Mr. A - Random Ramblings & Ruminations of a Ruined Mind....

Chicken & Chips

2011-11-25T13:43:00.001Z

On the train, everyday without fail, I hear someone listening to chicken & chips music.. The beat sounds like a train in motion... Or you can repeatedly say chicken & chips to get the rhythm..

What's it all about...??

Cooling Cabby Treats...

2011-07-18T09:37:00.002+01:00

Walking to catch the train today a black cabby caught my attention rummaging in the boot of his cab. He was parked askew, the cabs rear end protruding beyond the corner of the road, coupled with his frantic searching I surmised that he had possibly broken down.

His head finally emerged from the boot having found the item required, a bottle of engine coolant. Closing the boot he strolled around towards the front of the vehicle, unscrewed the lid and proceeded to pour the contents all over some bread somebody had left at the foot of a tree for the birds to eat.

People...

Reprise......

2011-07-16T01:42:00.002+01:00

The ever shifting ebb & flow of life cast the existence of this place to furthest recesses of my mind.. To be continued seems apt..

Whilst awaiting public transportation post employment today, I noted a young lady donning a headscarf for religious reasons. Jeans were painted on.. Very confusing..

More soon..

Juice......

2009-08-12T17:48:00.003+01:00

Now @ Mother Bar above 333

Stacy Epps & Aesthetic Sounds

2009-06-18T15:42:00.005+01:00

Aesthetic Sounds 4th birthday show ft STACY EPPS + band !!!!

Thursday 2nd July 2009

For one night only people. This is gonna be off the wall crazy!!!

Get your tickets now, as you know this will be a sellout show.

Plus it's our birthday so get your glad rags on and pose for the camera!!

buy tickets now to avoid dissapointment

£7 IN ADVANCE

Brainfeeder

2009-06-07T12:19:00.002+01:00

No need for words...

Druffers

2009-05-21T13:33:00.003+01:00

Underground Transportation observations of the months Oct/Nov 08:

Blessed by biology with an above average height, I wholeheartedly enjoy remaining head and shoulder amongst the thronging masses, especially in close confined quarters such as the Tube. However, the advantage of this vertical vector does have it pitfalls, the primary culprit being the revelation and unavoidable observation of scalp health. For the purpose of this casual study, I have distinguished two different categories of persons with this terrible affliction of the scalp (shedders). Firstly we have the common gardener variety, the textbook case of dandruff which is an annoyance to the victim, and of amusement to small children and tall men, I have termed this first variety ‘druffers’. Secondly, we have the more aggressive of the two varieties, the victims of which I have termed ‘flakers’. These hygiene shy sufferers regularly lose a large percentage of overall bodyweight in scalp skin alone, often hair and follicles are still attached to the flakes causing disgust in both tall and short persons, children are simply agog. Benefits to the sufferer in terms of underground transportation include an extended personal space granted by the disgusted public, aside from this positive side effect, flakers live the life of modern day lepers.

Such is the proliferation of cases (on the District & Central lines alone) it quickly became apparent that this terrible affliction knows no bounds, having no respect for age, sex or race. With this observation came a dawning realisation that a study was not only necessary, but essential for all users of public transportation. Thus began my data collection, collation and with it a growing revulsion for both breeds of skin shedders. It is prudent to note at this point that these figures only account for one doorway area of one tube train carriage, they do not take into account the remainder of that carriage, or indeed the train itself. Nor does the data include any information on seated passengers, due to this we can only reasonably use this study as a rough guideline to shedders, and is by no means comprehensive. That said, if a shedder is significantly self aware (which we can reasonably assume one would be), it would be safe to assume that they would remain standing, as being seated would reveal their condition to more persons than a standing position. Therefore we can assume that the majority of shedders would choose to stand rather than sit, hence our guideline study remains closer to true representation than not.

October 08 results for ‘Druffers’

Looking at the figures, we can see that across the ethnic origins, Males account for the majority of shedders which comes as no real surprise. You may note that the results for the Asian category (India, Pakistan - sub-continent) seems to be inordinately high. These results have occurred for a number of possible reasons,

1. East London is home to a large Asian community, especially the Bengali community, hence a disproportionate representation in comparison to population percentage.

2. In my observation, and this is by no means based around stereotypes, our Asian brethren seem to have less concern with packing themselves into a seemingly full area of the train than others races. Again, PC crazies out there note, this is an actual observation made by myself after a number of years travelling on the underground system, it is entirely true in my experience. The true PC crazy will here no doubt state that this observation is weighted due to the stereotype to which I have been previously been aware. Thus when my sub-continent cousins cram themselves into an already bulging train, I observe and recognise this more readily than I would other races.

To be continued......

