Anyone who wants to learn how top pros create irresistible beats should attend the August 23 “Groove Anatomy” Producers Conference at Toronto’s Drake Hotel. Propellerheads and Music Marketing have joined forces to assemble a superb group of producers and clinicians who will reveal their beat-making methods in five intensive hours of wide-ranging Reason clinics and interactive classes.

Clyde Stubblefield, legendary drummer for James Brown, will lay down incredible rhythms live, which will then be analyzed so that you can apply his approaches to your music.

Hip-hop ace Marley Marl is famous for his work with the Juice Crew, King Tee, and LL Cool J and made history with his pioneering use of James Brown samples when producing Eric B. & Rakim’s first hits. Marl will be in the house in Toronto to discuss his music, including how he inspired a generation to get funky with Stubblefield drum loops.

New York 2004 beat-battle champion Stoni will explain how to use Reason 4’s new ReGroove Mixer. Stoni is a monster with the Akai MPC, and her beatmaking wizardry will make this conference a special experience for Reason users.

Toronto film composer Kevan Staples is known for his work with Carole Pope in groundbreaking Canadian band Rough Trade. Staples will join forces with DNA Groove inventor Ray Williams and Music Marketing clinician Lyle Crilly to explain Groove Analysis in Reason. This clinic is sure to inspire new ideas and approaches!

James Bernard is not just a Reason guru—he is THE Reason Guru. Bernard will amaze and inspire you with his sound-design and ambient/electronica magic, created in Reason.

The five-hour conference starts at 1 pm at Toronto’s popular new Drake Hotel, which features an excellent sound system and is known as a center for visual and performance art. There will be door prizes and software discounts, and lunch is included. General admission tickets are $50 but just $40 for registered Reason owners. To register, please call (416) 789-6842 or visit www.theproducersconference.com/2008-08-23-toronto .

About Propellerhead Software

Propellerhead Software is a privately owned company based in Stockholm, Sweden. Formed in 1994, Propellerhead has created some of the most innovative new music software (ReBirth, ReCycle and Reason) and technology standards, including ReWire and the REX file format, which are used extensively in all kinds of music production. Propellerhead ReBirth program was the first virtual emulation of vintage analog gear - a trend that now dominates music software . http://www.propellerheads.se

Stat Quo “Dear Summer Pt. 1″

FULL, CDQ *Tibs Fav.™

The hip hop heads should already be familiar with the ATL’s Stat Quo, who was a rapper I first heard a few yrs ago and liked everything he was droppin. He is still with Shady/Aftermath from what I heard, but his debut album, Statlanta, has been constantly delayed and while it has apparently been completed for awhile, the label has yet 2 release it. The song above is Stat telling that story, along with other stories about his journey in the industry, Proof’s death, & more! Some pretty heartfelt lyrics attracted me right away on the 1st listen and reminded me why I liked Stat Quo in the first place. So if ur a big hip hop head, def give Stat a chance and DL 2day’s feature track above! Below, plenty more hip hop and R&B.. some thoughts on the trax below… Twista kills “The Business RMX”, Songz kills the hook on “Love For Money”, & I’m tryin’ 2 love Chris Brown’s “Captive”, but its slightly disturbing me that the song is in fact written in a girl’s perspective (a demo for the Pussycat Dolls… I can see Nicole S. on that Polow beat makin’ the radio for sure…). There’s also a couple videos featuring more from hip hop with Kidz In The Hall & Skillz! Enjoy!

Yung Berg “The Business RMX” f/ K-Young, Pleasure P, Twista, Casha, Maino, & jim Jones

FULL, CDQ *Tibs Fav.™

Parker Brothaz “Text Me (Tha Bizness All Star RMX)” f/ Big Pooh, Talib Kweli, & Naledge

FULL, CDQ *Tibs Fav.™

Willie Da Kid “Love For Money” f/ Trey Songz, Bun B, LA Da Darkman, & Gucci Mane

FULL, CDQ *Tibs Fav.™

Chingy “Anotha One”

FULL, CDQ

Chris Brown “Captive”

Producer: Polow Da Don - FULL, CDQ (previously NOT FULL), Demo for Pussycat Dolls *Tibs Fav.™

Charlie Wilson “The Reason”

