Here’s a fairly recent mix which has just become available, from young guns-about-town Dogfeet. Their front man, the multitalented Jamie Cripps, was tragically lost to us a couple of years ago. This youngster could do it all…write, sing, paint, perform, and he was a kickass drummer to boot. His death left a very deep wound.
The band have soldiered on though and their live show is thoroughly recommended.
Download the track from their Bandcamp page and thrill to the widescreen savagery of Dogfeet!
Well hey y’all, I finally got my solo album finished! I also got my online record label Rico’s Library up and running, so please head over there for the ‘splaining, and then on to Bandcamp to check it out. Hope you like it.
Before we get to today’s feature I must pay homage to the greatest drummer of our time (in my opinion) who was suddenly taken from us a few days ago. I refer of course to Jaki Liebezeit, who has joined his colleague Michael Karoli in that place of infinite and eternal creativity.
This commercial for Fila won an International Monitor Award for sound design. I still have it but it needs a spot of glue so here’s a generic one:
It was directed by Gore Verbinski, who went on to a lucrative career making pirate movies inspired by a popular Disneyland attraction.
Here’s my audio and visual reinterpretation of Erasure’s “why can’t we all just get along” opus. For this clip I have mangled the song’s original rather excellent video, with hopes that my liberties will be excused by those involved.
The remix was done almost exactly 30 years ago at the dawn of 1987, around the same time as Daniel Miller’s legendary lost Laibach mix, which would account for the presence of his EMS Vocoder 2000 in the studio.
The edit of this mix is unusual in that there is no edit at all for the first couple of minutes. Having looped a few bars of backing vocal over the rhythm section I enjoyed the resulting chord inversions so much I just let it run, even though the results were a tad dissonant for an Erasure track. In fact I got a phone call from Flood after delivering the mix, to warn me that this one “might not fly”, as he could imagine Vince Clarke gagging somewhat on the jazzy chord shapes. But it did fly, Vince didn’t gag…and here it is, pop pickers!
A couple of remixes didn’t make it to the earlier part of this blog because, unaccountably, nobody had posted them on YouTube. I now intend to rectify that by posting them myself, starting with this mighty effort from 1990 which I did with Psychic TV refugee John Gosling, aka DJ Sugar J.
Bassomatic were a kind of R ‘n B version of Torch Song, with soul diva Sharon Musgrave on vocals, on the first album anyway. They had a big hit with Fascinating Rhythm and this was the follow-up.
This clip was cobbled together from another video for another song, so it doesn’t exactly sync up, although sometimes it does. John Gosling (really nice guy for an Arsenal fan) makes a brief appearance somewhere in the middle.
Tarsem was based in London, so we started commuting over there to work on his spots. We found some interesting temporary locations to do our programming. If I remember rightly, we did this one in the back room of a puppet factory in Covent Garden.
This typically spectacular spot takes on that age-old question: what maketh a man? Let’s tick the boxes. Power…check. Bulging pocketbook…check. Audi 100…check. Soul…well if you have the Audi, and you know your Fellini, that would be a double check.
Yep…il aura la femme.
Another sound design assignment for Tarsem. When they ask for explosions, that’s easy. But when everything needs to be quiet, it’s much more of a challenge. In this spot the car is the quietest thing, while the minuscule sounds of the desert are a cacophony.