Archive for May, 2008

The Hustlers Convention

May 31st, 2008 Comments off

cover art dell’album “Hustler Convention” di Lightnin’ Rod


The Hustlers Convention – Jalal Mansur Nuriddin

At the end of the year 1971, I began to write “The Hustler’s Convention”, because of a need to express the realities of life on the streets. My understanding at that time, was that there were three types of education that a person may or may not receive in their lifetime. The first one was the education that you get at home (providing that you have a home). The second was the education that you get in school (providing that you can afford to go to school). And the third one consisted of the education that you got on the streets (Providing that you lived in a city or small town).

The one at home dealt with one’s etiquette (i.e. manner’s and hygiene etc) as well as one’s language, culture, and genology (i.e. family history and lineage) and the third one consisted of how one relates to other people of all ages, races, religions, cultures, creeds, ideologies, opinions, attitudes, physical and personality characteristics, handicaps, skills, perceptions, occupations and authority. On rare occasions they reconcile, but most often they do not. I wanted to describe the beat on the street, the pulse, the music, the rap, the competition, the peer pressure, the games, the struggles, the trials and tribulations, the fun, the dangers, the daring, the risks, the love and the hate, the sub-culture, the lessons, the posture, the poise, the sounds, the noise, the styles, the attitudes, the psychology, sociology, and ideology, the vibes of the new tribes.

The chills, spills, kills, and sheer wills, the grit and grime, the scuffle, bustle and hustle, on the block, ad hoc, by the time off the clock, between a hard place and a rock, within a state of shock. To the mime of crime, and frame it in rhyme, for once and all time.

And since the Ghetto was where the stage was set, no one including I, could afford to hedge our bet, as I set out to describe this vibe, this life and death in one breath, because it’s do or die, or don’t do and die quicker so nothing beats a failure but a try, so we had to try and sift through the rabble, and unravel the babble, this obscene surreality, of mangled totality, this sadness, madness, and badness, of in a vain, profane, and insane, abomination of a hopeless situation, that was simultaneously captivating, stimulating, and humiliating, which had gripped, and hipped every ghetto mind to search and find, a way out of this pay-for-all, free-fall.

Living and dying from day to day, in the constant struggle between the predator and prey. But in every jungle, their are certain animals who warn the others when they are about to be attacked, and by their evasive actions, alert the other occupants to the imminent danger.

But what we thought was a concrete jungle, was really a zoo, and we were in it, like it was stew, with no one knowing what to do about it, except burn it down, or get out of town, in order to awaken from the slumber of sleep, snoring to the smell of hell, where only the condemed dwell.

Just to take a bath in this laugh, to inhale the incense of this pretense, and waltz in this false fraud of discord and strife, within the hustler’s life.

To hustle means literally to “move fast” to haul ass, and don’t be last, as you try to use your mind to save your behind. to deal within a wheel of misfortune. To stake your claim, to play the game, be different and not the same, and choose not to lose no matter what methods you have to use, which is what Malcolm X meant when he said: “By any means necessary.”

The main hustler rule is don’t blow your cool, cause a fool can’t play a wise man, but a wise man can play the fool.

The Hustler’s Convention is a masterpiece of street rap, and is considered a classic.

This style of discourse had a long tradition in black american culture, combining elements of African story telling with the rhyming techniques of street corner one-upmanship, know as “Playing the Dozens” and of “Jail Toasts” such as the “Titanic” and “Doriella Du Fontaine” and “The Fall” and “Honky Tonk Bud” and “The Signifying Monkey”and “Death Row”

The Grandfather, under his “moniker” of “Lightnin’ Rod” summarizes the rise and fall of the “Hustlers” in this epic ode, which up until this day, had not been equaled. (Stay tuned for the sequel) It was written with the intent that the hustler is the ghetto’s primary role model, but in comparision to what he’s hustling for, and what he’s being hustled out of, there are only two types, the greedy and the needy.

Thus the Grandfather runs it down at the end of this “piece de resistance” by rapping: “I was sentenced to the chair, and shipped to Sing Sing from there, where I spent the next 12 years on death row, but I kept coppin’ a stay, until the death penalty was done away, and after a re-trial, they finally let me go. ”

It had cost me twelve years of my time, to realize what a nickel and dime, hustler I had really been, while the real hustler’s are ripping off billions, from the unsuspecting millions, who are programmed to think they can win. ”

But fortunately, I escaped from the deathly fate, of being fried alive in the chair, cause in my solitude I found, out about what’s really going down […]


Lightnin’ Rod – Hustlers Convention (1973)

1. Sport
2. Spoon
3. Café Black Rose
4. Brother Hominy Grit
5. Coppin’ Some Fronts for the Sets
6. Hamhock’s Hall Was Big (And There Was a Whole Lot to Dig!)
7. Bones Fly from Spoon’s Hand
8. Break Was So Loud, It Hushed the Crowd
9. Four Bitches Is What I Got
10. Grit’s Den
11. Shit Hits the Fan Again
12. Sentenced to the Chair

Great Review From An Anonymous Customer From Amazon

“It was a full moon, in the middle of June, in the summer of ’59/ I was young and cool, and shot a bad game of pool, and hustled all the chumps I could find/ Now see they called me Sport, ’cause I pushed the bar short, and loved all the women to death/ I partied hard, and packed a mean rod, and could knock you out with a right or a left/ I had learned to shoot pool, playin’ hooky from school, at the tender age of nine/ And by the time I was eleven, I could pad-roll seven, and down your whole quart of wine.”

