Hey gang,
How was everyone's weekend? Mine was good, although I'm pretty sure I caused permanent damage to my body. Thanks, Big Guns.
In other news, Chemical Brothers won last week's battle 6 - 2. I can't say I'm surprised. The girl in that video is absolutely smoking hot.
Here's "Hey Girl, Hey Boy," off 1999's Surrender.
Superstar DJs, here we go.
Monday, July 28, 2008
Tuesday, July 22, 2008
Remembering Big Beat: Chemical Brothers vs. The Prodigy
If you were born between 1977 and 1985 and live in Southern Ontario, you may remember a period in the 1990s where fully one-third of your teenage friends suddenly declared themselves "ravers."
They left school on Friday afternoon as a jock, or a faux-gangster, or a goth, or a math nerd, went to some mysterious gathering over the weekend, and came back on Monday morning with a wardrobe made up entirely of fun-fur and cyan ballcaps and a small meth problem. When you asked them what the hell happened, they either began to blab uncontrollably about new friends named "Sunshine" and "Zippy," or else passed out due to drug-and-dance induced exhaustion.
One could point to several causes for this phenomenon: evil drug dealers, unscrupulous fun-fur manufacturers, or the fact that something like seven different active promotions meant that, for a brief while, Toronto was the dance music capital of North America. I prefer to point the finger at two bands from England.
Before 1995, electronic music was pretty much the exclusive property of gays, ginos and gay ginos. Then the big-beat explosion happened. Suddenly, "rave" acts started using guitar samples and rock drum loops. Dance music songs used a "verse-chorus-verse" song structure. Electronic acts had good videos and charismatic front men. "Electronica," as was the stupid catch-all term for all synth-based music, was the new rock 'n' roll.
And if electronica was the new rock 'n' roll, then the Chemical Brothers and The Prodigy were like Elvis and Chuck Berry.
The Main Event
From Manchester, England, a band that makes really good videos, THE CHEMICAL BROTHERS.
The Chemical Brothers (aka Tom Rowlands and Ed Simon) started as a DJ duo in 1992, spinning in small venues around Manchester under the name "The Dust Brothers," as a tribute to the Beastie Boys' production team of the same name. One of their regular gigs was at the Heavenly Social Club, a spot frequented by a who's-who of Mancunian rock. By 1994, they working with acts like The Charlatans, The Stone Roses and Oasis. (Their relationship with Oasis ended rather suddenly. In 1995 they were DJing before an Oasis gig when Liam Gallagher decided he didn't care for their set and literally threw them off stage.)
In the summer of 1995, after finishing their first LP, The Dust Brothers were set to embark on their first American tour with fellow "electronica" acts Orbital and Leftfield. Before their first show, they received a cease and desist order from The other Dust Brothers, forcing a sudden name change.
Their debut album, Exit Planet Dust, went gold in the UK, mostly on the strength of the single "Life is Sweet."
Two years later, they released their second album, Dig Your Own Hole. Where Dust has been a domestic hit, Hole made the brothers international superstars. The single "Block Rockin' Beats" appeared on the soundtrack for every youth-marketed movie for the next half-decade and The Brothers became one of the few electronic acts to successfully make the transition to arena rock style shows.
You can look up what happened to them after that, but chances are you already know because you own at least one of their albums.
This is the video for "Setting Sun," their first hit video in North America. If you've ever done a bucketload of acid, then had to try and act normal in front of your parents because you were still high at 10 o'clock the next morning, you know what this video is all about.
The Competition
From Essex, England, a band that has kept re-making the same album for the last 10 years, THE PRODIGY!
The Prodigy were formed in 1990, at the peak of the British rave scene, by producer Liam Howlett and dancers/vocalists Keith Flint and Leeroy Howell. In 1991 they had their first commercial success with the single "Charly," which made simultaneous reference to a popular British cartoon of the 1970s and '80s and doing blow. "Charly" was part of a movement in electronic music known as "kiddie rave," where techno artists sampled bits of children's media in their songs. (See "Sesame's Treet" by Smart-E's for what may be the oddest example.)
Wanting to get away from that unfortunate label, Howlett took the group in a new, more breakbeat hardcore oriented direction for their first full-length album, 1992's The Prodigy Experience. While the album barely made a ripple in North America, it spawned a series of hit singles in the UK, including "Out of Space," which is still one of my favourite songs ever.