FULL, CDQ *Tibs Fav.™

Rob (Of One Chance) “My Love”

FULL, Limited DJ

—————————————————————————————

Kidz In The Hall On Freestyle 101

Skillz Speaks On Hip Hop

~ Sgt. Tibs

Steve Angello & Sebastian Ingrosso - Partouze (Original Mix)

Emilio Fernandez - Reynosa (original mix)

Jean Claude Ades-I Begin To Wonder 2008 (Jerome Isma-Ae Remix)

Chris Lake - Only One

Mason - The Ridge (Tomcraft Mix)

DJ Simi - Errore Di Sistema (Original Mix)

Les Schmitz - Positive (Amo And Navas Rework 2008)

Steve Angello & Sebastian Ingrosso - 555 (Popof Remix)

DJ Tatana - Spring Breeze (Martin Roth Summer Style Remix)

Tocadisco - Morumbi (Popof Remix)

Sharam - Get Wild (Steve Angello remix)

Chriss Ortega, Christian Hinzer-The Groove (Chris Montana Mix)

Erick Morillo & Dj DLG - Where Are You Now

Steve Angello - Gypsy (Final Remix)

Milk & Sugar - No No No (D.O.N.S. & DBN Remix)

Mark Knight - Susan (John Dahlback remix)

Afrojack - Space (The Southern Brothers Dub Remix)

Playlist by DJ Stonebridge

The Drill ft. Firetruck & Antartica - Piano Mano

Steve Mac - Paddy's Revenge

Atfc - Juss A Beat

Chriss Ortega - Love Is Here

Dianne Wesley - Ecstacy

Nicola Fasano vs. Yoshimoto - Been A Long Time (Chriss Ortega & Chris Montana)

Hervà ft. Plastic Little - Cheap Thrills (Dj Atwar)

Jaimy ft. J Mac - I'll Be There (Sunfreakz Rmx)

Thomas Gold & Mattias Menck - Everybody (Ruff Cut)

Axwell & Bob Sinclar ft. Ron Carroll - Www (Dabruck & Klein)

Christian Hinzer & Chriss Ortega - The Groove (Original)

Dj Dome & Elvis Suarez pr. Puerto Rican Disco - Siento (Bass Fly)

Brian Anthony - Worked Up (Raul Rincon Vocal)

Tom Stephan & Pete Gleadall vs. Fierce Ruling Diva - Phreekn

Olav Basoski - Doing Me Wrong (Vocal)

Eleze - Teardrop (Robbie Rivera)

Juan Magan & Marcos Rodriguez ft. Sergio Perez - Merenguito

Cerrone Laisser - Toucher (Daddy's Groove)

Kidda - Under The Sun (Herve)

Nick Corline - Orfeu (Original)

Playlist DJ EDX

Axwell & Bob Sinclar - W. W. W. (Edx Miami Sunset Rmx)

Dinka - Chemistry (Jerome Isma-Ae Rmx)

Kaskade - Angel On My Shoulder (Edx's Belo Horizonte At Night Rmx)

Kismet - Borderline

D'Argento - Come On Over (Chris Reece Rmx)

Sharam - Get Wild

Sebastian Ingrosso & Laidback Luke - Chaa Chaa (Edx Rmx)

Yves Larock - Say Yeah (Edx's Ibiza Sunrise)

Passenger 10 - Passenger 10 (Chris Reece Rmx)

Memento vs. Blaze ft. Palmer Brown - My Beat

http://only4dj-house.blogspot.com/

By Kandia Crazy Horse

I am in utter shock at the fact that my lifelong hero, my much-cherished Jerry “Papa Dippermouth” Wexler (Jan. 10, 1917–Aug. 15, 2008) has gone to glory. Been thinking hard not only about my friend, his youngest daughter Lisa (of the great New York State band Big Sister), and my play-uncle/mentor Stanley Booth (one of his best friends), but all the unbroken circle of folks who loved and forever appreciate the magic Wexler produced during his paradigm-shifting career as a music journalist and (likely) the last of the great record men.

I have been weeping all this interminable weekend beginning with his death on Friday morn, Aug. 15 – Black Friday to me forever after. Of course, it is not as if Papa Dip was not poised at the end of his days. And, yes, he enjoyed a long and varied career the likes of which many music geeks of my generation envied (who didn’t want to be a producer at Atlantic Records between the titanic poles of Brother Ray Charles’ and Led Zeppelin’s arc’s therein?). Still, I cannot be consoled.

