I first heard about ESG when Soul Jazz released that comp a few years back. That's so lame to admit, right? That's like saying I found out about Jay-Z through a mix CD some british guy made. Well whatever dude, in the year 2000 I was more into collecting completely worthless records like Mo Wax imports and Mos Def 12s.

I mean the Mos Def I can defend: I didn't know anything about hip-hop and he's a pretty harmless-seeming starting point to learn, right? But Mo Wax? Seriously? Talk about something that has not dated well. Maybe it's because I used to collect comics and was spending the most $$ on titles like Youngblood and Shadowhawk that I developed a taste early on for blowing my budget on worthless hype. But you gotta get Image if that means you might get into Valiant, and you gotta go through Mos Def to get to... what, Black Star? That track "Thieves in the Night" did kind of blow my mind at the time I guess.

Anyways, I found out about the enterprising Scroggins' girls music through this Soul Jazz comp, and every song is a melter. Chances are you're already familiar with ESG so you can skip the rest of this post and go straight to downloading the tracks below. If not, I'll say that the shit they're releasing through the 80s is all solid otherworldly music and stands up incredibly well against the test of time. Not to mention that "UFO" basically invents house music and "Moody" is the illest dance track ever. Plus they were produced by fucking Jesus Christ Himself! (Martin Hannett)

Here's 2 cuts from vinyl -- not on the Soul Jazz comp:

STANDING IN LINE *via Eli

ERASE YOU ("PUPPY TO YOUR SIDE" 12" EDIT) (mp3)

I used to work at the Lab store in the East Village. A lot of people think it must be awesome to work in a record store. It's actually not. That cultivated, snobbish, non-committal and constantly shitting on everything attitude that record store employees have is oftentimes not an act.

One of the things that makes TTL different from other stores is that it is mostly a reissue store. It's got tons of other stuff that make it more than a record store (equipment, software, needles, etc), but in terms of records it's not like you're working in a regular record store where people come in like "I've got this collection of records, you guys interested in buying it?"

So you end up spending most of the day surfing the internet and being real irritable and make fun of literally everything possible (eg-"good thing it's time to eat lunch." "Yeah, lunch sucks.")

Plus, it's boring working in a record store! All you do is sit around all day long and people come in asking for the dumbest records imaginable ("do you have the new [horrible song] mashup/bmore/remix?"). No girls ever come in, or if they do they're girlfriends of some dj and give you a list like "I don't know any of these songs can you pull them for me?" Most people are morons, but then once in a while your friends will come in and things won't be so bad for a little while.

Last week a bunch of us were hanging out at the Lab store and Jeremy from A1 shows up and totally casually throws a record on the system and then in the next two minutes, Andy, Jamal, and I all buy it. I don't know much about it, it's on the guy from Metro Area's new label I think. Anyways here it is:

BABY OLIVER - PRIMETIME (UPTOWN EXPRESS)
(streaming)

Without even realizing it I'm now totally back into early 90s house. It's so fucking good!!! I guess I need to go rent "Paris is Burning" and buy that Malcom Mclaren record about voguing now.

Anyhow, here's a song that has made me incredibly happy lately:

Happy May you shit-asses! I know it's not technically May yet, but whatever, I made a vinyl mix to see if I still have the chops for it post-Serato (news flash: I don't). These are pretty much all records I've found recently b/c I've been unemployed and thus spend an inordinate amount of time shopping for records. It has a housier vibe this go-around, mixed in my bedroom while the sun was shining outside. Phermones are everywhere right now!

VINYL MIX FOR MAY

~tracks~
todd rundtro
House Without A Home - It's Just A !!!
Revoked - Pieces (Sound Factory Mix)
First Choice - Let No Man Put Asunder (Shep Pettibone Mix)
Daft Punk - Something About Us (Eastar RMX)
Electronic - Getting Away With It
Fresh - The Set
The Genetic Terrorists - Machine Gun
Squeeze - Take Me I'm Yours
The Associates - The Associate
Block 16 - Electrokution
Sparks - When I'm With You
Prince - 17 Days
Hotline - Rock This House (Dub)


*ps- I lied about this post being heterosexual. My shit is getting gayer by the second son!!!