Their next album, Music for a Jilted Generation, saw the band go in a heavier, almost industrial direction on a number of songs. They even went so far as to collaborate with Pop Will Eat Itself on "Their Law," a song that took a swipe at the newly passed Criminal Justice and Public Order Act, a piece of legislation which effectively killed rave culture in the UK. Once again, the album was a huge hit in Britain, but barely existed over here.
In 1996, The Prodigy released "Firestarter" as a stand alone single in North America to help stir up hype for their dates on that year's Lollpalooza tour. With a video featuring Keith Flint in a new cyberpunk getup -- Keith had previously looked like a bit of a hippy -- and Sex Pistols-esque vocals, "Firestarter" was a massive hit and is forever linked in my mind with being 15.
Rather than strike while the iron was hot, the band wound up waiting almost a year before releasing their next album, The Fat of the Land. What they lost in momentum, they more than made up for by choosing "Smack My Bitch Up" as a single. A song based entirely around a sample of Kool Keith talking about domestic abuse, "Smack My Bitch Up" scared the crap out of parents and made Fat one of the best selling electronic albums ever.
The two big knocks on The Prodigy are that they don't make very much music anymore, and what little they do make all sounds like Fat of the Land. Both of these things are true, anyone who heard 2004's Always Outnumbered, Never Outgunned knows that. But that doesn't make Jilted or Experience any less fantastic.
This is the video for "No Good (Start The Dance)" off of Jilted. Check out the strobe action.
They left school on Friday afternoon as a jock, or a faux-gangster, or a goth, or a math nerd, went to some mysterious gathering over the weekend, and came back on Monday morning with a wardrobe made up entirely of fun-fur and cyan ballcaps and a small meth problem. When you asked them what the hell happened, they either began to blab uncontrollably about new friends named "Sunshine" and "Zippy," or else passed out due to drug-and-dance induced exhaustion.
One could point to several causes for this phenomenon: evil drug dealers, unscrupulous fun-fur manufacturers, or the fact that something like seven different active promotions meant that, for a brief while, Toronto was the dance music capital of North America. I prefer to point the finger at two bands from England.
Before 1995, electronic music was pretty much the exclusive property of gays, ginos and gay ginos. Then the big-beat explosion happened. Suddenly, "rave" acts started using guitar samples and rock drum loops. Dance music songs used a "verse-chorus-verse" song structure. Electronic acts had good videos and charismatic front men. "Electronica," as was the stupid catch-all term for all synth-based music, was the new rock 'n' roll.
And if electronica was the new rock 'n' roll, then the Chemical Brothers and The Prodigy were like Elvis and Chuck Berry.
The Main Event
From Manchester, England, a band that makes really good videos, THE CHEMICAL BROTHERS.
The Chemical Brothers (aka Tom Rowlands and Ed Simon) started as a DJ duo in 1992, spinning in small venues around Manchester under the name "The Dust Brothers," as a tribute to the Beastie Boys' production team of the same name. One of their regular gigs was at the Heavenly Social Club, a spot frequented by a who's-who of Mancunian rock. By 1994, they working with acts like The Charlatans, The Stone Roses and Oasis. (Their relationship with Oasis ended rather suddenly. In 1995 they were DJing before an Oasis gig when Liam Gallagher decided he didn't care for their set and literally threw them off stage.)
In the summer of 1995, after finishing their first LP, The Dust Brothers were set to embark on their first American tour with fellow "electronica" acts Orbital and Leftfield. Before their first show, they received a cease and desist order from The other Dust Brothers, forcing a sudden name change.
Their debut album, Exit Planet Dust, went gold in the UK, mostly on the strength of the single "Life is Sweet."
Two years later, they released their second album, Dig Your Own Hole. Where Dust has been a domestic hit, Hole made the brothers international superstars. The single "Block Rockin' Beats" appeared on the soundtrack for every youth-marketed movie for the next half-decade and The Brothers became one of the few electronic acts to successfully make the transition to arena rock style shows.
You can look up what happened to them after that, but chances are you already know because you own at least one of their albums.
This is the video for "Setting Sun," their first hit video in North America. If you've ever done a bucketload of acid, then had to try and act normal in front of your parents because you were still high at 10 o'clock the next morning, you know what this video is all about.
The Competition
From Essex, England, a band that has kept re-making the same album for the last 10 years, THE PRODIGY!
