorry for the spam, but i'm selling off some music from my colection. A bit of detroit techno and house, chicago house, electro and disco. check: http://home.iprimus.com.au/richardcranston/ and let me know if anything takes your fancy. cheers richard
Re: (313) Secret History
excellent work alex - great compilation and nice to see someone that takes the time and shows the respect to do things the right way on 19/11/03 10:42 PM, Odeluga, Ken at [EMAIL PROTECTED] wrote: > (OK, I can't keep this in anymore and Alex you are too modest! :-) > > You can beat me up next week mate!) > > Pls check out this compilation which should be heading your way soon. It's > been put together by 313's own Alex Bond and his associate Dan Keeling (who > co-produced a record with Kirk Degiorgio this year). > > The following text is courtesy of Piccadilly records. > > http://www.piccadillyrecords.com > > Various Artists : A Secret History (EMI) > For New Religion's Dan Keeling and Alex Bond, this compilation of > early 80s electronic tunes has been a two year labour of love. > Undetered by countless bootlegs of Alexander Robotnick's "Problemes > D'Amour", My Mine's "Hypnotic Tango" and a load of other 'reissues', > they set about licensing some of the rarest, obscurest and downright > oddest pre-techno tracks the world has evert heard. From the classic > Italo of Klein & M.B.O. "Wonderful", new romantic electronica of > Visage's "Frequency 7" and NYC punk-funk of Material's "Secret Life", > it's clear that this compilation is the authoritative collection of the > once forgotten 80s underbelly. Also featuring comprehensive versions of > Liaisons Dangereuses, Telex and Gaz Nevada, it trumps them all with the > amazing "Temporary Secretary" from ex-Beatle Paul McCartney, which > starts off like the maddest Drexciya record you've ever heard! Totally > essential. > > 2xLP - REG85 - £16.99 - limited cheap price > LP packaged in deluxe heavyweight gatefold sleeve with classic 'pasted > on' artwork. > > CD - REG85CD - £13.99 - limited cheap price > The CD has eleven tracks, also featuring Riuchi Sakamoto's "Riot In > Lagos" and Throbbing Gristle's "Hot On The Heels Of Love". >
Re: (313) internet radio ruling
you'll find that the US is an anomaly with regards to the payment for the transmission of sound recordings over terrestrial radio. other countries recognise a right in the broadcast of copyright sound recordings - on and offline. depending on how underground the music is - the RIAA will not control that repertoire, and thus will have no rights to claimit will take alot of resources for the RIAA to implement a licence scheme for all US sites that stream music.. it will be interesting to see how internet radio portals like live365 deal with the ruling.. on 22/10/03 8:14 PM, jurren baars at [EMAIL PROTECTED] wrote: > http://dc.internet.com/news/article.php/3096481 > > internet radio will have to pay royalties. > not just that, they'll have to pay royalties to the producers, artists and > composers of the work. > traditional radio only has to pay royalties to the composers. > > the reason why tradition radio has to pay royalties only to the composers, > and not producers and artists is that: traditional radio stimulates sales, > whereas internet radio does not... > > it's not yet the final verdict, but this might have some serious > consequences on internet radio in general, but underground music in > particular. > > jurren > > _ > Add photos to your messages with MSN 8. Get 2 months FREE*. > http://join.msn.com/?page=features/featuredemail >
Re: (313) id record scd-013
dan bell's seventh city john tejada release www.sonicgroove.com on 16/10/03 7:39 AM, scotto at [EMAIL PROTECTED] wrote: > anyone know who this is? > orange label no writing except the run out groove > scd-013 > > music is deeper minimal techno/boardering on micro > > website, artist, anything. > > also is there a site you can look up labels by there vin. #? > > -scotto > lansing, mi. > plaztikjezuz.com > >
Re: (313) Why is derrick carter teasing us????
don't you hate it when you spend alot of time and a bit of money getting the harder to find cool old stuff and then someone goes and releases it on a nicely packaged dj friendly release at a reasonable price.. on 27/9/03 9:12 PM, Phonopsia at [EMAIL PROTECTED] wrote: > - Original Message - > From: "Maarten Baute" <[EMAIL PROTECTED]> > To: <313@hyperreal.org> > Sent: Saturday, September 27, 2003 11:17 AM > Subject: (313) Why is derrick carter teasing us > > >> Man >> >> WHY? >> >> The new "Choice - A Collection Of Classics" on azuli is compiled by > Derrick >> Carter. The first track on it is ULTRA rare "master jay and michael d - >> T.S.O.B." (the track is somtimes called "ready to rock"). But he used the >> vocal verion, and that one is allready re-issued. We all want the >> INSTRUMENTAL, don´t we?? Everyone I know wants the instrumental... damn. > > Dd. That vocal is cool! Different strokes I s'pose. > > I was just looking at this last night, and it is quite a bargain at £15 for > 4xLP with 15 tracks. Haven't seen the full tracklist yet, but based on the > three sounds samples they have online @ Piccadilly it sounds groovy to me. > If I didn't already have Savage Progress 'Heart Begins to Beat', I would've > snatched it up just for that. > > Tristan > === > http://www.phonopsia.co.uk > [EMAIL PROTECTED] > >
(313) Prince
Prince is coming to my town. Has anyone seen him perform lately - what can I expect?
Re: (313) Au Revoir Groovetech
i agree, file sharing has certainly increased your freedom as a consumer. one is free to take as they wish, without permission and without direct payment. your views of musical socialism are fine for those that willingly participate - but it's questionable whether such a system should be forced onto creators and other owners without their approval. i think it is not so much about capitalism nor profit, but about choice. composers should be given the choice of how their music is to be distributed and whether they want to value it commercially or just give it away. Take that decision away, and the incentive to create/work is affected. If you do not like the way that labels or other owners set the current terms for the consumption of their music, then simple - don't consume it. but to steal it and then have the defense, that you are contributing to the creation of a more "humane and ethical society", is a concept that some may find to difficult to swallow. on 24/9/03 10:16 AM, David Powers at [EMAIL PROTECTED] wrote: > 1. Whether freedom is desirable, is not my point. But I'd argue very > strongly that file sharing has tremendously increased my freedom as a > consumer. I now have a choice. One could say, in fact, that I > participate in a kind of musical communism, as I support record labels > as an ethical decision, even though I can already get the product for > free. I take what I wish, and pay as I am able. I also give back > musically in the form of the many free or very low-paying shows I have > done throughout my life. From some ethical perspectives this is wrong, > but to me this is a step in the direction of what would actually be a > more humane and ethical society. This behavior doesn't make sense from > an ideological economic perspective. But economic models should not be > mistaken for reality. > > 2. You seem to have a very pro-capitalist view of art, that "the > incentive and the ability to create" only come from a profit motive. I > know many talented musicians, composers, and artists, who make very > little at their art, and often do more commercial work to subsidize the > art they really care about. I don't think the economic incentive > argument applies very well to artistic human behavior. I wear a tie to > work every day, in part, so that I no longer have financial pressure > when I work on music. Now I get to work on the music I really care > about for its own sake. I don't get to do it full time, but that is the > nature of the society we live in, and these issues have been a problem > for talented artists long before mp3s ever came around. > > 3. I fear the end of the "golden age" of free music, will only increase > the power of corporate entities. My belief is that the real fear the > big labels have about file sharing is that it will weaken the channels > of corporate distribution. All the power the record labels have centers > on distribution and the kind of mass marketing an economy of scale on > that level makes possible. If consumers started getting their music > from anywhere and everywhere, they might be less interested in buying > the HIT-OF-THE-WEEK just because a huge label pumped a bunch of money in > to it to make it the next big thing. > > 4. I think the new paradigm for music is simple. Information truly IS > free, because it is costly to contain, and it tends to spread as if of > its own accord. There are plenty of capitalistic ways to turn > file-sharing into a strength, rather than a weakness. Instead of > selling the information, you sell packaging, you sell shows, you sell > services. You sell products that are "special" that amount to more than > the musical data stored inside. There are many possibilities out there > for creative and motivated people! > > -David > > -Original Message- > From: Rc [mailto:[EMAIL PROTECTED] > Sent: Tuesday, September 23, 2003 6:40 AM > To: David Powers; '313 Detroit'; [EMAIL PROTECTED] > Subject: Re: (313) Au Revoir Groovetech > > i'm not sure if "freedom" should allow for the unregulated trade in the > intellectual property of others without their permission. This > influences > the incentive and the ability to create. > > i think that at this time, if composers and labels wanted you to have > their > music for free, they would offer it and many do from their websites. > > the web is the most efficient music distribution model ever, and the > vast > majority of music consumers are prepared to have their entire > collections in > a digital format. > > i think we're kinda living in a golden age of free music, but things > will > slowly change and hopefully there will be shift