Thus begins the blueprint of hip-hop, Hustler’s Convention. Released in 1973, a side project of the black nationalist spoken-word group The Last Poets, and featuring a musical score by none other than Kool & the Gang …, this album is so hip, it comes with a leg attached.

It tells the story of two slick hustlers, Sport and Spoon (his “ace-boon-poon”), preparing for a huge gathering of every underworld character fathomable: “Now you could feel all the tension building up at the convention, as the hustlers began to arrive/ Musta been 9000 or more that came through the door, the time was 11:55.” They pit their skills and street-savvy against the best dice, pool, and card sharks you could ever hope to meet, culminating in a car chase and shoot-out with the cops (complete with great sound-effects). It ends with Sport’s jailhouse musings on the structure of society, and how “it had cost me twelve years of my time to see what a nickel and dime hustler I had really been…”

This was a favorite record of the cats we now look back on as the pioneers of rap music. It’s been sampled by the Beastie Boys, Steady B., a Tribe Called Quest, Main Source, and the Jungle Brothers, and its atmosphere is what Tarantino wishes he could evoke. I’ve known sections of it by heart, like my hip-hop forebears, since I was thirteen years old, and it’s exciting that this incredible musical treasure is once again available, after being out of print for years. Anyone one who thinks they know anything about hip-hop, but is unaware of this, is delusional, and, as Sport says, “if you ain’t down, you best not hang around, ’cause you sure as hell will get beat.”

Jalal Mansur Nuriddin official web site –

Jalal Mansur Nuriddin

Categories: crate digging Tags:

Discogirotto mix

May 24th, 2008 Comments off

collage street art raccolto a Berlino nel 2006

Ded 2: Jimmy – Skuamo – Mat – WJM – JD Zazie – Jo – Ale – Psycho – Kate – Checca e Augusto – Eva – Gauossou – Roberto (R.I.P.) – Claudino – Bozen – Gigi Onazzipac – il Nicotì – Syd – Francesca – Angelo – Martina, Tetano e Demetrio – O’gino-Knauss – Ultracore – il Perso – il Vecchio – Pippino – Clara – Davidino – Mari – Silvietta – Busso – Sally – Ugo – Cristiano – Nancy Fancy & Valeria – Nucreo d’ì Monte Morello – Alessio Stuba – Niccolai Bungalow – ì’ Leo – Samantha – Daria – Mayada – Christian W. e Ilaria – Chiara Vampyra e Federico – Gaia, Bernardo e Alberto – Betta, Paolo, Camilla e Tommy – Elisa e Laura – Sara – Gianni – Vladi – Marcelus Wallace – Adamo – Jo La Face – Simona – Cristina – Aldo – Wave – Ernesto – Space – Appe – Master Crab – Crazy Pop – Led – Weis – Adam – Kareem – Tibe – Claudio El Gaucho – Run – Jado – Ken e Lisa – Daniela – Rais – Deks – Ribes – Ninja – Tullo Soulja – RBC – ADR – ATD – WC – JP – Arbus – O’gino Knauss – A.N.D. – Menti Criminali – Long Bridge All Stars – PL/FCE (Bologna) – DJ Gruff – Tayone – Rajstah & Stroboman – E-N.E.E.M. – Burp – Spiral Tribe – Mutoid Waste Company – Okupe – Total Resistence – Facom – Anarko Tanks – Gio – Gabri – Busso – Pippo – Duccio – Giguywassa – Valentina – Valeria F. – Meby e Sara – Ash – Dome La Muerte & the Diggers – Aquila – Fase Quattro – Frankie Frankie – Claudio – Federico F. – Gigi S. – Natalia B. – Andrea B. – Dana e Antonio – Noa – Orlando e Mauro – DJ Craim – Giordano e Viviana – Aria – Cristina – Vortex e Gaia – Zino e Sec – Chiara Sweet Sensation – Simone – Pise – Freddy – Luca G. – Lucille – Molly – Agent – Torped-One – Caravan – Alessio e Sara B. – Flask – Gaia B. e Peter K. – le Vagine Volanti – (and last but not least) tutte le ragazze e tutti i ragazzi del CPA Firenze Sud, dell’ Elettro +, del CSA nEXt Emerson, del CSA Indiano, del Bubu 7te, della Jungla, del K100 (Campi Bisenzio), della Riottosa, dell’ Asilo Occupato, del Luzzi, del Matticao, di Monte Uliveto, del Cecco Rivolta, di Villa Panico, del MAF, del Livello 57 (Bologna), della Fabbrica Dei Frutti Kanditi, del Macadam (Perugia) e di tutte le realtà antagoniste che ci hanno aiutato e sostenuto in questi ultimi anni


