Archive for March, 2012


Thursday, March 29th, 2012

Well, Reality TV season is in earnest: we’ve got ‘The Apprentice’ up & running – where DO they find them? If these are the best of the new generation of business leaders, then we’re totally screwed.

Dancing on Ice reaches it’s conclusion (by the time I’ve posted we’ll finally know who’s actually been skating & not simply making up the numbers – assuming there’s been more than The Wife & I have been watching….)

The Human Zoo that it Cowell’s current cash cow, ‘Britain’s Got Talent’ is back with us, in all it’s Hogarth-ian vividness.

Fresh from his stint trying to launch the X-Factor in the US, he’s back to try to rescue this show on these shores.

Not that anyone’s THAT interesed, but the strongets element, & paradoxically the weakest link is Ol’ High Trousers himself, Simon.

Allow me to elaborate:

The success of his shows have, initially been down to his personality (or some may say, lack of it). His acerbic comments & no-nonsense approach made him a hit. However, here in the UK the shows he’s associated with, are essentially built around him – take him out of the equation, then you’re left with  a series of relatively average talent shows.

In the States, however ratings rule – everything. In trying to break X-factor in the States, he was going up against one of his own shows, American Idol.

The fact he even got to get X-factor to air wasn’t down to his ‘Mr Nasty’ image – it was his close involvement in making  a very successful show with great ratings:American Idol.. You’re only as good as you’re last hit – this is never more true in the most commercial, competitive TV/media market in the Western world – America.

The latest to enter the fray is ‘The Voice’, based on an imported TV show where candidates initially have a ‘blind’ audition i.e the judges/mentors have their backs to the artist as they sing. Should more than one judge turn to ‘accept’ the auditionee, it’s up to them, not the judges to make the decision who they end up with. These, apparently, are the principle USPs. The Wife has seen a version of this show in her homeland so is familiar with the concept. I must say, that at the moment, what I saw was interesting, not just in terms of the artists, but how the judges select/accept/reject candidates, as well as seeing who the auditionees choose in the event of a tie.

We were spared the collection of deluded misfits & nutters, mangling songs beyond recognition; instead faced with a selection of individuals who, for the most part, could actually sing – I almost got confused for a moment.

That said, they did take a leaf out of existing shows, with sob stories in earnest, we got to see one of blokes from 5ive who no-one remembers audition. Actually, he was a nice bloke who took it on the chin when he didn’t make it.

Danny from The Script chose one fella who split my opinion; I thought he would benefit form Danny a a singer/songwriter, but I felt will:I:Am may have been a better fit for him artistically.

There were a couple I thought wouldn’t get picked as they sounded well off, but then the mentors’ clearly felt they had potential.

It’ll be interesting to see if the rest of the series lives up to the promising start. Let’s see……

Instrumental Hip-Hop Sucks? Sort of. Possibly

Friday, March 16th, 2012

An article by Philip Mlynar generated a great deal of fuss on Twitter  a while back – yes I KNOW they say respond quick or its old news, but I have a life & a day job!! Plus while everyone was foaming at the mouth, I took a step back, a deep breath & took my life & reputation in my hands for my measured response:

He had a point – sort of. (You can read his original article here).

Allow me to clarify:

Having actually read the article ( I know some people get wound up over a lot of thing without actually reading said quote/article or watch said broadcast/footage), in my opinion, some of his arguments (or rantings) make some broad, valid points.


His argument seems initially to be based around the proliferation of downtempo experimental hip hop, colloquially referred to as ‘trip hop’.

He then, rather bafflingly, seems to then take aim at hip hop as a musical genre as a whole, seemingly including the very period which he claims to love.

As an old school DJ, I love instrumentals. Most hip hop wouldn’t exist with instrumentals. Indeed there are rumours that the instrumental to RUM D.M.C’s Peter Piper will be played at my funeral to check I’m dead (if there’s knockin’ from the coffin, dig me up!). Being able to mix & mash up different tunes is a staple of the (hip hop) DJ & the instrumental is erm, well, instrumental to what they do.

Indeed, one of my abiding memories was at an all-dayer in Nottingham’s Rock City club. Inbetween the (largely imported) soul tunes & hip hop/electro, one of the DJs put on the Dub version of ‘Cosmic Blast’ By Captain Rock.

At this point, something remarkable began to happen. Jazz dancers, who’d been in the side room listening to latin & fusion began doing their thing to this track in the Main Room on various spots on the dancefloor. Very slowly, many of them ended up trading moves with the b-boys who were equally getting off on the now-classic track.


Whilst I agree that much of this meandering, psuedo-psycadelic, beat-laden music from the early 90’s labelled ‘trip-hop’ was indeed self-important, self-indulgent, pretentious pap, there was a lot of genuinely original music being made that was based in the genre


However, this is true REGADRLESS of musical style. For every classic Oasis track or Kasabian tune, how many guitar bands have you seen with skinny jeans & terrace-style singalong riffs that are utterly forgettable? How many people go to a rock concert to here a 10 minute guitar solo, unless you can (barely) remember Woodstock. I love my jazz, but if I’m paying money to hear interminably long, tooth-grinding sax tootling then you’re sadly mistaken.