Re: (313) Au Revoir Groovetech
i'm not sure if "freedom" should allow for the unregulated trade in the intellectual property of others without their permission. This influences the incentive and the ability to create. i think that at this time, if composers and labels wanted you to have their music for free, they would offer it and many do from their websites. the web is the most efficient music distribution model ever, and the vast majority of music consumers are prepared to have their entire collections in a digital format. i think we're kinda living in a golden age of free music, but things will slowly change and hopefully there will be shift in power away from the major labels that dictate how music is to be consumed. on 23/9/03 9:34 AM, David Powers at [EMAIL PROTECTED] wrote: > Well, maybe, but once again, I might point out I bought four records > this weekend. 3 of the records, I have MP3s of the albums I bought, and > have been searching for the record. The fourth is an artist I > discovered in part by checking out his MP3s. > > I also discovered "The Sea & Cake" through mp3s this weekend, because I > saw a poster for an upcoming show of theirs here in Chicago. Now, > because I liked the music I heard, I intend to go see their show. I > will probably buy an album of theirs on vinyl also, if I see it around. > > I think that many others would have the same outlook as my own. Of > course, it's always scary to put ethical choices in the hands of > consumers. But then, isn't that what "freedom" (if that word means > anything at all anymore) is all about? > > -David > > PS. I never did try out Groovetech. I prefer shopping in stores but I > do use planetxusa.com sometimes. > > > -Original Message- > From: Cyclone Wehner [mailto:[EMAIL PROTECTED] > Sent: Monday, September 22, 2003 1:35 PM > To: 313 Detroit > Subject: Re: (313) Au Revoir Groovetech > > Now maybe the impact of rampant file sharing and burning stuff becomes > clear... Think about it... > > -- >> From: [EMAIL PROTECTED] >> To: "Phonopsia" <[EMAIL PROTECTED]> >> Subject: Re: (313) Au Revoir Groovetech >> Date: Tue, 23 Sep 2003 12:49 AM >> > >> >> >> >> >> Well, it was a good run. And they will go down in history as one of > the >> best shops to never have a shop. >> Hmmm, wonder what will happen to the archived music sets? >> >> MEK >> >> >> >> >> "Phonopsia" >> >> <[EMAIL PROTECTED]To: >> <313@hyperreal.org> >> sia.co.uk> cc: >> >> Subject: (313) Au > Revoir >> Groovetech >> 09/20/03 12:46 AM >> >> >> >> >> >> >> >> >> >> http://www.thesun.co.uk/article/0,,9-2003431875,,00.html >> >> Tristan >> === >> http://www.phonopsia.co.uk >> [EMAIL PROTECTED] >> >> >> >> >
Re: (313) 12 year old is sued by the RIAA
The P2P lobby group (made up of all the P2P software owners) have agreed to pay the $2000 on behalf of the girl. If the other 260 people that were sued by the RIAA were smart they'd ask the P2P lobby group to pay for their costs too. After all it is only the P2P companies and ISPs that are making money from the infringing trade of copyright material across networks. on 12/9/03 12:45 AM, Martin at [EMAIL PROTECTED] wrote: > This is nothing more than PR spin, they will probably drop the case due to > the fact that this 12yr old won't have to money nor will her parents. Plus > that will teach her to collect Backstreets boys sh*te - should be made the > law I think... > > And you should try buying CD's in the UK, 3 times as much - still it keeps > Mick Hucknall off the streets... > > md > > > > 11/9/03 1:40 PM Redmond, Ja'[EMAIL PROTECTED] > >> I really think the buying public should form a c.d. boycott until this stuff >> stops. If they think a thirty percent drop is bad what if just 10% of the >> people we contacted through e-mail stopped buying c.d.'s? That's a lot of >> people. And the sales would drop even more. I hate for the artist to be in >> the middle of this, but then maybe more of them would step up also. >> >> I would love to try to get this started or join a boycott that may have >> already started. I would need all the information,,i.e. facts,,rules and >> everything to send to people so they can make an intelkligent decision >> themselves. Does anyone know of where I can get the information behind the >> lawsuits? >> >> Ja'Maul Redmond >> >> PERKINS & WILL >> >> 1100 South Tryon Street, Suite 300 >> Charlotte, North Carolina 28203 >> >> >> >> -Original Message- >> From: [EMAIL PROTECTED] >> [mailto:[EMAIL PROTECTED] >> Sent: Wednesday, September 10, 2003 6:30 PM >> To: jurren baars >> Cc: 313@hyperreal.org >> Subject: Re: (313) 12 year old is sued by the RIAA >> >> >> >> >> >> >>> $2000 for a thousand songs she allegedly shared through her computer? >> that's $2 per song!!! >> >> Do you suppose that the RIAA is looking at each song and each artist that >> she downloaded and giving them their fair amount? As if she had bought a CD >> from each of them - and then does that affect their chart position? >> >> I really doubt they are distributing the money to the artists - many of whom >> seem to be rather silent on the issue lately (that I've noticed). Anyone >> see/hear/read artists speaking out against what the RIAA is doing? >> >> I think their lawyers could drop $2000 at dinner after the pre-trial hearing >> (business expense - it's a meeting to figure out the "game plan", honest!). >> >> >> MEK >> >> >> >> >> "jurren baars" >> >> <[EMAIL PROTECTED]To: 313@hyperreal.org >> >> mail.com>cc: >> >> Subject: Re: (313) 12 year >> old is sued by the RIAA >> 09/10/03 04:31 PM >> >> >> >> >> >> >> >> >> >> the RIAA is now offering an amnesty program to filesharers, read here: >> http://www.reuters.com/newsArticle.jhtml?type=topNews&storyID=3399602 >> >> some people are fighting back: >> http://www.rollingstone.com/news/newsarticle.asp?nid=18658&afl=frnd >> >> the same thing is happening here in the netherlands; 'stichting brein' an >> organisation that could be compared to the RIAA, has been demanding the >> names of people who's IP adresses they've got. But the internetproviders >> refuse to give those names, referring to those persons privacy rights. >> christiaan alberdingk thijm [kazaa's lawyer] points out on the website of >> his lawfirm why 'stichting brein' has not much chance of winning their fight >> for those names. >> >> i'm not sure what to think of all this. >> >> first of all, the extreme long time it took the recording industry to do >> something it could have done long ago, thereby only making things worse. and >> secondly giving the public the wrong impression; the impression that >> eventhough filesharing is not ok, it will have no consequence on you. >> >> the way they sue 12 year olds doesn't really help them either, it's like a >> shopkeeper who sees hundreds of people stealing from his shop day in day >> out, and finally does something about it, by picking out the weekest person >> >> that has ever done so, in the case a 12 year old. >> >> third, i'm really puzzled by all these settlements. $2000 for a thousand >> songs she allegedly shared through her computer? that's $2 per song!!! in >> court the RIAA would have to convince the judge and the jury that this girls >> filesharing has caused the recording industry $2000 damage. they could NEVER >> pull that off! they would even face a hard time trying to prove that there >> is a direct link beteen the decrease in sales in the music industry, and >> filesharing. just look at the shift in sales towards dvd's or even >> ringtones, and combine that with the bad economy. >> >> jurren >> >> __
Re: (313) 12 year old is sued by the RIAA
that may be true - but this doesn't really effect you does it? what proportion of the music you buy is aligned with major record labels? it worries me when people use the rationalisation that it's only hurting snr. executives from major record labels when they download music off p2p programs and then they go and download detroit stuff or other stuff which major record labels have no rights vested within. Music from composers they claim to support but then go and download free of charge? one thing that's strikingly clear - no matter where the music is from, and no matter how much it would normally cost - you can't compete with free. on 11/9/03 8:49 AM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: >> i'm not sure what to think of all this. > well, let's see...the recording industry has flooded the maketplace with > sh!t which, in reality has no value, overcharged people for it, switched to > a digital format so that they could screw the craftspeople (not artists) who > make this stuff...so people decided not to pay for it and are now they are > drowning in it and want to extort a life-jacket from you (the consumer)... > > i think it's great! > > b >
Re: (313) viva italo
check the globaldarkness.com forums - it's discusseed there rc on 11/9/03 8:11 AM, Matt MacQueen at [EMAIL PROTECTED] wrote: > what are the chances of a track ID from this TV ad?:) > > http://www.adformatie.nl/images/9621.mpg > > peace, > Matt MacQueen >
Re: (313) kraftwerk lyric permissions
contact emi music publishing in your territory- they represent the work so they probably represent the lyrics too. on 27/8/03 5:33 AM, Matt Kane's Brain at [EMAIL PROTECTED] wrote: > does anyone have a contact whom i could contact regarding reprinting > kraftwerk lyrics? > > -- > "Well theoretically yes, but, the matches would be so > perfect as to eliminate the thrill of romantic conquest." > Matthew Kane : Driver Developer : Atlantek, Inc. > [EMAIL PROTECTED] || [EMAIL PROTECTED] >
Re: (313) "Jaguar" Strings on 80s House record?