Here's a video of someone voguing:



I won't claim that I know a lot about vogue/runway house, but I do have to give shouts to Lloyd, Andy and Kevin for tuning me into most if not all of the songs I'm going to talk about here.

Let me backtrack and say that I have a pretty much 100% track record of Gay-Song-Heard to Mind-Blown ratio. First time I heard "Walk The Night"? Mind blown to smithereens. First time I heard "Dive In The Pool"? Penis exploded. Actually, "Dive in the Pool" is especially dear to my heart because this song is like the second coming of Christ, except it turns out Christ is gay and then the apocalypse happens. The chorus of this song alone sounds like hundreds of Village People-esque construction workers are pounding anvils and smelting iron to create weapons against heterosexuals.

Then a few months ago Andy busted out the Robbie Tronco record "C.U.N.T.", which splooged in my face.

OK I promise that my next post will be incredibly heterosexual. I'll post songs that date-rapists play while they date-rape.

Now that I'm once again unemployed, I am locked back into that vicious cycle of having too much time and no money, and going to fill that time by buying dance records with money I don't have, for gigs at which I can't play dance music.

In the last week I've hit up all my usual record haunts, and I want to try this thing where I review my top spots, so I'm going to start with my favorite:

A1
Impressively, A1 has always kept up with/paralleled my evolving music taste over the last 6 years: start with funk; go to hip-hop; combine the two and get to disco; see where disco leads and get into 80s; combine the two again and get into house. All the while affording me the opportunity to buy the odd 90s rock record or old folk/hippie album. I have so many garbage records and so many "for the collection" records that both come from A1 that I can't even begin to list them: probably a good 30% of my collection comes from that place alone!

So here, completely at random, are some of my A1 finds:

JAY-Z - MURDA MURDA (MARCYVILLE) (mp3)
After downloading a million versions with some radio idiot babbling over the intro, I finally found this goddam record on the most bootleggy bootleg of all time. Thanks, Street Joint records!

STEPHANIE MILLS - PUT YOUR BODY IN IT 12" MIX (mp3)
The record this is from is a perfect disco 12. One side has "Whatcha Gonna Do With My Lovin" -- the classy cocktail burner, and the flipside has "Put Your Body" -- the disco strutter. Fire!!!

BUZZCOCKS - SOMETHING'S GONE WRONG AGAIN (streaming)
I found the Buzzcocks Product CD box set at A1 -- the linear notes were signed by the band!

OMG! Time to gay out! ABBA is my favorite disco group ever. I know that is incredibly lame, because after ABBA recorded a trillion #1 singles and with the help of Saturday Night Fever triggered the disco backlash, they were already deemed uncool once. But then in the 90s they had a massive revival in the gay scene and then sort of fell out of fashion a second time, and now they are sort of back in the limelight because of the Mamma Mia musical, but at this point everyone knows there are so many awesome disco groups like Chic, Change, D-Train, etc it's once again not cool to admit to liking ABBA because they're so poppy.

Too bad I love pop music! Christ these Swedes are a neverending hit machine. I was trolling through youtube to find the best video of theirs and could not do it! The "Gimme Gimme" video is pretty ridiculous because you see them in the studio and Benny/Bjorn are like Moroder/Spector in there, James Browning the musicians for playing a millisecond off-beat. Plus of course Agnetha and Anni-Frid decided to casually show up in the studio looking FUCKING PERFECT and record the greatest song ever. Also they pull off the most difficult thing of all: smiling while singing and not looking like insane people.