He wasn’t just the hallowed man who exposed me to the riches of King Solomon Burke and sent me Dusty in Memphis for deep listening or kindly shared personal revelations about my generation’s foremost soul icon Donny Hathaway – the man born Gerald Wexler in the boogiedown Bronx was the first person I was conscious of outside my kinpeople as being essential to how my world revolved. From the age of 2 ½ at least, I read his liner notes or saw his name credited on the back of Atlantic long-players, as the label’s iconic iconography circled round-and-round, and I knew in my deepest soul who and what I wanted to be.

All that brought me some cheer is that he must have been on the kozmic wheels o’ steel on Friday evening. For as I dragged my hide through the pouring rain here in Manhattan and uptown on several trains, my infernal device solely rotated favorite Atlantic gems – particularly the late Hathaway, Led Zeppelin, the various incarnations of my favorite vocalist Stephen Stills (especially the Buffalo Springfield and his second, underrated country-rock outfit Manassas) and Archie Bell and the Drells’ immortal “Tighten Up, Parts 1 and 2.” There’s a muddled echo from Roger Guenveur Smith’s Huey Newton play in my head: “Don’t ever let anyone take your 'Tighten Up' away from you!”

Even when latter-day Atlantic act Gnarls Barkley stole into the mix, it felt alright that artists signed to the label long after Wexler’s 1975 exit were bum-rushing the par-tay for I have long felt that St. Elsewhere was the first complete album-as-art to be anointed in the digital era – one which crucially built on the soul legacy most carefully nurtured by purist Papa Dip. More than its obvious predecessors - 3-Feet High and Rising, Paul’s Boutique, Odelay and Stankonia - St. Elsewhere is a fully realized statement that most skillfully wed the rhythm & blues coined by Papa with the Dixie-fried grit of Stax (the Memphis label with which he formed vital relationships), added a major (sepia) chapter to the lineage of southern rock promoted by Capricorn under Wexler’s watch with the late Phil Walden Sr., and updated the blues aesthetic to negotiate the surrealities of today’s black street culture.

The House that Miss Rhythm Ruth (Brown) built - vitally sustained by Wexler and his Atlantic brotherhood of the Erteguns, Tom Dowd, Joel Dorn, and associates - retains such a strong legacy that its after-effects can be measured still in the daring brilliance of Gnarls Barkley and another of my beloved postmodern meta-Atlanteans, Kid Rock, who comes to the tri-state with southern rock’s true flagship band Lynyrd Skynyrd on Labor Day weekend. If I have recovered enough, I will venture out to Joisey to shake my moneymaker with tha Kid and pour plenty spirited libation out for my Papa.

Meanwhile, though, I am struggling to process. It’s too strange and metafizzik for my people, but how I feel about his passing is too deep for mere words – albeit they’re my trade. Wexler and Uncle Stanley and Mr. Dorn were/are all such great raconteurs, I don’t believe any words of mine can convey meaning here…only sounds should suffice. Yet I don’t make songs without words; we might have to try at an upcoming Buffalo Springfield tribute we’re arranging on the Lower East Side. It just seems so strange that a mere two nights before his passing, some of us Atlantic faithful were sitting under the stars at Lincoln Center’s Damrosch Park, being regaled by some of the label’s major acts (Roberta Flack, Les McCann) and affiliates (last minute surprise Hugh Masekela) all assembled to honor Mr. Dorn (who went to the Upper Room last December). In retrospect, it definitely seems Papa Dip waited in the wings while his old colleague had his turn under the Manhattan night’s proscenium arch.

So I asked for my personal Amen Corner of beloved bredren brought to me by da Wex to chime in and testify in my stead. Mourning has undone most but my dear friend Harry Weinger, vice-president of A&R at Universal, kindly hollered back:

"To us R&B nuts who found a life in the music, Jerry Wexler was 'Uncle Jerry.' I am somewhat cut from his cloth: a New York Jew, a former Billboard writer, a soul man who always demands 'more bass.' But that's about where the fabric ends. I cannot imagine how he carved out his legacy in the times he did, how he divined the greatness of his artists with such seeming ease and intellect. He was a beacon of truth - and he really was 'Uncle Jerry': he not only made it possible for guys who cared about 'more bass' to keep the faith, he was always willing to share his stories, to aid the keepers of the flame, to forever keep alive the essence of soul and the power of beautiful music."