Ooooops

2009-04-21T20:21:00.001+01:00

Apologies for the lack of posts, all time has been spent running recently...

http://run-run-as-fast-as-you-can.blogspot.com/

Holier than thou......

2009-03-26T20:59:00.002Z

Why is it some people assume themselves to be superior? More often than not, these characters attempt to preach to you in a forthright manner, wholly assured in the absoluteness of their own beliefs and opinions.

A number of factors to explain such a stance spring to mind.

Education: I've got such and such a qualification, you haven't so therefore my intellect is better than yours. Shallow logic. Counter: Intelligence, as regarded in the main by our current education system is largely accounted for in terms of information retention. Retention/memory, intelligence does not make in the whole. Furthermore, educational intelligence does not equal common sense. Often, when the former is in abundance, the latter is lacking. Additionally, educational intelligence does not equal social senses or skills, being neither streetwise nor savvy. Nor does it guarantee a successful life, career, marriage or anything else that matter aside from the pride in which the certificate instils in the individual.
Age: I'm thirty years older than you, therefore I shall only address you in a condescending manner. 'Oh yes, you are obviously of such a higher intellect than myself being as you conduct yourself thus.' Pfaaaaaa..!!
Religion: Such is the nature of the beast. In order to secure allegiance from one generation to the next, one of the very many methods of indoctrination instills in the individual a moral hierarchy. All those that fail to mount the summit of thmorality mountain scribed within the sacred pages is to be looked down upon, for they are lesser.......

Just spent a day in school with a bunch of teachers, deputy heads, principals and so forth........

Can you tell..?

Ignore my biased bunk.......

Window to the soul........

2009-03-17T20:49:00.003Z

I recently acquired a time machine......

OK, maybe not a time machine is the sense you might first imagine, but I still consider it to be one nonetheless.

We constantly process information, making sense of the stream of events that transpires with or without our interaction or involvement. My time machine records a fraction of a second of that information stream, making coherent something which we merge into the stream. Stripped of its links the fraction tells it's own story, one that meandered or rushed past us in the endless surge of sense data that is processed, stored or cast aside....

Please visit my time machine, subscribe if you wish to journey with me for the next 365.......

clicky click the link.........

All Muxed Up....

2009-03-13T15:20:00.003Z

It's been one of those days: the loss of somebody very very dear to me, and the long awaited camera arrival.
'Why, you cold hearted cad! How could you even contemplate writing a blog on such an occasion?'.
Diversion, distraction, avoidance, my approach to all of lifes major issues. Stick my head in the sand, glass or even something else... Besides, she wasn't one for moping around, that said she sure could moan sometimes, maybe I'll write about her one day....

We finally have a decent net connection at home, and in due course I'll be snap happy. So with that I'll bid you adieu until family affairs are dealt with.

In a bit....

Well, I had to at least try it out right..

Yer i know, too much noise, sloppy focus, it's been a while. My last SLR was made in 1978 (as was I), so there are just a few extra features since last I shot anything.... More random pics to come soon...

Anybody know the best free site to showcase your photos? Flickr is the only major player I'm aware of.... Suggestions welcome..

Mary MacFarlane - Forever in my memory....

Counting Sheep...

2009-03-04T14:00:00.004Z

‘Bleary eyed’ seems to be a phrase I’m using with frightening regularity these days (in reference to myself), especially since the removal of sticky green trees from my life. Initially, said removal resulted in the expected effects, increased alertness, more energy and a greater general vitality. However, the honeymoon period has long since passed and I’m finding myself staring at the ceiling in the witching hours on an ever increasing basis. I’m guessing that this is due to an alternation and change in brain chemistry and that in time I’ll revert to normality, at least I hope so.

Thus far I’ve avoided succumbing to the temptation of the all numbing pleasantries of my good friend Mr beer, though I do fear a night on the ‘tramp juice’ is not that far into the future. In fact, a ‘tramp juice’ review has been pending for far too long, by such I mean super strength beers, Super T, Special Brew, Gold Label and the like. More sway for your penny...

Timeless.....

2009-02-23T11:46:00.002Z

OK, not one to attend seeing as it State side, but you can purchase of course. I've been thoroughly enjoying the Dilla suite, purchase says I......

Info.....

Composer/Arrangers are the antecedents of the beat makers of today. Their processes whether it be stripping down a classic cover or creating a new genre of music mirror most closely the types of minds that make contemporary beat oriented music. "Timeless" is a forward thinking review and homage to the arranger/composers that have influenced hip-hop in the heaviest and most profound ways. Representing a true international blend of music from Brazil, Ethiopia, Detroit and Los Angeles. Each composer/arranger that we have scheduled is a King of their respective court.

Objective:

Encourage the appreciation of many forms of music from a multi-generational perspective with an emphasis on the practices of the present.
Create a yearly Arranger/Composer Series in Los Angeles.
Provide affordable musical experiences.