Il mix che potete scaricare in questa pagina è stato registrato su cassetta nel 1998, riversato su cd nel 1999 registrato in formato “wav” stereo 8 bit e rieditato in formato mp3 oggi. Jimmy, Skuamo ed io abbiamo registrato il mix un pomeriggio al vecchio cinema Longinottik all’interno dell’ormai scomparso CPA Firenze Sud in viale Giannotti 79. Abbiamo usato 2 cd player gemini e 2 technics SL-1210 mk2. Il missaggio è brutale, grezzo. Il suono è spesso distorto e non esiste un filo conduttore, ma a me personalmente questo mix piace ancora. Buon ascolto!

Featuring: Run-DMC – Dead Kennedys – Gil Scott-Heron – Herbie Hancock & DST – Throbbing Gristle – Reservoir Dogs soundtrack – Islamic Diggers – Ricci & Sanna – altre tracce non identificate

[SND] discogirotto mix 4-3..> 24-May-2008 14:35  9.1M
Your friendly neighborhood... THX 1138
Categories: crate digging, deejaying, thx on the mix Tags:

Kingdom Blow LP

May 20th, 2008 Comments off

retrocopertina dell’album "Kingdom Blow" – particolare

L’ LP di Kurtis Blow "Kingdom Blow" (1a stampa USA 1986 Mercury – numero di catalogo: 422 830-215-1 M-1) mi è stato donato da Wave qualche anno fa (lui ne aveva due copie). Sicuramente è uno dei miei dischi rap preferiti e quindi ho deciso di inserire in questo articolo la grafica della copertina (con Kurtis poggiato alle torri del World Trade Center) e dei file mp3 (mono) tratti da "Street Rock" (primo brano dell’album, in cui compare anche Bob Dylan) e "The Bronx" (secondo brano del lato A). Clicca sulle immagini per ingrandire.

centrino dell’LP "Kingdom Blow" (lato A)


[SND] kurtis blow - street..> 20-May-2008 11:07  2.7M  
[SND] kurtis blow - street..> 03-Jul-2008 16:38  5.4M  
[SND] street rock beat.mp3    20-May-2008 11:05  317K

copertina dell’album "Kingdom Blow" – particolare

retrocopertina dell’album "Kingdom Blow" – particolare

copertina dell’album "Kingdom Blow"

tag di Wave sulla copertina dell’LP

Kurtis Blow insieme a Wave 

bonus loops (formato wav stereo):

Black Caesar soundtrack loops  

[SND] james brown - black caesar - loop1.wav 20-May-2008 11:01  1.6 Mb (stereo) 
[SND] james brown - black caesar - loop2.wav 20-May-2008 11:03  3.2 Mb (stereo) 

Citazione da
Black Caesar

Theatrical release poster.
Directed by Larry Cohen
Produced by Larry Cohen
Benjamin Fisz
Kenneth Rive
Written by Larry Cohen
Starring Fred Williamson
Gloria Hendry
Music by James Brown
Distributed by American International Pictures
Release date(s) February 7, 1973
Running time 87 minutes
Language English
Followed by Hell Up in Harlem
IMDb profile

Black Caesar is a 1973 blaxploitation film, starring Fred Williamson and Gloria Hendry. The film was written and directed by Larry Cohen. It is a remake of the 1931 film Little Caesar. It features a notable musical score by James Brown (with heavy input from his bandleader Fred Wesley), his first experience of writing music for film. A sequel titled, Hell Up in Harlem was released in late 1973. 

[edit] Cast

  • Philip Roye — Joe Washington
  • William Wellman Jr. — Alfred Coleman
  • James Dixon — Bryant
  • Val Avery — Cardoza
  • Patrick McAllister — Grossfield
  • Don Pedro Colley — Crawdaddy
  • Myrna Hansen — Virginia Coleman
  • Omer Jeffrey — Tommy as a boy
  • Mike Anthony Jones — Joe as a boy

[edit] Trivia

  • Some of James Brown‘s songs used in the film were sampled by prominent rap musicians – Das EFX and Ice-T
    ("The Boss" which is the background music where Tommy Gibbs is shot
    while crossing a street corner was sampled for Ice-T’s "You Played
    Yourself", and also for Trick Daddy‘s "Take It To Da House"). More recently, by The Alchemist for Prodigy‘s currently last album Return of the Mac.
  • According to the DVD commentary, Larry Cohen originally wrote this
    film with Sammy Davis Jr. in mind for the title role, but after the
    success of Shaft, the film was retooled for Fred Williamson".