Roots reggae long ago took a backseat to dancehall, and relatively few of the musicians who still play it are Jamaican. In fact, it’s something of a miracle that Winston Rodney AKA Burning Spear is still alive at 63, long after so many of his contemporaries – Bob Marley, Peter Tosh, Dennis Brown, Jacob Miller and others – died under tragic, often violent circumstances. It might also be something of a miracle that Burning Spear remains not only lucid (after all that ganja), but arguably still as vital and important as he was thirty years ago.

Throughout the decade of the 1970s, Burning Spear was one of the most popular artists in Jamaica, second only to Big Youth. While most reggae hits from whatever era you choose are party songs, Burning Spear’s work was always serious, defiant and historically aware. Like Peter Tosh, his signature songs mix frequently scathing social commentary with Rastafarian mysticism. Burning Spear’s musical style, however, is strikingly different from many of the best-known reggae acts of his era, characterized by long, hypnotic, even trancelike anthems that in a live setting can go on for ten or even twenty minutes while the band breaks them down into spacey, echoey dub. While he’s been writing, arranging and producing for himself for decades, this is his debut on his own record label, Burning Music. It’s also his best studio album in a long, long time.

Unlike much of today’s reggae, this album has rich, 1970s production values, layering clinking guitar, bubbling organ, bright horns and backup singers over a fat, bass-heavy groove. The cd’s opening cut, Grandfather, a cautionary tale, traces the history of slavery around the world and warns that “slavery coming back again.” On the catchy No Compromise, Burning Spear announces that “My music eye opener music…hail to the one who never look back in the race.” With its Afrobeat guitar feel, One Africa is a fervent, Marcus Garvey-style call for unity. People in High Places calls for accountability from politicians; Run for Your Life snidely chronicles Burning Spear’s entanglements with the record industry, and how it’s imploded in recent years: “Distribution is so desperate…without the artist there is no company…Upcoming artists should take a stand, get some understanding before you sign.”

Clocking in at over eight minutes long, Step It is one of the amusingly interminable list songs that Burning Spear writes every so often. This one chronicles his travels around the world, namechecking just about every city he’s ever played, obviously tailor-made to be a live showstopper with a long instrumental break that threatens to turn into dub but never does. Stick to the Plan is a call to musicians to stay independent and original: “Remember reggae music never used to play on the radio…trying to roadblock us because we so original.” After a happy account of an outdoor reggae festival and another happy tale, this one about a reggae cruise, the bitterness returns with Wickedness, another tirade against the music industry: “Since 1969 they’ve been robbing, they’ve been holding onto what is mine,” Burning Spear laments. It has the ring of authenticity: innumerable musicians from the 1970s, not just reggae performers, have successfully sued for royalties they were never paid. The cd closes on a high note with You Were Wrong, a caustic, minor-key anthem with the same feel of Burning Spear classics like Door Peep or Cry Blood. Any way you look at it, this ranks with the best of his studio albums, including the classic Marcus Garvey, or Hail H.I.M, recorded with the Wailers. Longtime fans will find this a delightful throwback; otherwise, this is as good an introduction as any to one of the world’s greatest reggae artists. Burning Spear plays Irving Plaza on August 31 around 10 PM, advance tix highly recommended at the box office.

Make what you will of Bradford calling folks out for finding a public folder on the internet-- "I am a dumbass," he admitted, adding "that does not excuse people from sifting through my garbage"-- but the guy is nothing if not generous, constantly giving away demos for free via the Deerhunter blog.

While all that's being sorted out, feast your ears on the totally legit "Virtual 7" No. 4" from Atlas Sound, and take a glance at Deerhunter's pretty massive tour itinerary and those dates Bradford's doing with Stereolab.