I eventually settled on "Knowing Me Knowing You" because it visually sums up how ABBA is comprised of symmetrical impassive machines of cold, calculating precision while simultaneously layering on layer after layer of penis-shattering melodies. Also, Benny kind of looks like the guy who designs covers for Ed Banger:

Just to further underscore a belabored point, look at how gay I am that I even own all this junk!



That's right true believer! Your eyes don't deceive you! That is indeed the shittily written 33 1/3 book on Gold, a Japanese OBI stripped "Super Trouper" (plus the 7" with PS son!), and a goddamned Dipset/Wu-Tang style ABBA shirt (ugh!)!

2 classic ABBA jams for your perusal:
LAY ALL YOUR LOVE ON ME (Disconet 12" Remix) (mp3)
VOULEZ-VOUS (12" Mix) (mp3)

1. There is a disco party in outer space, on board a spacecraft
2. The spacecraft has a good view of earth
3. Curtis Knight has a gigantic codpiece
4. Humans and aliens dance together in harmony, perhaps as a commentary on the strained race relations of humans on mother earth?
5. Stoned/tired/not-into-it humans rest peacefully on couches in the background
6. Curtis Knight has the most amazing boots ever

*bonus! art is by Kathy Knight! She is inarguably Curtis Knight's wife!

...sorry there's no audio, there was no record in the sleeve. Also it's from 1980 so I'm sure the song rules.

Here is a mini-mix I did for the month of April. For some reason there's a lot of 90s rock/pop on it. If you ask me why, the answer is "meh."

SITTING, FULLY CLOTHED, LITERALLY STARING AT NOTHING

~tracks~
Syclops - Nelson
OutKast - Rosa Parks
Regina Spektor - On The Radio
Gorillaz - Dirty Harry
Paul Stanley - People Let Me Get This Off My Chest
The Rentals - The Love I'm Searching For
Spacehog - In The Meantime
The Flaming Lips - Turn It On
Modest Mouse - The View
The Presets - Are You The One (SMD rmx)
Cake - Rock 'N' Roll Lifestyle
Green Velvet - Shake & Pop
Redfoo - Smack Em Wit A Dick
Billy Fury - I'm Left, You're Right, She's Gone

As the trend of "literally everything that has ever happened needs to be documented" continues, may I say that books about punk are totes gaaaa'aaay. I appreciate the fact that some UK historian feels compelled to convince everyone why Throbbing Gristle and the Mekons are the most important thing since ever, but when you have some dude scientifically breaking it down and telling you straight up why records about heroin are revolutionary, it's kind of like if you met Martin Gore and found out he's a totally boring old goth guy (which he is) -- it demystifies the whole thing.

All those books like the "Rough Guide to Punk," "Punk for Dummies" and "A-Z of Punk" are pretty terrible for exactly that reason. This is kind of a crochety old man rant along the lines of what Eli was saying about Serato. There was that "Rip It Up and Start It Again" book, which was informative but ultimately kind of bloodless.

However, the exception to the rule is Please Kill Me, which is like the best music book I've ever read, after the 33 1/3 book about Girl Talk, natch:


Basically, one of the old editors from the OG Punk magazine Legs McNeil, together with some chick I assume he must have been having sex with, go and interview as many people as they can from the 70s punk scene, starting with the Velvets and Andy Warhol acolytes and moving up through glam and the shittiness of the 80s.

That's it, there's no pretentious theorizing or social contextualizing, it's just short firsthand soundbites, focusing mostly on the NY downtown punk scene. Contained! Lou Reed's non-sequiturs, the Dead Boys talking about how awesome they were, and everyone complaining about how Iggy Pop would show up at their place at 4:30 AM with puppy dog eyes and be like "can I sleep on your couch *sniff sniff*" (much in the style of the narrative described in "Hey Jealousy"), and they'd be like "OK Iggy Pop, only because you're a God among insects."

Oh yea, it also wins because it shits all over the Sex Pistols and how the majority of them were clueless dolts in the grip of haggy maven/international douchebag Malcom Mclaren.

