I’ve been bitching constantly on Twitter about how there’s already way too many “How Low” remixes floating around, none of which are close to touching the perfection that is the original. So, my completely stupid way of voicing my distaste for this over-abundance of remixes was to do a cheeky, fun, non-club-focused remix as a completely ineffective and hypocrtical protest. So I threw the acapella on top of War’s classic “Low Rider” and re-arranged things a bit making it into a fun little BBQ blend.
Today marks the release date of another fantastic release on our lil’ ol’ label here at Crossfaded Bacon HQ. This time we’re taking it back to them Old School Disco Party Breaks with Mike 2600′s *READY TO ROCK EP*. Mike himself created the hilarious and fun Promo video above of the title track on the EP, and I think it gives you a great indication of what this EP is all about with its Old School party vibes and editing. As you’ll notice quickly, each of the original songs on *Ready To Rock* are very clearly inspired by the innovative cut & paste mixes of Double Dee & Steinski, the Disco Rap aesthetic embodied by labels like West End and Enjoy Records, the spaced-out disco sounds of Cloud One, and even the raw sounds of ’60s garage and psych rock. If you didn’t already know, Mike 2600 is already a well known figure amongst some of the world’s biggest DJs (organizing the annual DO IT TO IT party at SXSW and helps compile the accompanying vinyl EP featuring remixes from DJs like Tittsworth, Dave Nada from Nadastrom, Crossfaded Bacon’s Emynd, and Bird Peterson) this is his first official solo release. Accompanied by exclusive remixes from CFB boys Emynd and Scott Matelic, we’re really proud to introduce Mike 2600 to the rest of the world with another CFB release that will sound fresh whether played today, tomorrow, next year, or next decade. Oh and don’t forget to follow him on Twitter.
As a gift to y’all today, you can download Mike’s original *Gigolo Rhythm* and Scott Matelic’s Remix below. Feel free to blog these boys or hit us with comments!
The full EP is available for purchase now on iTunes, Amazon, Junodownload, and Turntablelab. Thanks so much for all the support! As always, there’s a lot more to come!
And check after the jump for youtube clips of all the tracks on the EP!
More Honkey Breaks for that ass. This time it’s the Allman Brothers “Midnight Rider” with the classic Bill Withers break running beneath it. I actually really like this. Shit is groovin’.
I’m happy to report, last Friday night we had a very epic BOUNCE at the Barbary. Shit was bonkers, in no small part because it was my dude Steve’s (from Exit Skateshop) Birthday. Exit sponsors the party which makes for a bit of a strange marriage because Steve hates most of the music we play… but he comes and parties regardless. In an effort to make his birthday party a bit more enjoyable for his ears, I made a couple edits of songs he likes in an attempt to appease him and not completely alienate our dancefloor. I affectionately have these songs in a folder called “Honkey Breaks” in my Serato crates and I’m going to be sharing some of them with y’all. They’re mostly pretty sloppy, but fuck it, I spent like 20 minutes on these fuckers and they got the job done. Comments always welcome even if you hate the shit!
First up is an edit of Creedence Clearwater’s “Down On the Corner” that’s got some tastefully understated Bmore-styled drums. This shit is actually fairly useful.
This James Royal record is one of my favorite funk/soul songs but I can’t say I have any real idea why I love this record so much. I guess it’s just because the horns are dope as fuck, drums are mixed well, and I strangely really love the feel of the vocals. Used to play this song in opening sets all the time and I’m psyched I ripped it to start rocking it again. I also posted Tony Newman’s “Soul Thing” which is fundamentally an instrumental version of “House of Jack” with an organ playing the vocal melody. Love both of these songs. Hope you guys enjoy em too.
Paying respects to Pac who’s life we celebrate on the anniversary of his death, 9/13. Below I’ve posted the classic Zapp track that was sampled for Pac’s classic “Keep Your Head Up.”
Again, hoping to add to the scope of the material covered on this blog, I’m introducing a series called Weird Wednesdays that’s going to allow me to post whatever fucking random song I want (regardless if it’s really weird or not) on any given Wednesday. I’m starting this shit off with an absolutely grooving slow funk jam “Losalamitoslatinfunklovesong” from Gene Harris’s incredible album “Astral Signal.” Check the youtube above and if you fucks with it, download it below.
Head over to Flamin Hotz Website and join their Record Club. The basic pitch is that you can pay a fee ahead of time and be guaranteed delivery of all the Flamin Hotz releases in 2009. Flamin Hotz is an adventerous label that has put out two Emynd & Bo Bliz records amongst a wide variety of other stuff–some of which I’m into and some of which I’m frankly not into. But, the point is, they’re a dope label that deserves and, unfortunately in this tough economy, NEEDS your support to keep making records. So, get like me and support their ass! I paid em and so should you!
In case you missed anything I did from 2008… I updated all the zshare links for all these tracks and mixes as well. Hope you find some of this stuff enjoyable and/or useful.
Emynd Originals & Official Remixes For Free Download
Sad news. R.I.P. to one of my favorite folk singers. Below is her classic self-written song “Hit Or Miss.” Such a great song. Thanks to Ayres for hitting me with the mp3.
WASHINGTON (Reuters) – Odetta, the deep-voiced folk singer whose ballads and songs became for many a soundtrack to the American civil rights movement, has died at age 77, her manager said on Wednesday.
Douglas Yeager said Odetta passed away late Tuesday at Lenox Hill Hospital in New York, after a decade-long fight with chronic heart disease and pulmonary fibrosis in her lungs.
“May Odetta’s luminous spirit and volcanic voice from the heavens live on for the ages,” Yeager said in a statement. “Her voice will never die.”
Odetta Holmes, born in Birmingham, Alabama, on December 31, 1930, told the Times in a 2007 interview the music of the Great Depression, particularly the prison songs and work songs from the fields of the deep South, helped shape her musical life.