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The Oakland-based singer for alternative Latino act Mezklah found all the band's equipment stolen from in front of his home on Sunday, right before the group was set to leave for a Japanese tour on Thursday. If you see a Gibson, laptop, or any other item fitting the descriptions below, get in touch with mezklah@hotmail.com (thanks to Eric Arnold for the tip). -- Jennifer Maerz

On the morning of Sunday, August 17, 2008, alternative-Latino group MEZKLAH were robbed of several essential pieces of equipment from a vehicle parked in front of lead singer Angel Garcia's home in Oakland, CA. Among the stolen goods were a sampler, a MacBook Pro computer, and a Gibson guitar. The band needs these essential items before they depart for a Japanese tour this Thursday. A full list of the stolen gear is included below. If you have any knowledge of any of the equipment's whereabouts or location, please call Matias Pizarro, (562) 522-9798, or email the band at mezklah@hotmail.com. STOLEN GEAR:

ROLAND SPD-S SAMPLER, with slight scratches on the sides.
GIBSON SG 1981, BROWN WOODSTOCK, all natural wood brown guitar with silver humbucker pickups.
XIO NOVATION MIDI CONTROLLER KEYBOARD
ROLAND PD 80 PAD, with small tear along the black rubber rim.
BOSS DD-3 DIGITAL DELAY PEDAL
WHITE APPLE MAC BOOK 2.4 COMPUTER, slightly scratched on the scroll pad. Top of the computer has a sticky black tape mark.
NOVATION GIG BAG
SWISS ARMY BACKPACK, with a SunStudios patch sewed on it. Various cables and Roland SPDS Manual inside bag.

Keywords: Electronic, Dance, Nostalgic, Retro
Via: www.beatfreax.com
MySpace: www.myspace.com/bazreznik

With inspirations like Kraftwerk, Giorgio Moroder, Pink Floyd and Plastikman you can imagine this mix by Baz Reznik will be blowing your speakers!

Entitled “You can find me on the Beach” Baz reflects his idea of a day at the beach. Enjoy this mix getting a tan and sipping a cocktail.

Originated in Alkmaar, Baz Reznik moved to The Hague in 2000 and got strongly influenced by the raw and uncomprimised sounds in this “dark and brown” city.
After getting 3th in the Bootleg dj contest in 2005, Baz Reznik got more and more performances in The Hague, Rotterdam end Amsterdam. With his mix of house, acid, electro and (Italo)disco, he got booked by organisations as CBS and Electronation.

Currently Baz Reznik is involved in the Arctic Boogie foundation to promote electronic music from non-urban communities. He originates form Alkmaar so he knows how difficould it can be to do nice stuff in the city enviroment without help form outside.
The Acidos partys are also still going strong with a one month residency at a club in The Hague (on a Monday!) and different editions in Rotterdam and Amsterdam.
He is currently working on some tracks. Take a listen on Myspace.

Playlist

01. Dharma - Plastic Doll
02. Ron Trent - Altered States
03. Mr White - The Sun Can’t Compare
04. Link & E651 - Antacid II
05. The Martian - Tabacco Ties
06. Holographic Hallucination - Garden of Eden
07. UR - The Final Frontier
08. Mark Du Mosch - Multiculti
09. Freak Electrique - Bodydub
10. Blackbelt Andersen - Alvas de Pi
11. Kraftwerk - Expo 2000 (rmx)
12. The Hacker - Fadin’away (rmx)
13. Rolando - Knights of the Jaguar (doubleup)
14. Aphrohead - In the Dark we Live
15. The Source Experiance - The Source Experiance
16. UR - Timeline
17. Longsy D - This is Ska

Download (right click, save as) (84MB, 192kBit/s)

MP3

In celebration of his life, a commemorative show in style of the famed Cotton Club will be held this Sunday, Aug. 24 at the University Club, featuring performances from singer and guitarist Sylvester, drummer Mel Brown, Shirley Nanette, Renato Caranto, Baby James Benton, Ron Steen and many more. Paul Knauls, owner of the Cotton Club, will MC the event.

While we couldn’t find a video of Wilson, here’s part of a performance of Norman Sylvester and his backing band (including Caranto and Benton) performing at a Ray Charles tribute night two years ago. Note that the video cuts off about 1:30 in:

Remembrances can be made to the Music Education Assistance Projects of the American Federation of Musicians Local 99.

Links:
Norman Sylvester
Musicans Union Local 99

Photo courtesy of the artist