Here's 2 of my happiness-bringing tracks from this era, kind of obvious, but so's punk:

IGGY - TV EYE

BLONDIE - RIP HER TO SHREDS

*bonus! if you like this kind of firsthand account of fast times, you should also investigate the book about SNL and read about how Will Ferrel went to his interview with Lorne Michaels with a briefcase full of fake money.

the neverending cure vs smiths debate rages on... but whatever we all know that the smiths are better. nevertheless I must admit that as far as spinning goes, the former are much more DJ-friendly than the latter. Cure songs just hit harder for whatever reason, probably b/c they're generally more bass/drum driven VS jingle-jangle guitars, which always sound bad over shitty bar/club systems. that's why "ask" and "bigmouth" never sound good until the bass kicks in, and "lovecats" and "let's go to bed" will always sound good right off the bat.

plus as proof that the cure are more DJ-friendly, there's tons of Cure remixes floating around VS the 1 Smiths one that I know of ("charming man"). A bunch of the Cure ones are intensely shitty, but a grip of them are pretty good, and they both appear in equal measures on "mixed up", the most obv of which is totes the paul oakenfold "close to me" rmx. everyone in the world knows this song, it was like the first ever "hip-hop speed non-hip-hop song" I ever played.

these are some of my fave 12" cuts, sons!

WHY CAN'T I BE YOU Francois K mix (mp3)

LET'S GO TO BED milk mix (mp3)

I've watched this probably a sum total of 30-40 times by now Andy as Sanjaya from American Idol:

I love the Brits. Even tho the island is comprised primarily of fucking savages, God love their music press. For some reason, it's mandatory that every 3 months or so, a UK magazine needs to have a Smiths/Morrissey special issue, in exactly the same way ever 2-5 years Bad Boy will release another Biggie album (I'm pretty sure the next one is going to be "Duets Remixes").

If you've read the amazing "Songs That Saved Your Life" or the less good "Severed Alliance" Q or Mojo won't really reveal anything you don't already know, mostly because it's always the same shit, mining interviews with everyone associated with the 4 Smiths LPs, or going back and elucidating for the millionth time that Johnny Marr liked the Gun Club and wanted to record electronic music.

However, I'm always ready to start downloading anything that British magazines tell me influenced Moz. After all, who would know better? There are some exceptions though: to paraphrase nerdkiller, "Sandie Shaw, just because Morrissey liked you doesn't mean I have to."

Some jams:
Billy Fury "I'll Never Quite Get Over You" (mp3)

NY Dolls "Lonely Planet Boy"

allegedly the source for "There is a Light"s line 'driving in your car'

*BONUS!*

here's a link to my old Moz-worshipping comic, wherein he is likened to Girl Talk (whoops, I mean Jesus Christ!)

Every Saturday night, I DJ here:


It's a party filled with Baggayus J Douchingworthys and Blondehair C Tittsalots everywhere you look. I can't stand it so much that I even tell my friends specifically to not come. The ratio is about 9 sharking dudes per 1 drunk idiot girl. I pretty much hold all the customers in contempt, and have cultivated this personality where I'm an asshole to everyone who talks to me/makes request. Actually thats not true, here are some exceptions:

1. your request HAS TO MAKE SENSE! like, pay attention to what I'm playing and have it contextually kind of relate... don't just come up screeching like a monkey about how much you want to hear the 3 most obvious songs in the world (Jouney, Bon Jovi, Sexyback)

OK so I guess there's only 1 rule. Beyond that, I hate it when bitches are like "me and my friends are leaving soon, can you play XXX?" Does that make ANY SENSE whatsoever? OK let me just play this so you can leave.

Then again I've been doing it for like 4 years so I'm pretty over it, but I will say that this bar is the place where I learned to play a non-hiphop/disco set. I learned to play white man rock here! But now I'm so over it I just play the Undertones while girls are having their bachelorette parties.