i guess that's the same as many areas of law on 6/8/03 4:10 PM, James Hurlbut at [EMAIL PROTECTED] wrote: > I recently went to a talk by Stanford Law Professor and media critic > Lawrence Lessig where he said that in terms of practical real world > copyright law as it is being applied these days, successful defense > essentially depends on how much money you have to spend on litigation. Kind > of shocking to hear a distinguished law professor admit that. >
Re: (313) "Jaguar"/Mike Pickering
Yeah wasn't he also behind Quando Quango? if so - the man's a genius rc on 5/8/03 8:03 PM, Mann, Ravinder [CCS] at [EMAIL PROTECTED] wrote: > Yes I remember them 'Tell me how it Feels' > > Mind you there were a couple of nice 'pop house' tracks on the first > M-People record. > > Yes give the man a break he virtualy brought House Music to the Hacienda way > back...and possibly opened many a door to the UK dance scene, expecially in > the North were the music was more soulful than the acid beats of the south. > > > oh, and one more thing! Mike Pickering - yep, OK, he did M-People, but I > think he's made his contribution - 52nd Street anyone? Good Factory band, > innovative etc. Give him a break > > my 2p's worth anyway. > > _ > > - End of message text > > This e-mail is sent by the above named in their > individual, non-business capacity and is not on > behalf of PricewaterhouseCoopers. > > PricewaterhouseCoopers may monitor outgoing and incoming e-mails and other > telecommunications on its e-mail and telecommunications systems. By replying > to this e-mail you give your consent to such monitoring > >
Re: (313) italo
yeah i'd agree with that - lots of the early italo stuff had its origins in background music...simonetti was behind some of the goblin,tenebre series as well as a b-grade movie called college from 81(?) which was also a big chi-town dancefloor bomb...of course moroder did alot of work for film also..maurizio dami (alexander robotnick) also wrote some production/mood/library music (used as background music in ads/movies etc) for the italian Primrose label in the 80s...... rc on 4/8/03 9:31 PM, Cobert, Gwendal at [EMAIL PROTECTED] wrote: > I'd say "Blade runner" was the thing to say - didn't the use of synths and the > like by Italians originate with them using them for cheap OSTs, I'm thinking > Goblin here, esp lots of cheap porno, horror and sci fi flicks ? quite a > number of comps out there, maybe also try to get your hands on a Goblin best > of... > Gwendal > >> -Original Message- >> From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] >> Sent: Monday, August 04, 2003 1:15 PM >> To: 313@hyperreal.org >> Subject: (313) italo >> >> >> I was thinking. >> >> The origins of techno are pretty well documented right? >> and we see, from what we read & hear, where some of the >> sounds/ideas/structures come from. >> >> e.g. 'No UFO's', or 'Sharevari', or 'Clear' all had >> electronic music come >> out before them, from which you can deduce that certain ideas >> or whatever >> were taken from. (P-Funk/Kraftwerk/Italo/Chicago/Disco) >> >> But, I was thinking - what came before Italo Disco? where on >> earth did some >> of those producers get some of their ideas from? It was early >> days, synths >> and drum boxes were just coming on to the market, and were barely >> affordable, but the prices were coming down. >> >> Anyone know anything about this? I picked up a copy of that Vangelis >> Bladerunner thing on the car boot sale yesterday, and its >> fairly clear that >> the Italo 'Hypnosis' versions were covers/dancefloor remakes >> of this. So, >> did the italo guys remake alot of stuff does anyone know? Did >> alot of their >> ideas come form electronic classical/experimental stuff? >> >> supposedly also Italy's 'cosmo' scene was pretty wild, >> someone said to me >> they were doing/playing loads of wild stuff before Mr Hardy >> picked it up. >> round about '79/'80/'81 onwards >> >> anyone know any more, or any info on the net anywhere? I'd be >> interested to >> know. >> >> ta! >> >> Alex >> _ >> >> - End of message text >> >> This e-mail is sent by the above named in their >> individual, non-business capacity and is not on >> behalf of PricewaterhouseCoopers. >> >> PricewaterhouseCoopers may monitor outgoing and incoming >> e-mails and other telecommunications on its e-mail and >> telecommunications systems. By replying to this e-mail you >> give your consent to such monitoring >> >> >> >>
Re: (313) 29 Detroit 12"s
never seen KA Shelby's version.I thought the version on Automan (2?) was Hardy's re-edit...then there's Theo's edit.and Farley usde to play a nice edit too..then there's a house remix by Diesel #1 and Mark Imperial samples it heavily on one of his Laurent X releases from about 88..then of course the original version on the Unidisc LP which is a much more full bodied disco release where the break sampled by eveyrone else only really lasts for about 4 bars... on 24/7/03 7:35 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > hmm, while we're on the subject of K-Alexi, has anyone ever seen his > re-edit of Nightlife Unlimited's Peaches & Prunes available? > Supposedly he did it how he remembered Ron Hardy's edit... > > anyone? > _ > > - End of message text > > This e-mail is sent by the above named in their > individual, non-business capacity and is not on > behalf of PricewaterhouseCoopers. > > PricewaterhouseCoopers may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring > > >
(313) detroit streaming xtravaganza
stingray, assault, dj 3000.+ serge (clone?) from 5 days off http://pages.vpro.nl/3voor12/dj_sets/dj_sets.shtml?2534202+2584688+2584508+0
Re: (313) playlist WNUR Chicago - 27 June 2003
yep on Island US and looks like it was licensed from Ze records - 81/82. It's my fave was (not song for sure. Don't forget the very nice 'out come the freaks' dub on the flip. rc on 2/7/03 6:42 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > >> Was (Not Was) - Tell Me That I'm Dreaming (Souped Up Ken Collier >> Version) (Island) '81 > > arrrgh, whats this??? > > sounds like it might be hot!! > > Is this a US Island thing does anyone know? > > Thanks. > > Alex > _ > > - End of message text > > This e-mail is sent by the above named in their > individual, non-business capacity and is not on > behalf of PricewaterhouseCoopers. > > PricewaterhouseCoopers may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring > > >
Re: (313) Mojo interviews Prince OT (1985)
on 26/6/03 8:59 PM, Martin at [EMAIL PROTECTED] wrote: > 26/6/03 9:44 AM [EMAIL PROTECTED] > >> i think it's easy to misinterpret the vibe of an interview from a >> transcription. > > Sure, but I was kinda making a joke > > >> I liked Prince's movies - unique; like his sound. The world would be a >> better place if all musicians created with the same motivations as Prince; >> and radio would be an infinetely better medium if all broadcasters presented >> programmes with the same motivations as Mojo. >> > > Subjective matters aside, unique is one way of putting it and from the same > director that brought you the A-Team is another. > > Not to sure that the world would be a better place either or what his > motivations are, any who knows anything about the purple one can tell you > point taken. I really dug that A-Team show as well though. BA Baracas, Hannibal, Face - takes me back.