Each show will be a very specific presentation of music based around the career of each of the Composers. Each composer will do a set of their all time hits and a new piece. Each dj/producer will build a set around the legacy and era of each composer.

Sunday Evenings from February 1st to April 5th

7pm - 11pm

All Ages

Venue: Harriet and Charles Luckman Fine Arts Complex

Tickets through Ticketmaster and the Luckman Box Office

Event Dates

The Curators

ArtDontSleep

Musical dreams do come true. ArtDontSleep is dedicated to curating and producing concerts and events that have been dreamt up. Brasilintime, Roy Ayers & Tony Allen, George Clinton, Azymuth, Bilal, RAMP, and countless other acts have graced the ArtDontSleep stage this year alone. With the "Timeless" series, ArtDontSleep intends to elevate Los Angeles Musical Curation to a new altitude. Beginning a series that will carry on for many years to come.

Contact Info:
Andrew Lojero
323 273 2914
artdontsleep1@gmail.com

Mochilla

Mochilla is a production company formed by photographers Eric Coleman and B+ in 1997. The pair were working together on a music video for DJ Shadow near the pyramids outside Mexico City - during a conversation with the Mexican producer in an attempt to explain their philosophy of shooting they had stumbled on the spanish word for backpack. In 1997 backpack was a an almost derrogatory term for independent hiphop. Backpackers kept their rhyme books or spray cans with them at all times and this required a bag. The bag would be slung across their backs so that they would be mobile. "If the equipment doesn't fit in the backpack we wont shoot it" became the defining rule in the formation of Mochilla. It was part practical adage, part nod to the group of film makers called Dogma started by Lars Van Triers.

Ten years later Mochilla has produced five music videos, four documentaries, several ad campaigns, a remix album and more than forty album covers and continues to grow. Both Coleman and B+ have taken their respective fields to new hieghts - selling films to the Sundance Channel, being distributed by Ninja Tune - touring Europe several times. They both have succesful solo careers but their continuing collaboration is housed at Mochilla.

The Musicians

Arthur Verocai

Brazilian folk-jazz composer and arranger Arthur Verocai was born in Rio de Janeiro on June 17, 1945. The product of a classical music education, he first earned widespread attention in 1966, when Leny Andrade recorded his song "Olhando o Mar" for her LP We Are There. Embracing the contemporary pop, soul, and jazz sounds emerging from both sides of the equator, Verocai gradually honed a sweeping orchestral psych-funk sensibility not far removed from American producers like David Axelrod and Charles Stepney. Despite collaborations with artists including Paulinho Tapajós, Elis Regina, and Creuza Maria, he nevertheless was forced to maintain a civil engineering position until 1969, when he scored the theatrical production Is the Greater and arranged sessions for Gal Costa, Marcos Valle, Quarteto em Cy, and others. After producing a pair of LPs for singer Célia as well as Ivan Lins' 1971 effort Agora -- as well as scoring a series of Brazilian television series -- Verocai contracted with the Continental label to record a self-titled solo LP, a stunningly innovative effort that effectively bridges the divide between the Tropicalia of the late '60s and the deep-groove funk of the decade to follow. Released in 1972, a period marked by the Brazilian military government's opposition to creative expression, the album fared poorly and Verocai turned to advertising, writing and producing music for clients from all walks of industry. In 1983, he opened his own recording facility, Studio V, and in 2002 self-released Saudade Demais, his first solo record in three decades.

Mulatu Astatke

Mulatu Astatke (also written Astatqe on French releases) is arguably one of the most influential and legendary musicians from Ethiopia. During the 1960's, he studied music abroad in London, Boston, and New York. He then returned home to Ethiopia armed with a love for jazz and Latin music. There he blended Ethiopian traditional music with the Latin-jazz he was so fond of to create a unique hybrid he called "Ethio-jazz".

Mulatu Astatke is first and foremost a composer but also a multi-instrumentalist, playing the vibraphone, keyboards and organs. He is further credited as having established congas and bongos, instruments normally central to Latin styles, in Ethiopian music. However, as Ethiopian songs traditionally focused on vocals his greatest contribution to the music of his country was introducing a new focus on instrumentation.

Three of his LPs were recorded in New York City - his first two, Afro-Latin Soul Volumes 1 & 2 in 1966, plus later Mulatu of Ethiopia in 1972. The bulk of his output was on Amha Records (Addis Ababa, Ethiopia) on which he released several 7" singles as well as one LP in 1974 entitled Yekatit Ethio-Jazz. Of late, Mulatu Astatke has been the center of renewed attention in the West through a compilation on the Parisian series Ethiopiques (Buda Musique) and a 10" 4-track compilation on the Soundway label out of Brighton England. Most notably, a number of his tracks were also featured in director Jim Jarmush's 2005 independent film Broken Flowers with actors Bill Murray and Julie Delpy.