[edit] External links

foto tratta da Re/search # 10 (interview: Larry Cohen) pagina 125


Categories: crate digging Tags:

Funkin’ Fo’ Fun – THX Vinyl Mix

May 19th, 2008 Comments off

THX -Funkin’ Fo Fun Mix- 2007

Ho fatto questo missaggio a Molino dell’Altare l’anno scorso. Ho usato solo vinili. Gli “screccettini” sono miei. La qualità del file non è eccelsa specialmente nell’ultima parte perchè il volume di registrazione era troppo alto. Spero che comunque vi piaccia. Versione mono!

Featuring: Madlib – MF Doom – DJ Mathematics – Beans – DJ Quik – The Jazz Crusaders – Donald Byrd – The Meters – The Jacksons – Wilson Pickett – Eric Burdon & War – Orfeu Negro Original Soundtrack – Parliament – George S. Clinton

[SND] thx -funkin fo' fun ..> - 21 Mb - MP3 MONO - 23' 14"
Clicca sul link per scaricare il file 

XXX – THX 1138 – XXX

Categories: crate digging, deejaying, thx on the mix Tags:

festa anniversario Casa Luzzi – sabato 17 maggio ’08

May 17th, 2008 Comments off

Flyer 17 maggio (clicca per ingrandire)

sabato 17 maggio

ore 16.00

mercatino autoproduzioni
live concert rumeno GREZZU BAND

ore 20.00

apertura PIZZERIA
proiezioner video "LA VIVIENDA" m l c
per i più piccoli "GIULIVO SHOW"

ore 24.00



Casa Luzzi é situata a 20 min. dal centro storico della citta, nella prima collina fiorentina a Montorsoli tra le province di Fiesole , Firenze e Sesto Fiorentino.

Come arrivare: prendere via bolognese da piazza della Libertà passare Trespiano e Montorsoli dopo il benzinaio girare a SX verso M.Morello poi 300 mt SX e sei arrivato

Autobus: 25/A dalla stazione dei treni S.M.Novella (ultima fermata) 

La strada gialla sulla destra è la salita verso Monte Morello. Subito all’entrata del Luzzi c’è un’ex casa colonica (in rosso). Seguendo la strada si passa davanti al castello (in giallo) per arrivare al complesso più ampio: l’ex-ospedale (in arancione). Subito sotto all’ospedale (sempre in arancione) c’è un ex-cinema. 

Categories: deejaying, varie Tags:

corteo Rebeldia + Assalti Frontali live @ Pisa 7.6.08

May 16th, 2008 Comments off


Rebeldìa Riempie la città

Il 7 giugno il Progetto Rebeldìa riempe le strade per immaginare la città che non c’è.

non è soltanto uno spazio. E’ un’idea diversa di società, oggi messa in
discussione da un piano edilizio che vorrebbe sostituire questo
laboratorio di pratiche sociali con un parcheggio, ignorando di fatto
il problema dalla sua sopravvivenza.

Difendere il Progetto
Rebeldìa significa difendere il lavoro delle 25 associazioni che lo
abitano: per dare piena cittadinanza ai migranti, per costruire
un’economia senza sfruttamento dell’uomo e dell’ambiente, per opporsi
alle politiche di guerra, per liberare le culture e riparare le
biciclette, per i diritti individuali e collettivi, …

Un’idea è vuota senza l’azione delle persone che la mettono in pratica.
Sporchiamoci le mani e scendiamo nelle strade.

Il Progetto Rebeldìa si merita uno spazio,
Pisa si merita il Progetto Rebeldìa.

p.zza Sant’Antonio ore 17 

a seguire Assalti Frontali in concerto piazza Carrara

Categories: deejaying, emceeing, hip hop kulture Tags:

E-MU SP 1200

May 15th, 2008 Comments off

fonte: Craig Anderton, Manuale d’istruzioni dell’SP 1200, 1987

<<L’SP 1200
è l’ultimo membro della famiglia E-MU. Combina le più popolari
caratteristiche della nostra prima drum machine, il Drumulator, alle
capacità di campionamento, al design modulare e all’ampia serie di
messaggi da display dell’Emulator II. Grazie alla digitalizzazione del
suono a 12 bit, i suoni di batteria hanno una nitidezza e un’estensione
dinamica superiore a quella ottenibile con la più comune (e più
economica) tecnologia a 8 bit. Ma soprattutto, con la sua pur vasta
gamma di funzioni, l’SP 1200 è straordinariamente facile da imparare e
da usare. Anche dopo un breve periodo di dimestichezza, creare
partiture di batteria diventerà un’operazione semplice, naturale.
Abbiamo infuso ogni sforzo per rendere le operazioni dell’SP 1200 il
più possibile trasparenti, permettendovi così di realizzare i vostri
ritmi nel più breve tempo possibile. Amerete ciò che può fare
l’SP 1200.>>