Re: (313) Mojo interviews Prince OT (1985)
i think it's easy to misinterpret the vibe of an interview from a transcription. the interviewer happens to be the Electrifying Mojo - and from the shows of his that I've heard he is/was one of the most sincere people i've ever heard broadcast. not too mention he played what he liked and not stuff fed to him by record label promo departments - and he was without the doubt one of the most influential people in shaping the detroit sound that blossomed in the 80's. I liked Prince's movies - unique; like his sound. The world would be a better place if all musicians created with the same motivations as Prince; and radio would be an infinetely better medium if all broadcasters presented programmes with the same motivations as Mojo. on 26/6/03 8:29 PM, Martin at [EMAIL PROTECTED] wrote: > 25/6/03 9:15 PM Matthew [EMAIL PROTECTED] > >> MOJO: You've made fantastic albums, and you've made fantastic movies, >> and you're making another movie right now. > > > Albums...check > > Talented...check > > From Detroit...check > > Body of and adolescent teenager or lady boy...check > > Slept with Sheena Eastern...check > > Fantastic movies...no fcuking way, could this interviewer get any further up > Prince's anal corridor...Jesh... > > md >
(313) Vinyl for sale/trade
Hi, spam for some - treasure for others. I've listed quite a few things from my collection and others at: http://home.iprimus.com.au/richardcranston/ a fair bit of detroit techno/house, other u.s. house, disco, italo, electro let me know if there's anything you like apologies for the spam rc
(313) new robotnick lp
does anyone have any reports on alexander robotnick's newish LP "OH NoRobotnick" on his own 'Elephant' label? what's it like?
(313) calling ani
ani - you emailed me but i accidentally deleted it where r u?
Re: (313) "SHAKE" mix live from paris!
whats the track he plays at 28/29 minutes - cool different house track with nice male vocal "I've been searching for so long, searching, searching..." on 12/6/03 4:42 AM, Michel Rijnders at [EMAIL PROTECTED] wrote: > Maarten Baute wrote: >>> Stumbled across this gem >>> >>> fantastic mix by Anthony Shakir >>> >>> http://www.d-i-r-t-y.com/medias/mix_shakir.ram >> >> >> Does anyone know on wich label and in what year "mousse t - more I get" was >> released? > > The label is Peppermint Jam, not sure about the year though, but I think > 98 or 99. Can't find my copy :o( > > Cheers, > Michel > >> Shake plays this great disco tinged track at 32 minutes in his mix, check it >> out!! >> >> Cheers, >> Maarten >> --- >> my musical interests >> http://www.morthenkiang.com/ >> >> > >
Re: (313) MM Secret Garden sampler question
isn't it a mix of "emotional content" - which was an early house jam from kenny initially released on Terence Parker's label Intangible? on 21/5/03 8:59 PM, Fabrizio Nahum at [EMAIL PROTECTED] wrote: > Hi gang > > the second song on side B of the Silence in the Secret Garden sampler by > Moodymann (sic!), which name escapes me now, has a subtitle that says: 92 > cassette. This happens to be a more "traditional" banging house tune...was > it taken from a cassette taped in '92? > > fab. > >
(313) juan atkins?
haven't heard anything about juan for ages - does anyone know what he's up to these days? rc
(313) track id from i-F set?
http://pages.vpro.nl/3voor12/smil/djsets/startdjset.sram?2534202+2584688+258 4508+3754699+9706873 4 mins in - electro/italo number "help me funk it up, we gonna funk it up" () what is this? ta rc
Re: (313)track id. 'Nothing's Been the Same...'
patrick adam's black ivory - mainline lotsa nice mixes out there i don't know where to find but the original is widely available. easily classified as one of the best disco tracks ever rc on 15/5/03 12:19 PM, James Bucknell at [EMAIL PROTECTED] wrote: > touching disco number from a frankie knuckles @ the wharehouse mix on > deephouse pages. if the vocals aren't enough, i'll find the link. > > "nothing's been the same ever since you came my baby" > > could be a minimal dub mix, maybe an accapella over a kick drum. > > thank > james >
Re: (313) nuphonic 4 - 2xLP
it's finished - it has the russell track listed on it on 12/5/03 10:13 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > > That Arthur Russell track is an unreleased thing right? > > I wasn't sure that the LP actually made it out? I've seen white label > copies of the LP that are fine, and also they pressed a white label 12" in > very limited quantities with just that track on - I think 100 or so only, > and I think it was one sided too. > > Is your copy a white, or a finished release? > > Alex > _ > - End of message text > > This e-mail is intended only for the person to whom it is addressed. If an > addressing or transmission error has misdirected this e-mail, please notify > the author by replying to this e-mail. If you are not the intended > recipient you must not use, disclose, print or rely on this e-mail. > > PricewaterhouseCoopers LLP is a limited liability partnership registered in > England with registered number OC303525. The registered office of > PricewaterhouseCoopers LLP is 1 Embankment Place, London WC2N 6RH. All > partners in PricewaterhouseCoopers UK Associates A are authorised to > conduct business as agents of, and all contracts for services to clients > are with, PricewaterhouseCoopers LLP. > > PricewaterhouseCoopers LLP may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring. > > > Visit our website http://www.pwcglobal.com > >
(313) nuphonic 4 - 2xLP
i'm not really a fan of the label, but I bought this whole compilation double pack online just because it had this one Arthur Russell track that is really amazing then when the records arrive - it turns out that the a side that is meant to have the Russell track on it, is exactly the same as the b flip side on the same piece of wax - annoying !!! does anyone onlist own this dbl pack and can tell me whether this was a general mispress, or was i just a victim of incidental badluck?
Re: (313) Body & Soul
it's kaput - he now plays on monday nights @ www.deepspacenyc.com on west 12 st ...i think on 11/5/03 4:19 PM, Cyclone Wehner at [EMAIL PROTECTED] wrote: > Just wondered, what is the current status of Body & Soul in NY - I assume it > hasn't reopened? Or am I out of the loop?