J Dilla

Frequently and rightly placed in the same context as DJ Premier, Pete Rock, and Kanye West, Jay Dee built and sustained a high standing as a producer's producer while maintaining a low profile. When Pharrell Williams appeared on BET's 106 & Park in 2004, he excitedly declared that Jay Dee was his favorite producer and told an audibly stumped crowd that it had probably never heard of the man. At the time, Jay Dee had been active for well over a decade and had netted enough beats -- including the Pharcyde's "Runnin'," De La Soul's "Stakes Is High," Common's "The Light," and several others with production teams the Ummah and the Soulquarians -- to be considered an all-time great.

In 1996 alone, he worked with Busta Rhymes, De La Soul, and the Pharcyde, all the while playing a major role in the Ummah with Q-Tip and Ali Shaheed Muhammad. (He did extensive work on Tribe's last two albums.) Before long, hardcore hip-hop fans began to know Dilla for his steady wobble, which was unfailingly musical and rich in details -- shuffling high-hats, oddly placed handclaps, spacious drum loops with drastically reshaped samples of tracks both obscure and obvious. Through the remainder of the '90s, Dilla quietly racked up more output, including Janet Jackson's "Got 'til It's Gone" (for which he did not receive credit), additional tracks for the Pharcyde, and collaborative work with Q-Tip on all of 1999's Amplified. As a core member of the Soulquarians, with James Poyser and the Roots' Ahmir "?eustlove" Thompson, Dilla worked on Common's Like Water for Chocolate, D'Angelo's Voodoo, Erykah Badu's Mama's Gun, and Talib Kweli's Quality. Through 2005, he continued to work with past associates while dipping his toes further in R&B. Wooed by a Madlib mixtape that featured the rhymes of Oxnard's finest over his own beats, Dilla forged an alliance with his admirer for 2003's Champion Sound, released under the name Jaylib. It was around this time that his health took a sharp decline. For over two years, he had to use a dialysis machine. Despite having to perform in a wheelchair, he was still able to tour in Europe during late 2005. Donuts, an album of instrumentals that had been completed during one of his extended hospital stays, was released on February 7, his 32nd birthday. Three days later, while staying at his Los Angeles home with his mother, he passed away, a victim of cardiac arrest.

Carlos Nino and Miguel Atwood-Ferguson
SUITE FOR MA DUKES

Born and raised in Los Angeles, California, Carlos Nino and multi-instrumentalist and composer/arranger Miguel Atwood-Ferguson, have been working together on a wide variety of projects over the last several years. It all started when Nino hired Atwood-Ferguson's string quartet, Supernova, to perform on the record Dwight Trible & The Life Force Trio LOVE IS THE ANSWER (Ninja Tune). It was during the pre-production of this project, in 2004, that Nino would first meet, befriend, and license music from, one of his heroes, and Aquarian brother, James "Jay Dee/J Dilla" Yancey. It's fair to say, that Atwood-Ferguson, classically trained as a violist, (from the age of 4 years old,) first consciously came into contact with Dilla's music from being a part of this ground-breaking collaboration.

Fast forward two years - after Nino & Atwood-Ferguson completed work on the highly acclaimed indie records Ammoncontact WITH VOICES (Ninja Tune,) and The Life Force Trio LIVING ROOM (Plug Research) - in February, 2007, several days after his 32nd birthday, Dilla passed away due to Lupus related complications. After his untimely death, the two chose to pay tribute to Dilla by continuing the musical conversation that he had started, in the contemporary chamber music style that Atwood-Ferguson had been developing. On, what would have been, Dilla's 33rd birthday, February 7, 2007, Nino & Atwood-Ferguson sent their version of Common's "Nag Champa (Afrodisiac for the World,)" to DJs, producers and fans, for free, via the internet.

On February 7, 2008 they released their version of A Tribe Called Quest's "Find A Way," and have just recently completed an E.P., entitled SUITE FOR MA DUKES. On September 27, 2008, Atwood-Ferguson was flown to Amsterdam, Netherlands to play viola in the world premier performance of his Dilla Arrangements, as part of the Metropole Orchestra's 30 minute tribute to this great Hip-Hop-Soul master, at The Boost Festival.

Having produced albums for Build An Ark (Kindred Spirits,) Mia Doi Todd (City Zen,) Grace Woodroofe (for Executive Producer Heath Ledger,) Ariana Delawari (alongside David Lynch,) as well as a duet album entitled Carlos Nino & Miguel Atwood-Ferguson FILL THE HEART SHAPED CUP (Alpha Pup,) these two have kept a very busy work schedule. Still, no matter how many live performances and recording sessions Atwood-Ferguson books, with everyone from Erykah Badu, Stevie Wonder, Dr. Dre, Ray Charles, John Williams, and many others, as well as having at least 5 different production and arranging projects going at all times, and no matter how much Nino is creatively up to, they find time to connect in the essence of Dilla. It is there that they celebrate Maurice Ravel, Bernard Herman, Charles Stepney, James Brown, The Bomb Squad and so many others, all at once!