E-mu SP 1200 is a classic sampler released August of 1987 by E-mu as an update of the SP 12.
It became famed for its gritty texture and ability to simulate the
sound of vinyl recordings. The SP-1200 became an icon of the golden era of hiphop
due to its ability to construct the bulk of a song within one piece of
portable gear, a first for the industry, which reduced studio costs and
gave groups more creative control over their own sound relying less on
studio engineers. Designed to be used as both a drum sequencer and sampler in one, the SP-1200 features 22 kHz (roughly half the fidelity of a compact disc)
and 12-bit resolution; along with the idiosyncratic SSM2044 filter chip
these machines were fitted with make for a dirty, gritty sound. One of
the attributes of the SP-1200 is its extremely small amount of memory,
roughly 10 seconds. The limited sampling time was overcome within the late 80s Hip-Hop production circles by sampling
33 1/3 records at 45 rpm with an additional pitch increase, then
replaying the sample from the SP1200 at a much slower speed (by the use
of ‘Multipitch’ and/or ‘Tune/Decay’ edit functions)
. This in
effect, "tricked" the sampler into expanding its total sample time. By
the early 90s, nearly every working Hip-Hop producer had adopted this
technique as industry standard until younger producers began buying
newer samplers such as Akai‘s MPC60, which came with a much higher bitrates and more sampling time.



[edit] Features

From the SP 1200 Overview webpage:

“The SP 1200 can store up to 100 patterns, 100 songs and has a 5000
note minimum memory for drum sequences. It also has a mono mix output
and eight individual outputs, MIDI in/out/thru, SMPTE sync, and a
metronome output.”

There is one button that allows you to select between banks A, B, C
and D giving the user easy access to each of the 32 sounds. The front
panel contains several LED lights, buttons and eight volume and pitch
faders for each sound in the selected bank. Below each fader is a large
button to initialize the sound, or select the sound for editing, and a
switch to turn the trigger’s velocity sensitivity off or on.

The sequencer works in the familiar pattern-style of placing short
consecutive sections of samples into a song. The user can easily add
swing quantisation and tempo changes. The sequencer can sync the tempo
to SMPTE, MIDI or analogue clock pulses. Also, if one wanted, the
sequencer can synchronize the tempo to a tapping finger with the ‘tap
tempo’ button."[1]

[edit] Differences from the SP 12

Unlike the SP 12, the SP 1200 does not contain ROM
based samples; all samples are stored in volatile RAM and loaded from
floppy disk. The AD/DA converters remain 12 bit, as 16 bit converters
were still expensive and found only on high-end gear, such as the
contemporary E-Mu Emulator 3 (EIII), which had a list price over
$10,000 USD. Maximum sampling time was doubled from the upgraded SP 12
Turbo, to over 10 seconds, but the maximum single sample was 2.5
seconds. The sample rate was reduced slightly also (from 27.5 kHz to
26.04 kHz) to maximize memory usage. The SP 1200 retains all of the I/O
capabilities from the SP 12, minus the cassette output.[1]

[edit] Miscellaneous

Some albums that were produced utilizing ONLY this machine include :

[edit] See also

[edit] References

  1. ^ a b SP 1200 : Overview

SP 1200 resources: 

SP-1200 FAQ:

sp1200 FAQ.txt

e-mu sp-1200.txt


your friendly neighborhood… THX 1138 

SP1200 – riedizione del 1994

Categories: beat making Tags:

dita polverose # 2: post-punk

May 12th, 2008 Comments off

Seconda parte di “dita polverose“, un viaggio nella pratica del crate digging. Clicca qui per leggere la prima parte.

Gary Numan – Living ornaments ’80 – lp (1a stampa UK 81 Beggars Banquet)

Iggy Pop & James Williamson – Kill city – lp (1a stampa UK 77 Radar)

Martin Rev – Clouds of glory – lp (1a stampa Francia 85 New rose)

The Dictators – Bloodbrothers – lp (1a stampa USA 78 Asylum)

Public Image Ltd. – First issue – lp (1a stampa UK 78 Virgin)

William S. Burroughs – Break through in grey room – lp (1a stampa Belgio 86 Sub rosa)

Burroughs – Call me Burroughs – lp mono (1a stampa USA 65 Esp)

3rd Bass – Brooklyn-Queens – 12″ (1a stampa UK 89 Def jam)

Ornette Coleman – Chappaqua suite – 2 lp mono (1a stampa Francia 67 CBS)

Beastie Boys – Cooky puss – 12″ (1a stampa Francia 83 Ratcage)

Minutemen – Double nickels on the dime – 2 lp (1a stampa USA 84 SST)

Ramones – lp (3a stampa USA 76 Sire)