(313) Paris this weekend/week
any of the french or european 313'ers know of any good parties over this week and weekend for people into d techno, deep house, italo, electro etc? any advice appreciated much love rc
(313) nyc in april
i'm going to be spending alot of april in nyc. I've got a list going on for some of the more known record stores and clubs - are there any cool djs coming to town or any lesser know spots for 2nd hand record shopping for someone that's into deephouse, oldschool house, italo, early detroit etc. thanks rc
(313) parties in London (or near) this weekend
I was wondering if anyone could suggest any promising looking parties or club nights in or around London this weekend - for a friend that's into deeper house, disco, italo etc. thanks for any help rc
(313) dick hyman, carl craig and giles peterson
does anyone know the name of that Dick Hyman track that Carl played first up on the mini mix he did for the Giles Peterson show a coupla weeks back - 'twas nice thanks for any help rc
Re: (313) chicago sounding acapella 12"
big time Hotmix 5 favourite - especially Farley not too hard to find - many pressed - 'twas a hit rc on 27/2/03 4:46 PM, Alex Bates at [EMAIL PROTECTED] wrote: > i dont know anything about this record except that i really like it, its an > acapella with a handclap all the way through it : > > status four - you ain't down (acapella) > > quite a cool vocal, has anyone heard of this? is it hard to get? > > ab > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.449 / Virus Database: 251 - Release Date: 1/27/2003 >
(313) tee scott deephouse page id?
sounds very like sylvester: http://www.deephousepage.com/TeeScottliveZanzibarA.ram 10 mins in - "funk it"? some disco freak knows this....... ta rc
Re: (313) 14 years later, I finally have one....
didn't shake and rob hood (as the vision) do a house interface release? on 25/2/03 10:45 PM, Placid at [EMAIL PROTECTED] wrote: > 2 sided Mayday ep on Pheerce citi > > Also need to know apart from the sampler ep and the one with green digital > writing were there any other interface¹ techno releases >
(313) VINYL for Sale
apologies for the spam, but I'm selling/trading off some Detroit Techno, Bass, Electro, Afrobeat, Disco, Pre-house, Ghetto, old school house + other stuff. Check it out at: http://home.iprimus.com.au/richardcranston/ and let me know if you want anything. thanks all, Richard
(313) suburban knight on p'frog + liasons dangereuses
does anyone know the release date on the upcoming suburban knight lp on peacefrog? + I saw the Liasons Dangereuses reissue is out - but I've found cd only thus far!!! I was really looking to replace my old wax copy? anyone seen an LP reissue yet? much love rc
Re: (313) [313] just a quick question.
that's right - depending on the industry agreement in place in the territory of production; mechanical royalties are not due on promotional pressings. rc on 10/2/03 9:08 PM, Jason Brunton at [EMAIL PROTECTED] wrote: > I also believe that Record Labels do not have to pay sales tax on copies > which are labelled Promotional Use or pay MCPS duties on those records > either. > > Cheers > > Jason Brunton > Iridite > > > > > On 2/9/03 12:11 PM, "Tom Robbins/Magic Feet" <[EMAIL PROTECTED]> > wrote: > >> DJs, shops, distributors, journalists, live bookers etc etc etc. Many labels >> add stickers to promos saying 'not for re-sale', but it's a pointless >> endeavour: most inevitably get sold on for cash. Otherwise people would have >> shelves of unwanted records sitting there going to waste. >> >> TOM >> >>> >>> the curiosity is burning my brain. who gets "promo" copies of releases? >>> and, if they're not for re-sale... how do they end up on the market? >>> >>> >> >
Re: (313) [313] a g. underground<>d. may association.
If I remember correctly - the strings in the track are very May-esque on 9/2/03 11:01 AM, Lee Herrington IV at [EMAIL PROTECTED] wrote: > > hi folks. i just acquired a pristine 2X12" copy of PF043 "atmosfear", > glenn underground. i noticed that there is a track titled "may datroit"... > is this a tip-o-the hat to mr. may or have glenn and derrick actually > collaborated at some time? > > peace, > lrh >
Re: (313) tune id (metro area?)
haven't heard the mix but sounds very much like Alphonze Mouzon/Mouzon's electric Band - Everybody get down (1979) on Vanguard sounds like something Metro Area would play too it's around - but fairly rare very nice though.one of the few decent uses of the sax in contemporary dance music IMHO ;) rc on 2/2/03 4:49 AM, Alex Bates at [EMAIL PROTECTED] wrote: > ok i have an mp3 entitled 'muira - metro area' but it certainly is not this > track, although it does sound kid of electro and may well be metro area... > the female vocal goes : > > you gotta dance, move on > get on up > get on up > get on up and boogie down > > im desparate for this tune... any ideas? i have mp3 to send if anyone is > interested in doing some 5 star tune id-ing for me! > > ab > >
(313) Final Scratch on Mac OSX
there was some talk about this on the list recently i think. TRAKTOR and Final Scratch The new cooperation between Stanton and Native Instruments marks another milestone in digital DJing: Final Scratch will soon be running on the power of NI's TRAKTOR software. TRAKTOR Basic FS, the first result of this cooperation, brings Final Scratch to the Mac OS X platform and supplies the system with a superb digital audio engine, advanced track management features, and much more. http://www.native-instruments.com/traktorfs.info
(313) new larry levan rmx?
picked up what looks to be a bootlegged larry levan remix of a track called "Winners" - reallly reallly nice stripped down rmx in Larry's spacey dubby style beautiful male vocals too. anyone know who did the original?
Re: (313) interesting ...
supercool interview from Johnreally enjoyed it Blake did a track called "Work It' for one of the Jacktrax double pack compilations. I think the double pack is the only place you can get it though.really sparce jack track with his TM spoken word over the top. on 13/12/02 7:33 AM, Matthew MacQueen at [EMAIL PROTECTED] wrote: >> well, I did read this about "Kaos": >> http://www.overloadmedia.co.uk/archives/interviews/blake_baxter.php >> Thanks Mr. Osslear! :) > > Wow, this interview is fantastic. About this part-- > > "I used to drive Derrick and we were really good friends back in those days. > We all basically hung out and lived together. I was in Chicago at that time. > Things weren't going well for me with Dj International. Derrick was delivering > records for Metroplex and he was like : 'Come back to Detroit, we have a new > sound we are working on.'" > > So does anyone know if Blake ever got anything released on DJ International? > And if so what did they sound like? > > Cheers, > Matt
Re: (313) Derrick Back In Oz
he's going to be interviewed on Australian National radio and there will be a set that he did at the Montreaux Jazz festival alongside the interview. not sure if that qualifies as underground..... rc on 10/12/02 3:14 AM, Cyclone Wehner at [EMAIL PROTECTED] wrote: > I totally respect your suspicion of the word 'underground', it's been > tainted, but we're taking it back! > The guys are trying to create the ideal environment - different to what > Derrick has had before in Australia, especially in Melbourne. > Previously they have all gone for lots of media, ads, etc. > This time they are not doing ads in the street press, and the posters and > art is all being done in-house and the venue is not publicised. It's a > matter of keeping your ear to the street - it's about the buzz, not the > hype. > There will be no interviews. They are not going for the big-name support DJs > but people who love music and will think it an honour to play and stay after > for the party. These DJs just happen to be great. > Everyone involved is a 'promoter', 'if you care, you'll share' - the guys, > the DJs, media friends, punters. > It's a very direct contrast to the last high profile tour Derrick did, so > yes it is 'underground'. > We all hope Derrick will enjoy it, he's a very interactive guy. We create an > environment where we challenge him, he challenges us. > >>>> Derrick May returns to Australia for a series of exclusive underground >>>> parties late December. >> >> they used the "underground" expresion with no point of this means that >> derrick may will do a diferent set on those partys? derrick may is my >> favorite composer and main inspiration on my own music but usualy when he >> plays he shows sets that definitly dont atract me. >> will it be diferent now? or im just dreaming here.. >> >> take care you all
Re: (313) rhythm tracks?