David Axelrod

A Grammy award-winning producer for Capitol Records who helmed dozens of great jazz, funk, and soul records during the 1960s and '70s (by everyone from Stan Kenton to Lou Rawls to the Electric Prunes to Cannonball Adderley), David Axelrod also forged a distinctive musical style while recording several of the most eccentric albums of the '70s. His sound, as immediately recognizable as it is sparse, combined cavernous, heavily mic'ed drums with baroque orchestration (just a step away from overblown) and ahead-of-his-time themes ranging from the environment to heightened mental awareness. Born in Los Angeles in 1936, Axelrod learned about arrangement and production largely on his own. He began working as a staff producer for the cool jazz labels Specialty and Contemporary, and led a pair of 1959 LPs -- Free for All by Frank Rosolino and The Fox by Harold Land -- that developed an earthy response to the trademarked light, airy sound of West Coast jazz. By the mid-'60s, Axelrod had grown famous in soul and jazz circles for his excellent recording skills, including two of the finest performance albums of the era, Lou Rawls' Live! and Cannonball Adderley's Mercy, Mercy, Mercy! Live at "The Club" (the latter was actually a studio date). Both artists tapped him for studio work as well, and Rawls especially benefited by scoring no less than five pop hits during 1966-67. Capitol rewarded one of its most successful producers just one year later, releasing Axelrod's solo debut, Song of Innocence. Based on the visionary, mystical poetry of William Blake (as was its follow-up Songs of Experience), the album sounded like nothing else from its era, with melodramatic strings tied to heavy, echoed breakbeats -- often supplied by session-drummer supremo Earl Palmer. After Songs of Experience, Axelrod turned his attention to the growing plight of the environment with 1970's Earth Rot.

Even aside from his burgeoning solo career, Axelrod stayed busy as a producer during the '70s; he recorded several Cannonball Adderley LPs plus works by Gene Ammons and Joe Williams. After 1980's Marchin', however, he took an extended hiatus from recording. Axelrod returned in 1993 with Requiem: The Holocaust on Capitol's Liberty subsidiary, and recorded a surprising tribute to roots music (The Big Country) two years later. After several big names in the dance community (including DJ Shadow) began sampling Axelrod grooves in the mid-'90s, Stateside released the retrospective 1968 to 1970: An Axelrod Anthology in 1999. Album reissues appeared the following year, and Axelrod even recorded a remix of "Rabbit in the Headlights," originally by the DJ Shadow project UNKLE. Axelrod returned to his beloved Studio B for 2000's eponymous release on the Mo' Wax label. The record, loosely based on Goethe's Faust, had originally begun production in 1969.

The Co-Stars

The work of these composers/arrangers very often is lost behind the names of the stars they produced for (in the case of Axelrod and Dilla) or indeed never was given a proper shine when it was first released. However the work of the hiphop dj and producer is to bring to light rarely heard and rarely experienced music. All these producers have enjoyed resurgences in their careers from attention paid to them by hiphops finest. To frame these historic performances we have invited some of these great artists to create the musical environment. These will be specific sets by some of hiphops finest.

Madlib

The multi-dimensional Madlib quickly rose to prominence as one of the most interesting figures in late-'90s hip-hop. With his childhood buddies in Lootpack, Madlib quickly made a name for himself as a rapper, producer, and DJ. In particular, his expansive style and deft touch for composition made him one of hip-hop's most sought-after producers. An enthusiastic crate-digger, with a deep reverence for jazz and soul, Madlib branched out into a number of ambitious, engaging solo projects. Along with DJ Romes and Wildchild, Madlib formed Lootpack in their hometown of Oxnard. The trio made their debut on Tha Alkaholiks' 21 & Over in 1993. They continued doing work for Tha Alkaholiks and other artists before releasing their full-length Soundpieces: Da Antidote! six years later. After hooking up with Los Angeles DJ Peanut Butter Wolf, Madlib did a lot of production for Wolf's Stones Throw label. In 1999 the label released Quasimoto's astonishing The Unseen LP. Doubling as himself and his alter ego Quasimoto, Madlib handled vocals and production duties on the album, a huge critical success. Not resting on his laurels, Madlib followed The Unseen a year later with his Yesterdays New Quintet project. Madlib played all the instruments himself, infusing his exploration of jazz with both style and substance. Another stylistic detour followed in late 2002, when he released Blunted in the Bomb Shelter Mix, a spin through the vault of the classic dub/reggae label Trojan. While continuing on with a massive release schedule and workload, Madlib completed a remix/reinterpretation project for Blue Note, a collaboration with Jay Dee under the Jaylib alias, a collaboration with MF Doom, half the production of fellow Lootpack member Wildchild's solo record, and many other remix and producer tasks -- all in 2003. Never one to slow down, the next few years brought a myriad new releases, including The Funky Side of Life from jazz band Sound Directions, Quasimoto's The Further Adventures of Lord Quas, his own Beat Konducta, Vols. 1-2, and a collaboration with Talib Kweli, Liberation, which was made available as a free download on the Stones Throw website during the first week of 2007.