For every classic track, there’s dozens of tuneless, pretentious cow-pats touted as the ‘Next Big Thing’.I’ve lost count of the amount of material I’ve been sent that has been absolute self-indulgent, crap, or bland anodyne musical wallpaper.


The term ‘trip hop became a catch-all term for all downtempo music with a beat, made by some spotty indie kid with rich parents, quoting obscure, long-dead Russian authors, to justify their meaningless, pretentious audio wee.


Remember – ‘trip hop’ like ‘techno was essentially a marketing term, dreamt up/seized upon by some Nathan-Barley-esque Shoreditch t$£t, trying to be achingly hip. Also, even though PCs & computer music was becoming cheaper, there was no download culture as such & releases were still mainly physical. This still made it  costly to put out music so it was still very much in the hands of rich kids (possibly called Roderick) than your average street kid back then.

This dictated the material made & released (to a point).

Also, as with techno many artist originally classed as trip hop, never used the term themselves to describe what they did.


Prior to trip-hop there was Acid Jazz.

What started as an in-joke quickly became a movement than a cliché describing any track with

  • A Hammond ogran
  • Trumpets (or JB’s horn sample)
  • Some lame ‘MC’ (I use the term advisedly), trying to sound like some trendy ‘Sarf Lahndan Geezar’


I admit, I was initially taken in by that one, however were I to take his rather ‘passionate’ stance, I’d have to throw out most of my collection including tracks I personally championed – not because they were trendy but because they were bloody good.

‘Clubbed To Death’, by Rob Dougan is a classic example of a blindingly good track from ‘trip-hop’ label ‘Mo Wax’ I’d happily drop that in any of my sets & Mo Wax illustrates the 2 sides for me very well.

The label actually straddeled the Acid Jazz/Trip hop thing, & while their latter output was more like high falutin’ navel-gazing cobblers, it cannot be denied that on balance, they had a diverse output with some genuinely exciting music from a range of artists..



People will always push the envelope.

Yes, hip hop originally started out a party music, but has evolved & morphed in  many directions All music has conventions or at least certain stylistic cues that help us identify what’s happenning. If he hates experimentalism, he may wish to get rid of his Mantronix records (if he has any). DJ Mantronik himself once said he wanted to take hip hop out of the clubs to explore its possiblities, (Get Stupid Fresh? Hardcore Hip hop? Scream?) yet still put out bangers such as ‘Bassline’ & seminal B-boy classic ‘King of The Beats’.


Now, rather than some spoilt little Johnny-come-lately-with-his-parent’s-trust-fund, anyone with a PC internet access & a hacked version of the latest DAWs can get their material potentially to almost anyone else on the planet (not that I’m advocating copyright piracy, but you get the point).

This means more great music is out there, but conversely, there’s more ‘pooh in the pool’, as it were.


For example, currently the buzzword in the music press is (still) ‘dubstep’. Take a handful of releases at random & I guarantee, most of it will be woolly, badly produced cack that simply has a deep wibbly bass & some screechy synths, sounding like an unholy union of a goose & a cat thrown into a tumble drier.

Does it mean dubstep’s crap? – NO; what it DOES mean is that you now have to wade through more crap to get to the genuinely good stuff.


Also, the unfortunate, sad reality is that mainstream Hip Hop is pop music. This the way it is. It’s become a victim of its own success – deal with it.

However, the REAL argument is even though my timing to respond is later, his decision to rail against this music is even later; had he been making his points during the 90’s when this stuff was clogging up the airwaves & clubs, getting journos all hot & bothered for cool points, he would’ve leant more weight to an ‘Empoeror’s new clothes’ argument’.

Instead he seems to come across as  a ‘bit of a grumpy old man’. While this  seems to be his schitck, the problem is, sometimes the need to maintain one’s image sometimes overshadows any reasonable arguments you may have.

Ultimately if he doesn’t like it, he can always do what I do – exercise my democratic right not to listen/buy/play/own/download the stuff.

It REALLY is that easy.

A Year in The Cloud………..

Wednesday, March 7th, 2012

I can’t believe it’s been a little over a year since I first signed onto Mixcloud! I never thought I’d get so into it as I have done. I also didn’t think I would do as anything as daft as my challenge to upload 52 mixes in a year.

Unfortunately I didn’t start that from the very start of my time there but it’s been good trying to get new stuff up as well as looking back at old material.

Also it’s a shame that I didn’t quite get there  (I was just 6 uploads short), but hey, it was fun & I’ve gotten a lot of positive feedback for the stuff I did manage to put up.

I’ve also come across a lot of nice, helpful ‘casters, whose support has been invaluable & I thank them, as well as you guys, for supporting me, alongside everyone on Mixcloud, making it a great community, not just a great website.


Well, if you’re interested, here’s a selection of what I did………