yeah I forget all of those stripped down percussive instrumentals on the trax et al b sides.. the jive and the mix your own stars are form 82/83 i think farley's on that bbc doco - playing his rhythm traks underneath a Salsoul/Prelude acapella - supercool kinda cool for djs to have that playing underneath phases of the dj setand then you can play doubles of your more 'feature' tracks over the topwhilst keeeping the beat goin.building up and down..kinda the same sorta principals derrick may and the hotmix guys took to radio mix shows with the 'tape loop' - playing the percussive break downs of the cool tracks of the day underneath their actual mixes..does anyone do that anymore? on 3/12/02 10:26 PM, James Bucknell at [EMAIL PROTECTED] wrote: > here are the details on the two jive releases: > jive rhythm tracks vol 2, (jive 1295-1-J 1982) > more jive rhythm tracks (jive va66003 1982) > > farley put out two rhythm track e.ps on trax in 1986, funkin with the drums, > and funkin with the drums again. > > relief records continued the chicago tradition with a number of releases > that had sample based rhythm tracks. dj tools v.4 has italo disco classic > klein and the mbo used for rhythm tracks. > > a rhythm track is just another name for bonus beats. and the best mix on a > 12" is the bonus beats. > james (bonusbeats) > > > > >> >> Cool... can you post the info on the record labels themselves? Do they have >> 'catalog numbers' as such? Or is the actual year on any of them? >> >> peace, >> Matt MacQueen >> >> -Original Message- >> From: Rc [mailto:[EMAIL PROTECTED] >> Sent: Sunday, December 01, 2002 3:28 PM >> To: 313 >> Subject: (313) rhythm tracks? >> >> >> i've got a few rhythm tracks on vinyl - most notably jive rhythm tracks 1 >> and two and mix your own stars - I know these were very popular mix tool >> especially for the early-mid 80s chicago djs. >> >> are there any more I should know about? does anyone know more history about >> these very anonymous productions? on the jive tracks some rhythm tracks are >> the basis of Grandmaster Flash's "The Message" and Soft Cells "Tainted Love" >> - which came first the rhythm track or the full production? so many >> questions.. >> >> rc >> >> >
(313) rhythm tracks?
i've got a few rhythm tracks on vinyl - most notably jive rhythm tracks 1 and two and mix your own stars - I know these were very popular mix tool especially for the early-mid 80s chicago djs. are there any more I should know about? does anyone know more history about these very anonymous productions? on the jive tracks some rhythm tracks are the basis of Grandmaster Flash's "The Message" and Soft Cells "Tainted Love" - which came first the rhythm track or the full production? so many questions.. rc
(313) spam VINYL 4 trade/sale
hi all I've listed some records.lots of wax and cds from: UR, Frictional, Trax, DJAX, Shake, Godfather, DJ Assault, Moodymann, 7th City, DBX, Blake Baxter, Morgan Geist, Derrick May, Keith Tucker, Gigolo, Tony Allen, Juan Atkins, Kevin Saunderson, Simonetti, Metroplex, Peacefrog, 2 Live Crew, Puzzlebox, DataBass, Patrick Adams, Intuit-Solar, KDJ, Track Mode, Fingers, Knuckles, DJ International, Kenny Dope, HotMix, Rosario, Jesse Saunders, Rush, Prince, Marshall Jefferson, Cloud One, Leroy Burgess, Todd Terry, Meta, User, Newcleus, Bobby Orlando, Gino Soccio, Banana, Salsoul, Kasso etc. at: http://home.iprimus.com.au/richardcranston/ let me know if you want to trade or buy. thanks richard
Re: (313) Re: [313] Musicbox Vol.2
I think it is an italo tune - on and one - by Decandence on Proto recordssamples Bad girls from Donna summer.. Rc on 27/11/02 10:07 PM, [EMAIL PROTECTED] at [EMAIL PROTECTED] wrote: > Memo from Alex Bond of PricewaterhouseCoopers > > Start of message text > > James; >> who made on and on? > > I think it's by 'Ripple' - "The beat goes on and on" > Pretty sure it's on Salsoul, I've got one somewhere, not seen it for ages > though. My disco mad flatmate will have half inched it I reckon > > - End of message text > > This e-mail is intended only for the person to whom it is > addressed. If an addressing or transmission error has > misdirected this e-mail, please notify the author by replying to > this e-mail. If you are not the intended recipient you must not > use, disclose, copy, print or rely on this e-mail. > > The principal place of business of PricewaterhouseCoopers and > its associate partnerships is 1 Embankment Place, London > WC2N 6RH where lists of the partners' names are available for > inspection. All partners in the associate partnerships are > authorised to conduct business as agents of, and all contracts > for services to clients are with, PricewaterhouseCoopers. The > UK firm of PricewaterhouseCoopers is authorised by the > Financial Services Authority for investment business activities. > PricewaterhouseCoopers is a member of the world-wide > PricewaterhouseCoopers organisation. > > PricewaterhouseCoopers may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring. > > > Visit our website http://www.pwcglobal.com > > > _ > The information transmitted is intended only for the person or entity to > which it is addressed and may contain confidential and/or privileged > material. Any review, retransmission, dissemination or other use of, or > taking of any action in reliance upon, this information by persons or > entities other than the intended recipient is prohibited. If you received > this in error, please contact the sender and delete the material from any > computer. > >
Re: (313) vinyl burn (was re: best decks)
while we are kinda on topic.I wanted to ask about vinyl burning and stylii if you've got old styliil can they damage your wax? I was playing around with two copies and repeating the intro for ages...and then when I played the same record the next day the intro was all staticy and defintely sounded damaged. is this vinyl burn? on some stylli/cartridge ads they talk about this 'vinyl burn'.can old needles damage your wax? rc on 21/11/02 7:18 AM, Jonny McIntosh at [EMAIL PROTECTED] wrote: > OK. If I've misread I apologise, though I'll confess I'm still unable to see > it when I read your emails. That's not reading between lines :) Just one > point, I'm sure you *can* play unknown records on the fly: all records are > unknown at some point. That's precisely my point about pitch control: it's a > lot easier. If it isn't your bag, then fair enough. I don't think we > actually disagree there, given my misreading. And I'm not suggesting you do > have to do it all the time. As Neil pointed out to me, if you need to be at > plus 8, you're going to have to use your hands. I'm not claiming there's any > more merit in it than as a general approach. If I've given the impression of > suggesting people must mix in one way then that'll be my mistake. My last > post on this. > > Take care, > > J R McIntosh ;) > >
Re: (313) fairmount squad
fresh and crisp sarcasm..and so early in the morning in the northern hemisphere! pretty damn sure shake was involved.didn't he contribute something on the list a couple of days ago..maybe he can verify on 20/11/02 9:48 PM, Craig Harrison at [EMAIL PROTECTED] wrote: > Ahhh... it was the "any idea, how, what, why?" bit that confusled me. > > I was going to answer: > How : With electronic devices > What : It's a 12" record > Why : Because they could > > But that would be taking it too far. ;) > > Dscaper > -- > Aeonflux Radio - http://www.aeonflux.co.uk > "A man who know's what he knows, and knows what he doesn't know, is the sign > of a man who knows." > > >> -Original Message- >> From: marsel [mailto:[EMAIL PROTECTED] >> Sent: 20 November 2002 10:38 >> To: 313@hyperreal.org >> Subject: RE: (313) fairmount squad >> >> >> >> well, like i said >> who is/are the artists? >> were there any more releases by this artist? >> were there any other releases on this label >> >> things like that >> :) >> >> >> At 20-11-2002 + 10:39, you wrote: >>> Techno Hustlers EP? >>> >>> What exactly do you want to know? >>> >>> Dscaper >>> -- >>> -Original Message- From: marsel [mailto:[EMAIL PROTECTED] Sent: 20 November 2002 10:22 To: 313@hyperreal.org Subject: (313) fairmount squad just digged up this record again.. it's a release from 1998, by Fairmount Squad on the label Goal Line Records it was cut at NSC any idea, how, what, why? more release ? still wanting to know more.. ? >> >> >> .. . :: http://nomorewords.net >> >> >
Re: (313) fairmount squad
i'm fairly sure shake contributed somehow...either co-produced or mixed or sumthin. I used to have copynot that special if I recall - just the one decent track imo it was the only release on the label that I ever saw rc on 20/11/02 9:22 PM, marsel at [EMAIL PROTECTED] wrote: > > just digged up this record again.. > > it's a release from 1998, by Fairmount Squad on the label Goal Line Records > it was cut at NSC > > any idea, how, what, why? > more release ? > > still wanting to know more.. > > ? > > > np. duplex - aerosoul > > ... . :: http://nomorewords.net > >
(313) body and soul NYC
was there was a link posted recently about the last body and soul in NYC? or does someone know the body and soul url? thanx
Re: (313) 2 things I need to know on a Monday...