Davis grew up in Hayward, CA, a predominantly lower-middle-class suburb of San Francisco. The odd white suburban hip-hop fan in the hard rock-dominated early '80s, Davis gravitated toward the turntable/mixer setup of the hip-hop DJ over the guitars, bass, and drums of his peers. He worked his way through hip-hop's early years into the heyday of crews like Eric B. & Rakim, Ultramagnetic MC's, and Public Enemy, groups that prominently featured DJs in their ranks. Davis had already been fiddling around with making beats and breaks on a four-track while he was in high school, but it was his move to the NorCal cow town of Davis to attend university that led to the establishment of his own Solesides label as an outlet for his original tracks. Hooking up with Davis' few b-boys (including eventual Solesides artists Blackalicious and Lyrics Born) through the college radio station, Shadow began releasing the Reconstructed from the Ground Up mixtapes in 1991 and pressed his 17-minute hip-hop symphony "Entropy" in 1993. His tracks spread widely through the DJ-strong hip-hop underground, eventually catching the attention of Mo' Wax. Shadow's first full-length, Endtroducing..., was released in late 1996 to immense critical acclaim in Britain and America. Preemptive Strike, a compilation of early singles, followed in early 1998.

Later that year, Shadow produced tracks for the debut album by UNKLE, a longtime Mo' Wax production team that gained superstar guests including Thom Yorke (of Radiohead), Richard Ashcroft (of the Verve), Mike D (of the Beastie Boys), and others. His next project came in 1999, with the transformation of Solesides into a new label, Quannum Projects. Nearly six years after his debut production album, the proper follow-up, The Private Press, was released in June 2002. The following year Shadow released a mix album, Diminishing Returns, and in 2004 he released a live album and DVD, Live! In Tune and on Time. In 2006 his long-awaited third solo album, The Outsider, came out, but instead of following the blueprint he used on his past two records, Shadow enlisted help from Bay Area rappers like Keak da Sneak, E-40, and Lateef, as well as David Banner and Q-Tip.

Cut Chemist

Cut Chemist has been recording and performing for over twenty years. His roots lie deep in hip hop as a founding member of the rap group Jurassic 5. During this time Cut also joined the latin jazz/ funk outfit, Ozomatli. Both groups have gone on to be staples in the L.A. music scene. With the involvement of both groups in tandem with one another, Cut has developed a taste for music and rhythms from all over the world while keeping his tradition for the hip hop approach. Eventually Cut left both of these groups to pursue a career with Warner Bros records where he landed his first solo LP, The Audiences Listening in 2006.

2007 was a pivotal year for Cut as he landed an opening slot for Shakira's Oral Fixation tour dazzling her audience with his world music sense and multi media presentation. When he returned home he joined long time friend and collaborator DJ Shadow to headline the Hollywood Bowl for "The Hard Sell," an eight turntable show using an eclectic mix of music all on 7 inch vinyl. While in rehearsal for this show, L.A.'s prestigious Walt Disney Music Hall asked Cut to be a part of "Pravda," a concept night of DJs combining Russian classical music from the Stalin era with contemporary beats.

There is no place that Cut Chemist is afraid to go, musically. He constantly tries to integrate new cultures of music into his show while presenting it in a hip hop fashion. "Ill never lose sight of my roots as a hip hop DJ. It keeps me constantly inventing. I believe all music can be considered hip hop when its presented in a way that's fresh to peoples ears."

Karriem Riggins

Riggins began producing hip hop in middle school and continued through high school. He studied music at Southfield High School as well, and joined Betty Carter's band Jazz Ahead soon after, at 17. When he was 19 (in 1994), Riggins moved to New York City, and joined the Ray Brown Trio in 1998. Riggins has also recorded and performed with Donald Byrd, Hank Jones, Mulgrew Miller, Milt Jackson, Oscar Peterson, Cedar Walton, Roy Hargrove, and Bobby Hutcherson.

Away from jazz, Riggins has done production work for hip hop legends Slum Village, Erykah Badu, Common, J Dilla, The Roots, Talib Kweli, Phat Kat, Consequence, and Dwele. He has collaborated with the hip hop multi-instrumentalist Madlib, performing on his 2007 album Yesterdays Universe and in collaborations entitled Supreme Team and The Jahari Massamba Unit. He also produced a portion of the soundtrack for the 2007 film Smokin' Aces.