Plus! Last night at one point I'm playing a bunch of 70s and then new rock stuff, then I go into an 80s party set and this drunk idiot girl comes up saying something like "not to sound like a bitch but people just want to hear 80s and everything else you play fucking sucks." Seriously? Are you kidding me? Do people really talk to other people that way? I don't go to where you work and slap the horsedick out of your mouth. Anyways it pissed the shit out of me and so of course I proceeded to "keep it real" for the next half hour (ie-punk no one wants to hear). Fuck you, audience!

Here's a few "Saturday Night Classics" for me:

The Sweet "Little Willy" (mp3)
Ian Dury "Wake Up And Make Love With Me" (mp3)
Steve Perry "Oh Sherrie"* (video)


*in an attempt to show my utter contempt for both the genre and my audience, I'm going to make a reggaeton version of "Oh Sherrie."

As any DJ will tell you, it's simultaneously gay and difficult to spin the Beatles out. I don't really know why this is so. It's totally fine to spin the Stones out, and I've probably even heard more Beach Boys than Beatles songs... so what's the deal? Is it because they're "uncool"? Or maybe the songs themselves are just way too happy to play with a straight face? That doesn't seem too likely, given that Spinna & Bobbito used to do Stevie Wonder parties and that dude's smiling all the goddammed time.

The only Beatles songs I've ever played out in my history of spinning:

In My Life - at a wedding, so it doesn't really count

Ob La Di Ob La Da - it actually hit pretty hard, but I just felt like the biggest cornball in history while it was playing. I might as well have been a summer camp DJ playing the "chicken dance"

Twist & Shout - this song works but I've never figured out a way to mix it in or out, it's a matter of dropping it and cutting to the 2nd chorus instead of the first one so it ends quicker

Birthday - Christ I will never play this one again. I'd rather play the Altered Images song, or even fucking "In Da Club" over and over again than have to play this one.

The Ballad of John & Yoko - this song actually totally works in that 70s roly poly bassline sort of way, a fun jam that is unique among Beatles songs in that it is somewhat danceable... the video(?!) is below. I have no idea how official it is, it's pretty clear they just took some footage and cut it in at "appropriate" moments. I love how when people do this they get real literal, like when the lyrics are "you know it ain't easy" there's a shot of Mccartney mussing his hair a little, presumably at how uneasy whatever task he's doing is.

Anyways, the point of this post is that I've heard a lot more Mccartney songs out than Beatles songs. Even James "Paunchy" Murphy ended his set at Studio B with "Let Em In"... here's 2 Mccartney jams for the people:

Let Em In (mp3)

Goodnight Tonight (12" Mix) (mp3)

Last night I went to the criminally under-rated Super Family party @ 205. The sound system is really good, not that many people are hip to the party yet so there's dancing space, and there's even a lighting setup that vicarious DJ buddies can get on and do some epic Phish lighting to.

Did I mention that Saheer & Jamal are also awesome DJs? Talk about fire and ice tho, Jamal is like a stonefaced zombie and Saheer is like a crazed voodoo man when they spin. Anyways, they played Green Velvet's "Shake & Pop" and for the next few minutes I was getting my brain continually shat upon. Here's the video, and if you want the mp3 it's right here.

Spoiler!
This blog entry is going to be the living breathing opposite of cool.
End Spoiler!

Back in 1995, when being a nerd was a much more socially reviled thing than it is today, I was enthralled by the twisted pop genius of They Might Be Giants. The first CDs I ever got were through the now woefully out-of-fashion BMG Music Service, and I purchased Flood on the strength of the 2 music videos on Tiny Toons. The experience of seeing these two videos was one of my first instances of nerd empathy, it was akin to some kind of primal recognition: "the people who created this music? I can idolize:"



After that, well we all know people who collect things (records, comics, DVDs, etc) will voraciously devour something they have just recently discovered, and I was no different in my consumption of TMBG. To wit!