Patti Smith Group – Easter – lp (1a stampa Italia 78 Arista)

Alan Vega – Saturn strip – lp (1a stampa USA 83 Elektra)

Snakefinger – Greener postures – lp (1a stampa USA 80 Ralph)

The Stooges – Funhouse – lp (3a stampa Francia 70 Elektra)

Martin Rev – lp (1a stampa USA 80 Infidelity)

Bob James Trio – Explosions – lp (3a stampa USA 70 Esp)

Esther Phillips – Alone again, naturally – lp (1a stampa USA 72 Kudu)

Carlos Santana & Buddy Miles! Live! – lp (1a stampa USA 72 Columbia)

Buddy Miles – A message to the people – lp (1a stampa USA 71 Mercury)

Eddie Kendricks – Boogie Down – lp (1a stampa USA 74 Tamla)

Bad Brains – I against I – lp (1a stampa USA 86 SST)

The Cramps – Tales from The Cramps – lp mono (2a stampa Francia 79 Cave)

Public Image Ltd. – Album – lp (1a stampa UK 87 Virgin)

Butthole Surfers – Rembrandt pussyhorse – lp (1a stampa USA 87 Touch & go)

Bonus 2000 Maniax post-punk mp3 compilation (

[SND] alan vega – every 1 is a winner (from saturn strip).mp3 12-Feb-2008 20:54 3.8M
[SND] dead boys – ain’t nothing to do (from younger, louder & snottier).mp3 12-Feb-2008 20:24 3.2M
[SND] dead kennedys – too drunk to fuck (from mutiny on the bay).mp3 12-Feb-2008 20:48 2.7M
[SND] devo – secret agent man (from duty now for the future).mp3 12-Feb-2008 20:21 3.3M
[SND] flipper – i’m fighting (from public flipper limited).mp3 12-Feb-2008 20:27 2.5M
[SND] keith levene – i’m looking for something (from keith levene’s violent opposition).mp3 12-Feb-2008 20:09 3.5M
[SND] martin rev – rocking horse (from clouds of glory).mp3 12-Feb-2008 20:46 5.1M
[SND] minutemen – you need the glory (from double nickels on the dime).mp3 12-Feb-2008 20:57 3.2M
[SND] p.i.l. – annalisa (from first issue).mp3 12-Feb-2008 20:14 5.5M
[SND] p.i.l. – flowers of romance (from the flowers of romance).mp3 12-Feb-2008 20:42 2.6M
[SND] patti smith group – rock n roll nigger (from easter).mp3 12-Feb-2008 20:18 4.5M
[SND] pere ubu – untitled (from datapanik in the year zero).mp3 12-Feb-2008 20:30 3.2M
[SND] snakefinger – living in vain (from greener postures).mp3 12-Feb-2008 21:06 3.4M
[SND] the birthday party – the dim locator (from junk yard).mp3 12-Feb-2008 20:35 2.6M
[SND] the cramps – teenage werewolf (from tales from the cramps).mp3 12-Feb-2008 21:03 4.2M
[SND] the dictators – slow death (from bloodbrothers).mp3 12-Feb-2008 21:00 4.0M
[SND] the heartbreakers – can’t keep my eyes on you (from live at max’s kansas city).mp3 12-Feb-2008 20:33 3.3M
[SND] the residents – perfect love (from commercial album).mp3 12-Feb-2008 20:27 1.0M
[SND] the stooges – down on the street (from funhouse).mp3 12-Feb-2008 20:51 3.4M
[SND] the velvet underground – can’t stand it anymore (from vu).mp3 12-Feb-2008 20:40 3.1M
[SND] throbbing gristle – hit by a rock (from d.o.a.).mp3 12-Feb-2008 20:37 2.3M
[   ] thx post-punk compila.rar 29-Nov-2010 19:51 68M

– compiled by THX 1138 (feb 2008) –

Saluti dal vostro amichevole vicino…

THX 1138

dita polverose # 1: rock, jazz, funk e altre rarità

May 8th, 2008 Comments off

Dita polverose e parecchie caccole nel naso, ecco cosa comporta il crate digging, ovvero l’arte di cercare -e trovare!- dischi di vinile rari nelle ceste dei negozietti dell’usato o, più in generale, ovunque si possano trovare dei vinili contenenti breaks (parti di batteria e strumentali usati nella creazione di beat -o basi musicali- e dai b-boys e le B-girls nella pratica del breaking). Ma quando si ritrovano vinili originali come questi si hanno delle grandi soddisfazioni, perlomeno se siete dei drogati di vinile (l’unica mia dipendenza) come me… se poi siete possessori di un paio di giradischi Technics 1210 con cui ascoltare questi fantastici rare groove potete considerarvi davvero fortunati. Lunga vita ai dischi di vinile! Abbasso il digitale! Evviva l’analogico!
Le foto sono state scattate da me stasera (clicca x ingrandire):