The Prodigy were formed in 1990, at the peak of the British rave scene, by producer Liam Howlett and dancers/vocalists Keith Flint and Leeroy Howell. In 1991 they had their first commercial success with the single "Charly," which made simultaneous reference to a popular British cartoon of the 1970s and '80s and doing blow. "Charly" was part of a movement in electronic music known as "kiddie rave," where techno artists sampled bits of children's media in their songs. (See "Sesame's Treet" by Smart-E's for what may be the oddest example.)
Wanting to get away from that unfortunate label, Howlett took the group in a new, more breakbeat hardcore oriented direction for their first full-length album, 1992's The Prodigy Experience. While the album barely made a ripple in North America, it spawned a series of hit singles in the UK, including "Out of Space," which is still one of my favourite songs ever.
Their next album, Music for a Jilted Generation, saw the band go in a heavier, almost industrial direction on a number of songs. They even went so far as to collaborate with Pop Will Eat Itself on "Their Law," a song that took a swipe at the newly passed Criminal Justice and Public Order Act, a piece of legislation which effectively killed rave culture in the UK. Once again, the album was a huge hit in Britain, but barely existed over here.
In 1996, The Prodigy released "Firestarter" as a stand alone single in North America to help stir up hype for their dates on that year's Lollpalooza tour. With a video featuring Keith Flint in a new cyberpunk getup -- Keith had previously looked like a bit of a hippy -- and Sex Pistols-esque vocals, "Firestarter" was a massive hit and is forever linked in my mind with being 15.
Rather than strike while the iron was hot, the band wound up waiting almost a year before releasing their next album, The Fat of the Land. What they lost in momentum, they more than made up for by choosing "Smack My Bitch Up" as a single. A song based entirely around a sample of Kool Keith talking about domestic abuse, "Smack My Bitch Up" scared the crap out of parents and made Fat one of the best selling electronic albums ever.
The two big knocks on The Prodigy are that they don't make very much music anymore, and what little they do make all sounds like Fat of the Land. Both of these things are true, anyone who heard 2004's Always Outnumbered, Never Outgunned knows that. But that doesn't make Jilted or Experience any less fantastic.
This is the video for "No Good (Start The Dance)" off of Jilted. Check out the strobe action.
Sunday, July 20, 2008
That Was DJ Madness! Also, The Faint Wins
For those of you who made it out last night, I'd like to say thank you.
My partner Jon Blair and I were absolute fire and I think all of you can verify that. For the rest of you, you suck, but you can make it up to me by coming out next time.
In other news, The Faint beat Cassidy 4 -1.
Here's the video for "I Disappear" of 2004's Wet from Birth.
My partner Jon Blair and I were absolute fire and I think all of you can verify that. For the rest of you, you suck, but you can make it up to me by coming out next time.
In other news, The Faint beat Cassidy 4 -1.
Here's the video for "I Disappear" of 2004's Wet from Birth.
Sunday, July 13, 2008
Hey Everybody! Come See Me DJ Next Weekend! Cassidy vs. The Faint
OK, this is where I use this blog to mercilessly promote my other shit.
Be warned, these two acts have very little in common with one another other than they both tend to work their way into my set.
In the blue corner, from Philadelphia, Pennsylvania, with one manslaughter conviction and one near-death experience with a box van, CASSIDY!
Some rappers have real names that are so awesome, they have to work them into their stage name. Marshall Mathers III took his intials and became Eminem. Talib Kweli Greene just pulled a Madonna and dropped his surname. Obie Trice's name was so awesome he skipped picking a rap name altogether.
Cassidy, on the other hand, was born Barry Adrian Reese, which may be the weakest name ever. Barry Reese is not the name of a street-hardened soldier. It's the name of a mid-level insurance salesman. The most Barry Reese can hope for is to be a big wheel down at the cracker factory.
On the other hand, Cassidy makes me think of a washed-up '70s pop star, so it's not that much of an improvement.
Cassidy starting rapping at age 13. He first got noticed as a battle rapper, winning contests on local radio and eventually beating Roc-A-Fella artist and fellow Philadelphian Freeway in a head-to-head battle.