I've got the same wizard tape with the prince cut up on it. It's from 1986amazing stuffof course i went out and bought two copies of Kiss after I heard it...8 years on and my cut up sounds no where near as cool he rips through doubles of beastie boys 'brass monkey", egyptian lover, lakeside, chip e, cybotron, adonis and he always used to play mantronix bassline or needle on the record... ah..what happened? on 12/11/02 12:20 AM, Robert Taylor at [EMAIL PROTECTED] wrote: > 1/ It's on this Saturday! > 2/ I have a Wizard tape and I bought it along with an awesome Ron Hardy mix > about 5 years ago in Ambient Soho, if my memory serves me right. > Unfortunately it has closed down now but I'm sure you'll be able to track > some down on the Net. The tape I have has on it a brilliant cut-up of > Prince's Kiss, but I bet you there's loads of shows out there somewhere. > > -Original Message- > From: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] > Sent: Monday, November 11, 2002 1:14 PM > To: 313@hyperreal.org > Subject: (313) 2 things I need to know on a Monday... > > > Memo from Alex Bond of PricewaterhouseCoopers > > Start of message text > > Hello. > > 2 things; > > 1) London peeps - how did the Slices party go? > > 2) There's been quite a bit of talk on the list lately about the > Mojo/Wizard/DeepSpace radio shows. Does anyone know where I could get some > old mojo/deep space tapes from? I'm willing to trade/pay for them > > Thanks. > > Alex. > > > - End of message text > > This e-mail is intended only for the person to whom it is > addressed. If an addressing or transmission error has > misdirected this e-mail, please notify the author by replying to > this e-mail. If you are not the intended recipient you must not > use, disclose, copy, print or rely on this e-mail. > > The principal place of business of PricewaterhouseCoopers and > its associate partnerships is 1 Embankment Place, London > WC2N 6RH where lists of the partners' names are available for > inspection. All partners in the associate partnerships are > authorised to conduct business as agents of, and all contracts > for services to clients are with, PricewaterhouseCoopers. The > UK firm of PricewaterhouseCoopers is authorised by the > Financial Services Authority for investment business activities. > PricewaterhouseCoopers is a member of the world-wide > PricewaterhouseCoopers organisation. > > PricewaterhouseCoopers may monitor outgoing and incoming > e-mails and other telecommunications on its e-mail and > telecommunications systems. By replying to this e-mail you > give your consent to such monitoring. > > > Visit our website http://www.pwcglobal.com > > > _ > The information transmitted is intended only for the person or entity to > which it is addressed and may contain confidential and/or privileged > material. Any review, retransmission, dissemination or other use of, or > taking of any action in reliance upon, this information by persons or > entities other than the intended recipient is prohibited. If you received > this in error, please contact the sender and delete the material from any > computer. > > > > Any views or opinions are solely those of the author and do not necessarily > represent those of Channel Four Television Corporation unless specifically > stated. This email and any files transmitted are confidential and intended > solely for the use of the individual or entity to which they are addressed. > If you have received this email in error, please notify > [EMAIL PROTECTED] > >
Re: (313) track id - theo mix
pretty sure it's james mason Rc on 5/11/02 6:20 PM, nathan goode at [EMAIL PROTECTED] wrote: > hi all > > on the "Detroit House & Classics" mix by Theo on Deephousepage, can anyone > one please tell me what the first track is? > > Has the lyrics: > > Sweet power, your embrace around me, i am saved, sweet power, your embrace. > > thanks in advance > > nath >
Re: (313) see pete tong is cool........
oh manI love cassetted, kinda like a kitschy cool convenient format; its got a certain character about it. don't tell me the iconic "mix tape" is gonna disappear... on 1/11/02 11:23 PM, Odeluga, Ken at [EMAIL PROTECTED] wrote: > Yeah, Marshall Jefferson was the producer but there *was* a Sterling Void > group. The vocalist on "It's Alright" was Paris Brightledge. I even have an > LP of their's which I purchased on cassette somewhere - no sniggering at > the back, this was when cassettes were considered a legitimate reproduction > medium! > k > >> -Original Message- >> From: Jongsma, K.J. [mailto:[EMAIL PROTECTED] >> Sent: Friday, November 01, 2002 12:10 PM >> To: '313@hyperreal.org' >> Subject: RE: (313) see pete tong is cool >> >> >> Sterling Void Now THATS a name I haven't heard in a long time... His stuff was always good! What happened to him? >>> >>> >>> Isn´t he Joey Negro? I think he is!! >> >> All the Sterling Void tracks on DJ International are produced by Marshall >> Jeferson AFAIK >> >> KJ >> -- >> DISCLAIMER >> >> De gemeente Almelo aanvaardt voor haar medewerkers geen enkele >> aansprakelijkheid voor eventueel onjuist, onrechtmatig of >> ontoelaatbaar geacht gebruik van e-mail (inclusief bijlagen). >> >> Dit e-mail bericht is door de gemeente Almelo gecontroleerd op >> de aanwezigheid van eventuele virussen. Wij kunnen echter geen >> garantie afgeven dat al onze e-mail berichten volledig virus >> vrij zijn. Het is daarom verstandig uw binnenkomende e-mail >> berichten zelf op de mogelijke aanwezigheid van virussen >> te controleren. >> -- >>
(313) hurley and pullen mix sets
this satdee night on 2jjj (10pm e.s.t. - Australia) has a 90 min set from Steve Silk Hurley and a 90 min set from Stacey Pullen + short interviews with both The Hurley mix is ok. Dunno what happened to the skills and the records he had when he was part of the Hotmix 5but he drops a few chi classics and nice disco stuff amongst his newer club soulful palava. His interview is cool talks a little about djs not having the same sort of skills they did back in the day and also a lil about his fallout with Farley Jackmaster over "Love Can't Turn Around" - cool dude The Pullen mix is 90mins taken live from a Melb gig - his usual apparently "diverse" eurotechno/house mix. neither are detroit really.kinda peripheral though and worthy of a listen live streams: http://www.abc.net.au/streaming/triplej.ram (realplayer link) http://www.abc.net.au/streaming/triplej.asx (windows media player) and then archived instantly after at: http://triplej.abc.net.au/mixup/sets/default.htm worth a listen
Re: (313) ben liebrand?
