In a break from the normal routine, this is just a series of classic house and dance-pop records mixed one into another. You get the whole record, no fancy cutting and chopping, no overdubs, no effects, faders or filters, just one record mixed into another. Old school.
There are some proper classics on here too – JJ Asha, Masters At Work, Jonestown, Blaze – they don’t make ’em like that anymore.
- 1 Fade (Grant Nelson Big Room Vocal – Wez Clarke Re-edit) by Solu Music Ft Kimberlee
- 2 If This is Love (Moto Blanco Club Mix) by The Saturdays
- 3 Great Dj (7th Heaven Remix) by The Ting Tings
- 4 Sweet Thang (Original Mix) by Jonestown
- 5 When You Touch Me (Original Mix) by Freemasons ft Katherine Ellis
- 6 Mesmerised (Freemasons Vocal Mix) by Faith Evans
- 7 Fascinated (Original Club Mix) by Deepgroove
- 8 ROCKING MUSIC (JOEY NEGRO MIX) by Martin Solveig
- 9 Some Kinda Rush (7th Heaven Pure Joy Remix) by Booty Luv
- 10 Backfired (Joey Negro Mix) by Masters at Work ft. India
- 11 Most Precious Love (Ian Carey Mix) by Blaze ft Barbara Tucker
- 12 J J Tribute by Asha
Lots of tracks in here that I’ve never used in a mix before; and also, a few shiny new bootlegs from those lovely people over at http://bootiemashup.com/blog/. The one that crosses The Rolling Stones’ “Gimme Shelter” with “Machine Gun” by The Commodores is particularly bodacious.
Other highlights: a splendidly funky mix of Alabama 3, some Soulwax insanity courtesy of remixes of Pulp and MGMT, some Rage Against The Machine and KRS-1 mixes (as found on the wonderful Life Support Machine blog, also worth an hour of your time to explore), and an opening guest vocal from John Locke.
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The working title for Shenanigans XVI was “From Little Mix to Led Zeppelin”. Unfortunately I couldn’t find anywhere to get some Led Zep in, but it’s safe to say that this mix really does run the gamut of popular music as well as covering a period of over 50 years. The oldest track is Harry Belafonte’s “Jump in the Line” recorded on 1961 (but written in 1946) and which you’ll know from the movie ‘Beetlejuice’. Other tracks from the sixties include Marva Whitney’s “Unwind Yourself” – if it sounds familiar, it’s because you recognise the introduction as the sample from DJ Mark’s “The 900 Number”.
The point, as with all these mixes, is to show that if you limit yourself to one style of music, or just play the latest white labels from London or New York, you’re really missing out on great music. Plus, if you’re a pro, your crowd is missing out on some great music. There’s no reason that you can’t try blending really diverse tracks together, like here where I’ve mixed Free’s “Alright Now” into Disclosure’s “White Noise”, or “Jump In The Line” with NuYorican Soul’s “Runaway”. It’s a real challenge to mix some of these records, but if you’re a DJ, isn’t it more rewarding if you stretch yourself? And isn’t it more interesting for the crowd if you’re constantly surprising and delighting them?
Just my two penn’orth.
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To me, making a tape is like writing a letter—there’s a lot of erasing and rethinking and starting again. A good compilation tape, like breaking up, is hard to do. You’ve got to kick off with a corker, to hold the attention… and then you’ve got to up it a notch, or cool it a notch, and you can’t have white music and black music together, unless the white music sounds like black music, and you can’t have two tracks by the same artist side by side, unless you’ve done the whole thing in pairs and…oh, there are loads of rules.
Back in the day, what seems like a long time ago, I was a DJ. For a long time, I thought it was my true calling. I set myself up with two Technics SLBD-22 belt drive decks, the cheapest Technics you could buy, and a battery-powered two-channel mixer. The fact that it was bought from Tandy should give you an idea of how long ago we’re talking.
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