In 2003 he released his first full-length album Split Personality. The idea was to showcase the "two sides" of Cassidy. Half the songs showed off his battle rapping skills, while the other half were poppier and more accessible to 14-year-old girls. The album was a commercial success but put a major dent in Cassidy's street cred. The mega-hit "Hotel," with a hook featuring R. Kelly, was the perfect summer pop song, but so soft it totally prevented people from taking Cassidy's battle styles seriously.
In '05 he released I'm a Hustla. The album featured minimal pop shit and had a title track/first single that came very close to being part of the burgeoning "crack rap" subgenre. Sadly, the album was a commercial flop thanks to Cassidy being "unavailable" to help promote it.
On June 8, 2005, three weeks before the release of I'm a Hustla, Philadelphia police put out an arrest warrant for Cassidy in connection with a murder in April of that year. He spent the rest of 2005 in jail awaiting trial. As a result, touring and promotional appearances were off the menu for Cassidy, causing the label to leave I'm a Hustla to rot. (Cassidy was later found guilty of involuntary manslaughter and released after serving eight months of an 11 month sentence.)
Cassidy's third album, BARS: The Barry Adrian Reese Story, came out in October 2007 and produced the slightly annoying club hit "My Drank and My 2 Step."
This is the video for "I'm a Hustla." Although the album fell flat, the single was the first song to go platinum as a cell phone ringtone, so that has to count for something. Also, if you look carefully you can see those fucking goons from Growing Up Gotti pretending to be hard in a couple frames.
This is a song that I usually play fairly early in my set, when I'm trying to weed out the weak by playing offensive shit that I happen to like.
Friday, July 11, 2008
The Best Rapper You've Heard: LL Cool J is the Winner!
OK heads. In a decisive 4 -1 victory, LL beat out the Brothers Davies. Here's "I'm Bad" from Bigger and Deffer. I love this song.
Saturday, July 5, 2008
Yeah, Sorry About That aka Comeback Videos: The Kinks vs. LL Cool J
Hey all, sorry I haven't been blogging in the last month.
To be honest, I got distracted by soccer. I was producing a daily soccer round up show during Euro 2008. I also kept holding out hope that the Turkish miracle would end with Tuncay Sanli lifting a trophy, but alas.
To celebrate my triumphant return, I figured some comeback videos would be in order.
The Contest
In the blue corner, from Queens, New York, don't call it a comeback, he's been here for years, LL COOOOOL J.
LL Cool J released his first album, Radio, when he was 17 years-old. As much as we all like to knock LL for being kind of soft in 2008, in 1985, Radio was considered a heavy-ass album. It was one of the first hip-hop albums to use pop song structure in hip-hop, contained the first hip-hop ballad and, along with other Def Jam artists like Run DMC and The Fat Boys, helped LL push old school, disco minded, "a-boogie-to-the-boogity-beat" rappers with elaborate stage shows and costume changes away from the forefront. Cool J and company dressed like kids in the hood and made albums built for boomboxes, not clubs. He was also the first rapper to appear on American Bandstand.
His next album, Bigger and Deffer, was another tight record. The first single, "I'm Bad," has the distinction of being the first rap single to contain the word "motherfucker," paving the way for thousands to follow. As a balance, it also contained what may be the sappiest ballad ever, "I Need Love."
His third album, Walking with a Panther, was heavy on ballads and pop-dance songs and very light on hood-credible songs like "Radio" and "I'm Bad." At a time when hip-hop was in the midst of two rising tides, West Coast gangsta rap and and "conscious" East Coast Native Tongues shit, the weak, poppy Panther got overlooked and dissed.
Eighteen months later, he set about trying to regain some of the fans he lost with Panther, he released Mama Said Knock You Out, featuring a totally reworked ballad-to-hard shit ratio with tracks like "The Boomin' System" and "To Da Break of Dawn," where he dissed Ice T, MC Hammer and Kool Moe Dee at the same time.
Here's the title track. You know it, you love it.
In the red corner, from London, England, with a fetish for transsexuals, The KINKS!
The Kinks were formed in London, England in 1963 by brothers Ray and Dave Davies and schoolmate Mick Avory. They took their name from their stage get-up, which consisted of leather capes and high boots (considered "kinky" in the '60s, or so I'm told.)
We in North America tend to think of them as a British Invasion band, far less important than the Stones, The Beatles and The Who, but a little more crucial than the Dave Clark Five. I would disagree, putting The Kinks ahead of all of these bands, if only because they were the inventors of what's now a great rock n' roll tradition, trashing your gear on stage.