James Brown – Get up offa that thing (LP 1a stampa USA ’76 Polydor)

James Brown – There it is (LP 1a stampa USA ’72 Polydor)

James Brown – Reality (LP 1a stampa USA ’74 Polydor)

James Brown – Sex Machine. Recorded live at home in Augusta, Georgia with his bad self (LP ristampa Italia ’79 Polydor)

Public Enemy – Muse sick-n-hour mess age (LP 1a stampa USA ’94 Def Jam)

Don Cherry – Symphony for improvisers (LP 2a stampa USA ’66 Blue Note)

Steppen Wolf – The second (LP 1a stampa Italia ’68 Dunhill)

The Velvet Underground – VU (LP 1a stampa Olanda ’84 Verve)

The Doors – Alive she cried (LP 1a stampa Italia ’83 Elektra)

P.I.L. – Flowers of romance (LP 1a stampa Italia ’81 Virgin)

Throbbing Gristle – Fuhrer der mensheit (10″ 1a stampa Giappone ’81 American Phonograph)

Throbbing Gristle – Special treatment (LP 1a stampa Germania ’78 Mental Decay)

Keith Levene – Violent opposition (LP 1a stampa USA ’89 Taang!)

Keith Levene – Looking for something (12″ 1a stampa USA ’87 Taang!)


ringraziamenti speciali
a Licia e Mauro, i miei cari genitori: grazie di avermi trasmesso la passione per la musica e ancora grazie di tutti i dischi vintage che mi avete regalato 🙂 – a Kate: grazie per tutto l’amore che mi dai, i buoni consigli, il supporto e l’incoraggiamento… xxx! – ad Antonio Casile: i tuoi dischi li ascolto sempre sono fra i pezzi migliori della mia collezione, ci vediamo nella capitale 😛 – a Giovanni Rossi: grazie per la cassa di originali americani che mi hai regalato due anni fa, sono stupendi! (^o^)/ – ad Alessio Gnot: grazie per i tuoi stupendi regali, lunga vita al vinile e alla pellicola cinematografica! :-* – a Rock Bottom Records di Firenze: grazie per la vostra simpatia e disponibilità e per avermi procurato e/o riservato dei vinili pressochè introvabili e sempre in condizioni eccellenti. – a Bubu Gattone: grazie della compagnia e dell’allegria che provo guardandoti giocare

ded 2: Kate – Pralina Tuttifrutti – Leila (RIP) – Marta (RIP) – Cristina e Stefania – Martina, Stefano Tetano e Demetrio – Francesca e Sara – Roberta e Raffaella – WJM – JD Zazie – Valeria F. – Meby – Sara – Mis Topi – Eva e Gaoussou – Roberto (RIP) – Kentai e Lisa – Emiliano “Snookie” e Anna – Nicola – Chiara Vampyr e Federico – Stefania S. – Gianluchino – Zino e Sec – Gaietta, Bernardo e Alberto – Paolo, Betta, Tommy e Camilla – Natalia e Andrea – Barbarina – Elisa e Laura – Gaia B. e Peter K. – Arianna – Suzanne – Daria – Barbara T. – Chiara Sweet sensation – Clara – Silvietta – Sally – Mari – Kulanda – Chiarina – Chiarina De Filippis – Caterina P. – Swavez WC – Space – Next One – Gruff – Tay – Tommy Toome – Pinzu – Lory – Craim – La Primiera – Aennedi’ – Menti Criminali – I’ Cerchioni – Eleonora e Maurizio – Edua WC – Adam Zig Zag – Led – Checca, Jimmi e Augusto – Mat Pogo – Nicotì – Vittorio – Brio – Molly – Arianna D. – Lisa – Jordan e Viviana – Syd e Francesca – Angelo e Ambra – Nadine e Koji – Fede – Zio Jo – Mariano (RIP) – Rita e Maria Rita – Lorella – Stefania – Gea e Gioconda – Alessio e Sara Bibbitone – Sandra e Alain – Adam Zigzag – Weis – La Famiglia Dembelè – Frankie Frankie e Serena – Claudio Sniff – Kafa – Carlo Bonamico – Federico Riondino – Lando Calrissian – DJ Uzi – FCE – HHV Berlin – Ogini – Gabriele – Rosa – Fiammetta – Appe – Vecchio – Pippino – Zipolite – Alice e Matteo – Dana e Antonio – Noa – Giamaica – Piero C. – Piero F. – Rock Bottom Records – Skua’ e Marina – Steve Rozz – Davidino – Edo Poliedro – Mattia Mazzo – Marco – Freddy – Charlie – Patrick – Bibo – The Messiah – Paola C. –  Paolo Sharo – Alessio Stuba – Diga – Filippo – I’ Leo – Pippone e Silvia – Manuela – Stefanino Del Bubu7te – Salvo – Christian W. – Francesco M. – Sandro e Laura – Livia e Gabry – Simona – Cristina e Aldo – Mahala Ballana – Aigor – all the B-boys!