1. I saw them in concert probably 20 times
2. I bought every CD single (which, because they were nerds, TMBG loaded with alternate versions, exclusive b-sides etc)
3. I made constantly newer versions of my "ultimate TMBG tape" (the final incarnation of which had to be broken into two 120 minute tapes!)
4. I bought both John Flansburgh's Mono Puff and John Linnell's State Songs solo albums, and dutifully committed all the lyrics to memory, even of the songs I didn't think were that good
5. I suffered heroically through that especially undignified period of 5 years (5 years, reader!) when they forestalled putting out a new album by releasing every possible album that was not a legitimate album (a live album, an online-only mini album, the dial-a-song comp, a double disc retrospective, etc)
6. I had TMBG shot glasses in college
...etc etc

Let's just say that during this period, women were not exactly splintering my door apart with an axe to get at me. This was when I was fully and unapologetically a card-carrying nerd. And in the musical world of TMBG, every song is like a little dorky universe of smart fractured pop brilliance. Lyrical puns ("Mr. Tambourine Man" becomes "Mr. Tambo & Urine Man"), obscure surrealist references, anthropomorphizing literally anything -- all this self-referential and slyly winking postmodernism nonsense is enormously appealing to a geeky high schooler who prizes being "smart" and "funny" to the exclusion of all else.

The late 90s are up in this bitch! I was also listening to a healthy regiment of NOFX, Presidents of the USA, and 3rd wave ska which I agree makes me like a Hot Topic/Spencer's Gifts posterboy, but I still maintain it was a hell of a lot better than listening to fucking Dave Matthews and his band of heroin-addicted fag-hag hippie trannies.

I was even seriously considering making a mix CD called "Because No One Else Will: A They Might Be Giants Megamix." In the meantime, here are 2 of my favorite John Linnell-penned TMBG tracks. He is like King Nerd. Have you ever been to that comic store Forbidden Planet in Union Square? That guy Jeff who's like the manager is like King Nerd there. King Nerds preside from a self-effacing throne over other nerds who have less social skill. Not to suggest that King Nerds have social skills, they just are slightly less socially retarded than the citizens of their domain. I should know -- in Chinese School I was kind of King Nerd.

It's Not My Birthday (mp3)

Mrs Train (mp3)

Doing some frenzied spring cleaning this afternoon, I came across my old Donna Summer jacket. It is simultaneously the worst and best thing in the world:




Here is the FUNDAMENTAL QUANDARY:

Am I a douchebag for buying an "ironic" old radio giveaway jacket that, while it might've been "cool" for me to get at a Salvation Army from clueless (but well meaning) volunteers, is made reprehensible because I found it at stupid hipster alcove Deacon's Closet in godamm Williamsburg for Christ's sake (for $25!) by motherfuckers who just listen to Donovan all day long (not that I have anything against Donovan)

OR,

do I subscribe to the Great Gatsby-esque "it's not where ya from it's where ya at" credo of self-creation and ignore where it came from because it is totally, totally awesome?

after hanging with the old idiot lab crew (roc, k.lim, ski & jew) last night, I was reminded of a track I was recommending to Kyle (Jew). I'm real into twee, overmelodic harmonies. I guess you could say I like pop music!

everyone in the world already likes the beach boys, beatles, zombies, etc (except andy said yesterday "fuck the beatles"! the fact that it was said entirely for drama points is kind of irrelevant. fuck the beatles! cheeseless crust!).

I like the story of dudes like jeff lynne who really, really wanted to be the beatles but weren't and that chip on their shoulders made them work twice as hard in the studio. kind of like how r. kelly takes inspiration from the drama that dogs him in life and locks himself up in a studio and records for like 17 hours straight.

so here's a couple pleasant melody based jams for you to revert to state of child-like innocence to:

Donovan "Happiness Runs" (mp3)
Zooberry turned me on to this one recently. At around the 50 second mark, Donovan goes into full-on "row row row your boat" mode, which for me is the equivalent of some old hip-hop guy finding a "dope break" to sample.