The Kinks are also remarkable because they managed to be hugely popular in two separate time periods after a tremendous fall-off. The first period was from the early '60s through to the early '70s, bookended by the hits "You Really Got Me" and "Lola." They then spent most of the '70s making super-inaccessible rock operas.
In the late '70s, bands like The Jam and The Pretenders started to talk about The Kinks as a major influence, while Van Halen made a hit out of their cover of "You Really Got Me," allowing the Kinks to stage a comeback. They produced three hit albums between 1979 and 1984 and had their most commercially successful single ever, "Come Dancing."
In 1984, Avory and Dave Davies had it out once and for all, acknowledged that they'd been pissing each other off for over 20 years. Avory quit the band. The Davies Brothers and various plugs continued to record and tour for another 12 years, but never had another Top 40 hit.
This is the video for "Come Dancing."
If you've forgotten, comment to vote. Voting closes Friday. It's good to be back.
To be honest, I got distracted by soccer. I was producing a daily soccer round up show during Euro 2008. I also kept holding out hope that the Turkish miracle would end with Tuncay Sanli lifting a trophy, but alas.
To celebrate my triumphant return, I figured some comeback videos would be in order.
The Contest
In the blue corner, from Queens, New York, don't call it a comeback, he's been here for years, LL COOOOOL J.
LL Cool J released his first album, Radio, when he was 17 years-old. As much as we all like to knock LL for being kind of soft in 2008, in 1985, Radio was considered a heavy-ass album. It was one of the first hip-hop albums to use pop song structure in hip-hop, contained the first hip-hop ballad and, along with other Def Jam artists like Run DMC and The Fat Boys, helped LL push old school, disco minded, "a-boogie-to-the-boogity-beat" rappers with elaborate stage shows and costume changes away from the forefront. Cool J and company dressed like kids in the hood and made albums built for boomboxes, not clubs. He was also the first rapper to appear on American Bandstand.
His next album, Bigger and Deffer, was another tight record. The first single, "I'm Bad," has the distinction of being the first rap single to contain the word "motherfucker," paving the way for thousands to follow. As a balance, it also contained what may be the sappiest ballad ever, "I Need Love."
His third album, Walking with a Panther, was heavy on ballads and pop-dance songs and very light on hood-credible songs like "Radio" and "I'm Bad." At a time when hip-hop was in the midst of two rising tides, West Coast gangsta rap and and "conscious" East Coast Native Tongues shit, the weak, poppy Panther got overlooked and dissed.
Eighteen months later, he set about trying to regain some of the fans he lost with Panther, he released Mama Said Knock You Out, featuring a totally reworked ballad-to-hard shit ratio with tracks like "The Boomin' System" and "To Da Break of Dawn," where he dissed Ice T, MC Hammer and Kool Moe Dee at the same time.
Here's the title track. You know it, you love it.
In the red corner, from London, England, with a fetish for transsexuals, The KINKS!
The Kinks were formed in London, England in 1963 by brothers Ray and Dave Davies and schoolmate Mick Avory. They took their name from their stage get-up, which consisted of leather capes and high boots (considered "kinky" in the '60s, or so I'm told.)
We in North America tend to think of them as a British Invasion band, far less important than the Stones, The Beatles and The Who, but a little more crucial than the Dave Clark Five. I would disagree, putting The Kinks ahead of all of these bands, if only because they were the inventors of what's now a great rock n' roll tradition, trashing your gear on stage.
The Kinks are also remarkable because they managed to be hugely popular in two separate time periods after a tremendous fall-off. The first period was from the early '60s through to the early '70s, bookended by the hits "You Really Got Me" and "Lola." They then spent most of the '70s making super-inaccessible rock operas.
In the late '70s, bands like The Jam and The Pretenders started to talk about The Kinks as a major influence, while Van Halen made a hit out of their cover of "You Really Got Me," allowing the Kinks to stage a comeback. They produced three hit albums between 1979 and 1984 and had their most commercially successful single ever, "Come Dancing."
In 1984, Avory and Dave Davies had it out once and for all, acknowledged that they'd been pissing each other off for over 20 years. Avory quit the band. The Davies Brothers and various plugs continued to record and tour for another 12 years, but never had another Top 40 hit.
This is the video for "Come Dancing."
If you've forgotten, comment to vote. Voting closes Friday. It's good to be back.
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