True Legends: BPP – Mumia – H. Rap Brown – James (RIP) – Buddy (RIP) – Wilson Pickett (RIP) – PE – BDP – Run-DMC & Jam Master Jay (RIP) – Ol’ Dirty Bastard (RIP) –  Frosty Freeze (RIP) – Ice-T & The Syndicate Posse – Bam – Herc – Flash – Kurtis Blow – The X-ecutioners – ISP – Jimi (RIP) – Iceberg Slim (RIP) – Fab 5 Freddy – The Rammell – Dondi (RIP) – DITC – Lee – The Bronx

Saluti dal vostro amichevole vicino…
THX 1138

Brasil In Time @ Paradiso (Amsterdam)

May 8th, 2008 Comments off



09 May 2008






Hiphop, Brazil


Paradiso Amsterdam


€ 16,00


Jaoa Parahyba & Dj Nuts, Tony Allen, La Melodia,
De Javaanse Jongens, Lefto, Kindred Spirits Soundsystem

Jackson Conti: Sujinho

Madlib loves Brasilian music.

Back in 2002 that wasn’t so obvious. At that time he was beginning the
experiments that led to the Yesterday New Quintet records from 2003 to
today. Peanutbutter Wolf used to slide Coleman and myself CDs of those
early “rehearsals” as Madlib would call them and we spent many hours
dissecting and discoursing on them and how he was changing the music.

When the possibility of the Keepintime crew going to Brasil came up I
asked Madlib one night outside the Rootdown if he wanted to go. “Cmon
man…. Azymuth is one of my favorite groups” he confided. I had seen
many Azymuth records over the years, the Rio de Janeiro trio on
Milestone with some dodgy looking covers. I knew their proto-house
anthem Jazz Carnival but they weren’t my favorite group.

Music has a beautiful way of making you re-evaluate what you may have
discarded. Madlib is an artist that gives one new ears every couple of
years if you choose to pay close enough attention. I’m happy to say
that in regards to Azymuth – Madlib blew our heads open. The next time
I saw him at the Rootdown, he slipped me a CD of covers. All Azymuth.
To this day that CD still makes me giddy. Entrando Pelo Janela from
that session made it onto the Keepintime remixes. Madlib had gone
through the Azymuth catalogue and taught himself to play his favorite
songs and then recorded it. Okay. Now I’m back at the record store
frantically looking for those dodgy looking covers.

When we went to Brasil to recruit drummers the only name I knew I
wanted for sure was Mamão. Mamão is the drummer of Azymuth. I didn’t
know how to pronounce his name right and indeed my pronunciation of
Azymuth (Azze-muchi if you need to know how its done!) confused most
Brasilians. João Parahyba of the legendary Trio Mocoto picked up the
phone and called him for us and from there Ivan ‘Mamão’ Conti was a
part of the project.

Mamao is a fantastic drummer and a warm generous person. That scene in
the film where we played him the Madlib CD is a beautiful emblem of the
spirit of the Brasilintime. Mamão reacted with genuine excitement at
the music – singing and playing percussion along with it. Even calling
in his wife to hear. We knew that a Madlib, Mamão collaboration would
only take time and organization.

Mamao of course isn’t simply the drummer of Azymuth. He has a long
career in the studios of Rio that stretches back to the Jovem Guarda
era with the rock group the Youngsters and which includes sessions for
Roberto Carlos, Marcos Valle, Maria Bethania, Hyldon, Edu Lobo, Chico
Buarque, Gal Costa among many others. He is also the drummer on the Dom
Salvador record with the monster break! He continues to be active
playing and producing many projects for Far Out Records.

In 2006 after the Premiere of Brasilintime in Sao Paulo, Madlib,
Coleman and I went to Rio. We had two reasons to be there, to play at
MD2’s record release party and record with Mamão. On a rainy humid Rio
evening we convened and after some deliberations Mamão played an hour
and half of rhythms. The excitement in the room was palpable as he went
through his paces. Lots of Whooos were heard and pounds were swapped.

Madlib then played a new CD of tracks that he had been working on with
this project in mind and there was one that stuck with Mamao. Segura
esta Onda is that track and it is really a tribute to Azymuth. Mamao
ended up singing on it.

It was a great night and within two months Madlib had turned those rhythm tracks into the album you have in your hands.

Filled with songs from the greats of Brasilian music of the mid sixties
to early seventies. Luiz Eca, Chico Buarque, Joao Donato, Baden and
Vinicius, Marcos Valle, Dom Um Romao, Airto even George Duke gets a
look in. And of course Azymuth.

This a very special set of music.

I hope you have as much fun listening to it as we did watching it being made….

Los Angeles
December 2007


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