I more meant his hotmix mixing style rather than when and where he played.tape loops, doubles, acapellas.all that kind of cool stuff alot of the tracks he plays on the early grandmixes are also hotmix favourites a cool dude on 21/10/02 10:42 PM, Wibo Lammerts at [EMAIL PROTECTED] wrote: > I do not think he was doing the same as the hot mix 5. He was just recording > mxes at home which were then broadcasted on the radio. > > W > > -Original Message- > From: James Bucknell [mailto:[EMAIL PROTECTED] > Sent: dinsdag 22 oktober 2002 5:34 > To: Rc; 313 > Subject: Re: (313) ben liebrand? > > but does he have same style of station ids as the hotmix 5? > so, how do you > say 'wbmx...aint no jive...' in dutch? > james > >> From: Rc <[EMAIL PROTECTED]> >> Date: Mon, 21 Oct 2002 21:48:52 +1000 >> To: 313 <313@hyperreal.org> >> Subject: (313) ben liebrand? >> >> been listening to a few of liebrand's "grandmixes". must > say i'm very >> impressed - kinda like Holland's version of the Hotmix 5 - > except it's just >> one dude.playing less chi-house/d techno but more > italo >> >> he did some cool remixes in the 80's and then > disappeared.. >> >> does anyone know what happened? or have any of the dutch > 313ers had the >> pleasure of seeing him play out? >> >> rc >> >>
(313) ben liebrand?
been listening to a few of liebrand's "grandmixes". must say i'm very impressed - kinda like Holland's version of the Hotmix 5 - except it's just one dude.playing less chi-house/d techno but more italo he did some cool remixes in the 80's and then disappeared.. does anyone know what happened? or have any of the dutch 313ers had the pleasure of seeing him play out? rc
Re: (313) disco classic tune id
sorry answered my own question teddy pendergrass shoulda known.. on 15/10/02 11:33 PM, Rc at [EMAIL PROTECTED] wrote: > http://www.deephousepage.com/donna1002.ram > > 19 mins in > > embarassed i don't know it - sounds like a classic tune > > could be Barry White? > > "I don't love you any more - it's a shame - a dirty shame" > > someone must know this > > ta > rc >
(313) disco classic tune id
http://www.deephousepage.com/donna1002.ram 19 mins in embarassed i don't know it - sounds like a classic tune could be Barry White? "I don't love you any more - it's a shame - a dirty shame" someone must know this ta rc
(313) new NSC release
anyone heard: NSC-7/8DR. FEELGOOD & HIS FUNKY INTERNS new NSC? with UR, Shake, KMS, Vmax, Rob hood contributing to past releases I'm keen to know who's behind this one Rc
Re: (313)
if i could find a copy - i'd love to feel it on 15/10/02 6:28 AM, Placid at [EMAIL PROTECTED] wrote: > Pod vanguard ep > > Was listening to it on the way to work this morning... > > Just lifted me up and took me away Also missed my tube stop > > This is a timeless piece of music.. > > Anyone else feelin this > > Placid
Re: [313] Final Scratch - thoughts...
> Inceidently it would be > interesting to know where Richie Hawtin gets the MP3s he's used in his sets. > Has he actually sat down and taken the time to encode his whole record > collection? yeah - he's playing out here next week and i thought about the same questionI kinda came to the resolution that's he's got enough $ to have 'people' do that for him? - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Final Scratch - thoughts...
> > well ive certainly seen a number of small labels who either: > a) encourage people to download their stuff as a 'try before you buy' > thing. > b) do not mind that there are people who download and then don't buy. I > guess the reason behind this is these people are music fans rather than > business people and they realise most of the people who listen to their > stuff are music fans too - they buy as much as they can afford but they > cant afford everything. > there's no doubt that's true. i'd suggest they are a small minority - this kind of altruistic behaviour is great - unfortunately not that pervasive ... a small number of labels have made this choice. perhaps one should think about the number of labels/composers/producers that have had this choice made for them - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Final Scratch - thoughts...
what's fair ??- I'll hazard a guess and say the majority of records listened to by people on this list did not do too much more than break even for the people who originally put them out.if break even at all. sometimes i wonder about the long term effects of people swapping music for free. lots of people who think of themselves as underground music anarchists try and justify the whole thing to themselves by saying its only britney spears and the five majors that suffer. that's bulls***t. they're as much a businessman as any other muther that claims to be a stakeholder i can hop an an broadband computer now... gimme a day or two and i can come up with a pretty impressive motherload to use with Final Scratch without paying a cent to the people that put those recordings out there. doesn't quite seem right > > Maybe some of the electronic music artists will wise up and start selling > mp3s? Or better yet, offer truncated tracks for free, and sell the full > version for a minimal, yet fair price. > > -m > >> Now instead of copying cds... we will be able to copy vinyl. I thought >> that at least the producers of dance music who only pressed vinyl were >> safe. Now all someone has to do is go buy a track and post it on >> kazaa... >> >> That scares me somehow Hopefully the users of final scratch will >> actually be PAYING for the music they mix and not ripping it off kazaa. >> >> just a thought >> >> ÇöüñërpöïñT >> >> >> >> >> ÇöüñtërpöïñT >> http://stage.vitaminic.com/main/counterpoint/all_tracks/ >> ÇöüñtërpöïñT >> >> - >> To unsubscribe, e-mail: [EMAIL PROTECTED] >> For additional commands, e-mail: [EMAIL PROTECTED] >> > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Can anyone id this
that's an old UR record from like 1990 . I think it might be the one on Shockwave - can someone else expand on that??? rc on 19/9/02 8:11 AM, Placid at [EMAIL PROTECTED] wrote: > http://www.teklan.pwp.blueyonder.co.uk/dara.ram > > For a friend > > > Placid - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Religious Major Producers
'tis true - after working in music copyright for a while - one rule of thumb i've come to discover is (the rule has it's +'s and -'s): you know you got some talent - when someone tries to rip u off on 17/9/02 12:32 AM, Cyclone Wehner at [EMAIL PROTECTED] wrote: > >> many major artists sign contracts where they give away too much >> >> control about their art - >> >> they do this for money (needed or greeded ?), > > I think 8/10 it is young, naive artists inexperienced with the industry - > they're the ones who get exploited, they're young, naive and impressionable > and impulsive. Everyone is like that 18 - 23. > If there's a recurring narrative in this industry, it's that. Most > artists/producers in, say, their early 30s will have a few stories to tell > that have made them wiser, no matter what genre. > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] Shake DEMF Mix - Tune ID
I haven't listened - but I've heard the mix a few times and i'm pretty sure you're talking about Nick Straker Band - Little Bit of Jazz you should be able to get it on the magnificent Prelude labelor a Frankie Knuckles Comp called Choice a Collection of Classics (which a has some other essential stuff on it) enjoy it rc on 13/9/02 11:45 PM, Langsman, Marc at [EMAIL PROTECTED] wrote: > > Does anyone know what the second tune on the DEMF Shake mix on groovetech is > - starts about 3:30 in [funky number with a male vocal and he pulls off some > 2copy shenanigans] ? > > http://www.groovetech.com/PhoenixData/SilverStream/Pages/srvltRecMed?Recorde > dMediaID=33499 > > > peace, > Marc > > -- > This message is intended only for the personal and confidential use of the > designated recipient(s) named above. If you are not the intended recipient of > this message you are hereby notified that any review, dissemination, > distribution or copying of this message is strictly prohibited. This > communication is for information purposes only and should not be regarded as > an offer to sell or as a solicitation of an offer to buy any financial > product, an official confirmation of any transaction, or as an official > statement of Lehman Brothers. Email transmission cannot be guaranteed to be > secure or error-free. Therefore, we do not represent that this information is > complete or accurate and it should not be relied upon as such. All > information is subject to change without notice. > > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
[313] track ids?
I'm hoping u can help me id a coupla things from an old hurley set. http://www.deephousepage.com/steve5.ram 15 mins in. (little bit before) - all it is is a bassline, persussion, some slick disco guitar a kettle drum every so often and some reindeer bell sounds. other id: 23 mins in - old disco/salsoul classic or something. i'm sure someone knows it..... ta rc - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: [313] john rocca
mm nice track i think i've got a copy somewhere on beggars banquet check out farley's mix of 'move' too rc on 6/9/02 6:42 PM, Maarten Baute at [EMAIL PROTECTED] wrote: > little question: > > on wich label has the following track been released? > > "john rocca - i want It to be real (farley's hot house piano mix)" > > I don´t find any information on this on the net. > > Thank you, > Maarten > > > > --- > Do you know these tracks? > http://www.morthenkiang.com/samples > (taken from various mix tapes) > --- > > > - > To unsubscribe, e-mail: [EMAIL PROTECTED] > For additional commands, e-mail: [EMAIL PROTECTED] > - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