Quantic (Columbia)

Since William Holland AKA Quantic's first album release in 2001, much ground has been covered. Over the last 8 or so years 12 full length records have given him worldwide recognition. When he is not producing music that continues to push genre boundaries he travels as a DJ or with his band spreading his unique blend of Jazz, Latin & Caribbean rooted music. His track 'Mi Swing es Tropical' with Nickodemus further brought him to a global audience when it featured in Apple's tropical Ipod Advert throughout 2007. Shortly after which Holland moved to Colombia, setting up his South American studio 'Sonido del Valle' to work alongside a whole host of new musicians in Cali. 2009 will see the first release from his new band 'Combo Bárbaro' on Tru Thoughts Records. The record comprises of work with Peruvian Pianist 'Alfredo Linares' & Brazilian Arranger 'Arthur Verocai'. for more info visit www.quantic.org.

Everybody knows his bright red van.....

2009-02-22T20:32:00.005Z

Well the big day has been and gone, you'll note that there hasn't been a plethora of posts since 'online day'.... Hmmmm, quite...

We've signed up for the Post Office broadband deal, yes that's right, the Post Office, those guys that play rugby with your ebay parcels. Despite some horror stories on various message boards, router arrived in good time and installation of the line and so forth was hassle free. It's the 'up to' 8mbps unlimited downloads, their high end package.

My PC hadn't been connected in over a year, so I was expecting a few initial teething difficulties. As expected, as soon as I connected I was bombarded by attacks from a multitude of digital nasties. Long story short, 2 days, 40 odd windows updates and 30 odd malware/adware/hijackware/virus scans later my pc is clean, up to date, and working like a dream. Yes I've burnt my retinas, I've also now got a stiff back and a shoulder blade that feels like it has a red hot blade residing there on a permanent basis. But my pc is clean and up to date, all ready for the lovely shiny new internet I've so patiently waited for as my finances slowly claw their way back to somewhere near 'the black'.

But what's this, I seem to be experiencing speeds that take me back to about 1998, for a moment there I was convinced I was running windows '98, no please, I don't want to go back there....!! I must still have some nasty that's leeching my connection or something, surely..!? No..! Speed tests completed at a number of different online sites indicate a speed of 500kbps.

Oh, this is worrying, very worrying indeed, call the support centre... Yes sir, the line takes 10 days to settle in, please take a speed report on the 8th, 9th and 10th day of connection and report it to me, if the speed is still low we'll send an engineer out (which will no doubt be another expense). I'm still having trouble with a previous comment at this time, 'settle in'? 'What ,you mean like a new carpet, or new shoes, is the line somehow flexing itself in order to accommodate more information?' Telephone operative repeats his spiel from PO telephone policy bible, I feel like I'm suddenly talking to the broadband police, a newly qualified Officer from Server HQ that can't think for himself, some drone just repeating taught phrases at me... Ok I mutter and hang up, defeated by the automaton...

Think I've done around 25 speed tests today, must stop. Remember the days of zx's, 64's and the likes, you used to stare at the screen as if your attention would somehow make it load faster..? Must stop...

In your toolbox

2009-02-18T11:24:00.004Z

One of my favourite blogs, essential reading to essential tools...

12 Tools Every Man Should Have in His Toolbox

Your girlfriend needs help putting some furniture together. Your wife asks you to install a ceiling fan. Your kid needs her bike fixed. Of course you have the tools to take on these jobs, right? For many younger men these days, owning a well equipped toolbox is something that only their dads do. Often when these men have a project, they have to go to someone else to take care of their handyman needs. But a man should be self-reliant. He should have the tools and know-how to tackle basic projects around the house.

If you’re one of those younger gents who just never got around to stocking a toolbox, below we’ve included a list 12 basic tools that we think every toolbox should have.

Mixtape Launch.....

2009-02-15T13:03:00.015Z

Yes yes, good friend of mine got his mixtape launch night. Head down, you will not be dissapointed.... Very special guest....

Myspace

Uber alles....

2009-02-11T18:07:00.005Z

Due to a difference in financial priorities (compared to most) I rarely holiday or stay in hotels. At the moment I happen to be at a hotel in Bracknell for work, a fairly dull affair that I won't get into. Checked in and got in the lift to go up to my room..

Schindlers lift, fair made me chuckle......

That is all....

Bass for your Face....

2009-02-10T12:54:00.004Z

Me & mine will most likely be in attendance, what's not to like..?

Cargo
Sat 21st Feb
FRIENDS AND FAMILY BASS SPECIAL

Fat City Records & Plat du Jour presents...
FRIENDS AND FAMILY LONDON
A DEEP BASS SESSION!

