This is not a promotion for Le Youth & Touch Sensitive at the Rickshaw this Thursday, July 18 (well that was). But really I could care less who’s going, except for the few people I know here in the Bay Area who are somewhat into this style.
Unfortunately like most people though, including myself, they’re lazy as fuck. You tell them there’s a show this Thursday with producers who are defining the future of disco, funk & soul and all of them coincidentally are working at the butt crack of 7am the next day.
Well, I call bullshit. Not that they’re bullshitting me, but they sure as hell are bullshitting themselves. To choose a good nights rest over an experience our children would have killed to go see, like us and our envy of 60’s culture, is simply a shame and I won’t have it!
So here’s my second attempt at getting these lazy fucks off their ass for a good show in SF. For the rest of you, enjoy a mix of Le Youth & Touch Sensitive’s best. If you are going to the show in San Francisco, let me know in the comments below. First drinks on me.
I asked WMNSTUDIES if they had any Janet remixes on file – I’m putting together a super solid (yes, super) mix of JJ remixes – but they didn’t have anything finished quite yet. I held off on this super solid mix to see what they could come up with, but I soon started to realize I may not like it. WMNSTUDIES has been pretty consistent so far, but too many times I’ve had to let down an artist and they usually don’t take it too well.
Thankfully, WMNSTUDIES keeps with the quality and mixes one of Janet’s hits into another disco-pop sampler that I’ve been over-obsessing over lately. I don’t know if it’s got the moves to take on a few of my favorite Janet Jackson remixes I got lined up, but they’ve definitely made the cut.
I swear these disco producers start from the drop and work their way to the intro. It’s just the music comes together so well, like a broken vase played in reverse. Mighty Mouse’s ‘Feel Alright’ also kills it with the chorus, but once again no credit was given. Same shit, different dance.
This is such a tease. I hate when producers take classic songs and cut up the vocals to deprive me of the singer’s full range beauty. Yet, somehow Figgy keeps me coming back for more in his more than a remix of Ce Ce Peniston’s original, ‘Finally.’
Figgy drops her voice down low into a soul this 90’s singer wish she had back then. Reminds me of what Krono did with Aaron Smith’s Dancin, pop shit into chopped & screwed soul goodness.
I met Bondax through Moon Boots (love these names) and I’ve been sittin’ waitin’ to get something original of theirs out since. ‘Giving It All’ is a nice little pop tune, but really shines with that infamous chorus I speak so highly of in many of my favorites, especially in these disco-pop tunes. Once again though, the vocals go uncredited (when will we learn!).
This Swiss duo, who are actually from Australia, has made one catchy little disco shit. Whoever the hell they enlisted for vocals sounds straight 70’s with a falsetto that rivals the Bee Gees. But even more impressive is that chorus – it always closes the deal (especially) in disco. And like always, I swear I’ve heard it before, probably on some Magician mix, but it may just be so good I’m remembering it from my future (I swear that’s a thing).
Crossing language barriers in music has always been difficult, but when the beat is right then we don’t need no stinking words that mean anything. Funk LeBlance, a producer from the Bay, not only takes french and turns it on its disco//funk ear, but classics from Michael Jackson & Jade as well. Especially love Jade’s ‘Every Day of the Week’ flipped and flopped around for this generation’s ears.
There is no other sound more fun to dance to than disco. However fast or slow, it brings the spirit to soul music. This may only be our second mix of its kind (#1), but it’s got some soon to be disco legends for sure. So whether you’re alone or in public, get up & dance to this 13-track disco mix.
If there’s one thing that’s always been difficult for up and coming producers to find is a solid pair of vocal cords. We’ve got an over abundance of DJ’s & producers on SoundCloud & YouTube now, yet most are still relying on remixes, samples or just keeping it instrumental. Some eventually network their way into some talented singers or rappers, but it’s not happening fast or often enough, especially for this digital age. Which brings us to Shoe Scene Symphony’s latest track.
The 3S duo discussed on their SoundCloud page how difficult it was “to find a quality acapella” for their latest beat and didn’t seem too enthusiastic with their final selection — though that may just be my interpretation. It’s not that Aaliyah wasn’t a good choice, it’s just these instrumentals deserve their own original vocals, let alone a better match. It’s just coming up with the perfect vocals that’s been a problem for Shoe Scene Symphony and most other “under the radar” producers. […]
So I guess The Creator’s Project went up and got all the stems from Phoenix’s ‘Trying to Be Cool’ and bestowed it upon us all. I’ve went through a few of the big numbered remixes and found Breakbot’s disco delight, but also caught something a bit off the radar with Will Bloomfield’s entrancing electro.
I’ve had these lyrics stuck in my head all damn day and it really could’ve been from either of these two. What remix do you prefer over the other