Virginia Astley "A Summer Long Since Passed" (mp3)
This is the track I was recommending Kyle (Jew). Found out about this one through the oft-overrated "Me & You & Everyone We Know" when it plays through the credits. From what allmusic tells me, it seems like this album was unique in her discography -- all piano/field recordings, very atmospheric. I'm trying to track down the other album that allmusic recommends (I bow down to the altar of allmusic.com as an authority on everything because they are so rarely salty*).

The Shins "Saint Simon"
I also used to bow down to the altar of pitchfork til I read one review where the guy didn't know who Fatman Scoop was. That pretty much summed up how clueless these guys are. Also they lay themselves prostrate in front of Girl Talk's glowing shiteousness. But they were pretty spot on with their unadulterated praise of "Saint Simon":

"Saint Simon", one of two or three songs on the record that could easily contend for song of the year, sees Mercer exploring an almost Bacharach-ian level of melodic sophistication. The track is host to an elegance of exposition and development not even hinted at on Oh! Inverted World, as it seamlessly segues from a straightforward pop hook to an ungodly gorgeous choral segment, replete with lush strings and chiming guitars. By the time Mercer reenters with a perfectly aching vocal melody, it's almost unbearable-- this is the kind of song that overwhelms simply with the intricacy of its beauty.

(in Ogre voice)
NNEEEERRRRRDDSSS!!!

Here's the vid:


*Speaking of the never salty allmusic, I will reveal this small anecdote:

The day I was coming back from WMC I saw DJ Z-Trip at the airport, on his Mac with his headphones on. I can only assume he was creating the ultimate, end-all-be-all of "Sweet Home Alabama" remixes -- the fucking summum bonum of Lynyrd Skynyrd remixes! Like, "this is what I want people to REMEMBER me by".

And for some reason I looked up allmusic's review of his album "Shifting Gears"... all I can say is that the review is a classic piece of music criticism. Move over, Cameron Crowe's review of that live Peter Frampton album, this one's for the history books! Let's just say that the unironic usage of phrases like "furious scratching," "tear it up," and "phat, quirky beat" both merits a "wow" and makes me strongly think that Z-Trip's doe-eyed intern must have written the review.

This is kind of a cop-out for a post, since it's an old comic, but if any of you people out there are DJs you'll sympathize. Here's a comic I did a few years ago about the trials and tribulations of DJing.

Just bought tix to the Daft Punk show thats coming up in August in NY! I am considering taking drugs for this, not even because I want to, but out of RESPECT! Respect for the sheer awesomness that is Daft Punk! In honor of these godfathers of French amazingness, here's the oft-overlooked 1 track live album "Daft Punk Alive" -- 45 minutes of screeching bassy squelchy realness. I think they play a total of 3 songs for the whole set, from Homework to boot!

DAFT PUNK ALIVE 1997 (via Electro Premium Choice)

Speaking of live Daft Punk, shout out to Lloyd, who turned me on to this guy I presume is Japanese, who put up Daft Punk's entire set from Coachella on youtube. For an example of boner-inducement, here's the intro to the set:

On Tuesday i joined the likes of the hip elite in New York. Ladies, if you didnt know it already, if you want to get free drinks from a SUPER guido bartender who calls you things like "juicy doll," Webster Hall is the place to be. Please leave comments on whether i should be offended about being called "juicy."

As part of my experience i was able to take part in the glory that is Juiceboxxx. A White MC from Wisconsin who might be the best thing that has ever come out of Milwaukee. Next to cheese. nothing is better than cheese.

who loves jam bands from the south? MEEEEEEEEEEE is who.

Last week i was fortunate enough to see this band two days in a row thanks. There were like 15 people on stage at all times and there was alot of grinding against guitar action.

Check it!