Kode 9 is one of dubstep's lead players, he dictates the scene and is not afraid to offend the purists. Expect all sorts of suprises... Prince to Sa-Ra to Rhythm & Sound to Theo Parrish. This is Hyperdub's head honcho people; show some respect!

Lukid (who kindly lent his artwork for the flyer) is next up. A student fresh from the Barcelona Red Bull Music Academy; this new broom sweeps clean! His sound is huge, bass driven and inspired by the work of Flying Lotus and the crew. Please don't miss his album ‘FOMA' Werkdiscs OUT NOW!!

Dimlite. You know Dimlite right?! On the downlow since 2006's Sonar Kollektiv releases. The Swiss man of mystery is in the lab but when we cooked this line-up we couldn't miss him off. If ‘06 wasn't ready for him, ‘09 certainly is. An essential addition, we feel. Dimlite, we love you!

Tickets: www.ticketweb.co.uk - 08700 600 100

LIVE: LUKID + DIMLITE

DJS: KODE9 + ROON + FRANKIE FRANCIS

8 -3

£6 before 9pm, £10 adv, £12 otd

Grow some balls you yellow bellied suits....

2009-02-09T13:14:00.013Z

The usual bleary eyed journey to work started quite badly today, upon descending the stairs to Bow Rd Westbound platform, I was immediately struck by the sheer volume of people awaiting the next train. I'm not at all claustrophobic, timid or adverse to large numbers of people, in fact if anyone was to cry torches & pitchforks I'd be first in the mob. Fact is, people annoy me for a variety of reasons, some smell, some have little to no manners whatsoever, but mostly it's my own anger management issues I suppose.

Today's incident (and these kind of things are fairly frequent in my world) reminded me of a walk home from school around aged 13. I had almost reached my bus stop when I came across a bloodied lad named Jamie, nose spewing claret. I enquired as to what events had transpired, and it slowly emerged that amongst other things, one of our year group had lamped him for 'being soft'. Jamie had been set upon by three boys from a rival school, and by all accounts was getting a fair kicking. Mark (from our school, one of those that seemed about 3 years older than the rest in both size and facial hair growth) saw it going down and had jumped to his aid, smacked the three rivals about and sent them packing tail between their legs. As soon as Mark began helping , Jamie fled and simply left him to it. Mark was not best pleased with his response, saw the lads off then chased after Jamie and gave him a couple of smacks for good measure.

Now I'm not one to condone violence, but I can understand Marks anger and actions in regards to lilly livered Jamie. I can't abide bystanders, of whom we have far too many these days. All it takes for evil to conquer and so forth...

The carriage today was fair crammed, and being the District line was of the older stock with central poles in the seating areas. One inconsiderate, tight jeans glasses wearing fashion victim had leant himself against said pole leaving several people without anything to hold onto, a number of whom were of the fairer sex. Naturally I immediately said to the afore mentioned reprobate, 'do you mind, people need to hold onto that, including me'.

He squinted at me, mouth ajar, I could almost hear the tumble weed rolling through his mind. He shifted from a full back lean to a one shouldered lean, still blocking the pole for the majority and trying to retain some position of superiority. 'Fucking move... NOW.' I heard myself say, which he did, promptly. Several hands grasped for the now vacant pole, and I could feel eyes searching to gain contact with my own, which I imagine would have been a mixed attempt at thanks and affirmation of my actions. I intentionally neglected to catch the eye of any of my fellow passengers, I was just as enraged with them as I was with the pole hogging fool. Apathetic bystanders beware, you're just as guilty and you shall also feel the wrath....

No claret.....

Greetings & Salutations

2009-02-08T16:38:00.009Z

Like many these days, I spend an inordinate amount of time online, or at least I did. For one whole year I haven't had net access at home, quite how I've coped I'm not entirely sure..

Come the 17th of this month, I’ll be back, pounding the keys, and staying awake into the small hours, eyes streaming from monitor over exposure, and I couldn’t be happier.

So what can you expect to find on my humble page.. Well as the title suggests, it’ll be a veritable nonsensical feast tapped directly from my consciousness… Music, culture, what me and mine have been up to, places to go and so forth… Come payday I also intend to buy a camera, so you can look in to see the lovely sights of Bow…

First things first, this came in the post yesterday.

Now please understand that I receive a fair amount of stuff, and seldom do I get past a couple of tracks before it’s slung into a box never again to see the light of day. I haven’t stopped listening to this since it dropped onto my matt. Due to be released 20/04/09 on Tru Thoughts Recordings, you simply have to buy it. I’m not going to talk about it now cos it’s pending review, but Stonephace is good, oh yes, that it is… Check the page…. One for the Jazz cats, the heads and the everyman….