tag:blogger.com,1999:blog-67686238889487281152024-03-13T21:56:45.188-07:00Mastermix Crew (Esp & Johnnie Freeze)Welcome to the World of Vinyl Megamixes
The main purpose of this blog will be to discuss and share vinyl megamix information, tracklisting and scans. Special attention will be given to old school/electro/funk/freestyle/house and break mixes of the 80s and beyond.
All materials posted on this blog are for promotional use.Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.comBlogger147125tag:blogger.com,1999:blog-6768623888948728115.post-30106374910030057042021-12-21T09:09:00.000-08:002021-12-21T09:09:04.311-08:00Streetbeat<a href="http://3.bp.blogspot.com/_NfvQz7WwStY/SSOu5idHgfI/AAAAAAAAAFo/Z7mWeL004ds/s1600-h/streetbeat.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5270248292478321138" src="http://3.bp.blogspot.com/_NfvQz7WwStY/SSOu5idHgfI/AAAAAAAAAFo/Z7mWeL004ds/s320/streetbeat.jpg" style="cursor: pointer; height: 198px; width: 200px;" /></a><br />(All images are copyrighted by their respective copyright owners)<br /><br />Cameron Paul put out this masterful mix in 1984. It was later released on his own Mixx-it record label.<br /><br />Ttacklisitng<br />Unknown intro<br />West Street Mob-Mosquito<br />Herbie Hancock-Rockit <br />Hip Hop On Wax Vol.1-Dj Chuck Chillout<br />Egyptian Lover-What Is A DJ If He Can't Scratch<br />Bar Kays-Sexomatic<br />I Want To Be Real-John Rocca<br />Eve -Take A Bite <br />Hall & Oates-Out Of Touch<br />We're Rockin The Planet-Hashim<br />Shannon-Give Me Tonight<br />Arthur Baker-Breakers Revenge<br />Hashim-Al Naafyish<br />Egyptian Lover sample<br />The Bird-Time<br />Dial A Freak-Uncle Jamms Army sample<br />Stone-Time <br />Run DMC-Hard Times <br />Planet Patrol-Play At Your Own Risk<br />Egyptian Lover-Egypt, Egypt <br />David Van Tieghem-These Things Happen<br />Art Of Noise-Beatbox <br />Dial A Freak-Uncle Jamms Army sample<br />Twilight 22-Siberian Nights <br />Twilight 22-Electric Kingdom <br />??<br />Afrika Bambaataa-Planet Rock<br />Kano-I'm Ready<br />File 13-Taste So Good<br />Guru-Who You Stealing From<br />The Jackson-Torture<br />Debbie Deb-When I Hear Music<br />Pretty Tony-Fix It In The Mix<br />Diana Ross sample<br />Sylvester-Rock Box<br />File 13-Taste So Good<div><br /></div><div>mp3 <a href="https://www.mixcloud.com/mastermixcrew/vinyl-mastermix-streetbeat/">Vinyl Mastermix: Streetbeat (RIP Cameron Paul) by mastermixcrew | Mixcloud</a></div>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com2tag:blogger.com,1999:blog-6768623888948728115.post-32742408349689862002021-12-21T09:06:00.001-08:002021-12-21T09:06:38.984-08:00New York City Prime Cuts-Volume 2<a href="http://4.bp.blogspot.com/_NfvQz7WwStY/SRkLgEyIIzI/AAAAAAAAADQ/4iF9iSSWZPA/s1600-h/NY+Prime+Cuts+Vol.+2.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5267253884854215474" src="http://4.bp.blogspot.com/_NfvQz7WwStY/SRkLgEyIIzI/AAAAAAAAADQ/4iF9iSSWZPA/s320/NY+Prime+Cuts+Vol.+2.JPG" style="cursor: pointer; height: 314px; width: 320px;" /></a>
Mixer is unknown. This megamix was released in 1988.
Partial Tracklisting
Pretty Poison-Catch Me I'm Falling
Michael Jackson-I'm Bad
Janet Jackson-Nasty Girl
Stevie B-Dreamin
Afrika Bambaataa-Planet Rock
Salt & Pepa-Push It
Two Live Crew-We Want Some Pu**y
Kid & Play-Last Night
Harold Faltermeyer-Axel F
Roxanne Shante
LL Cool J
Joeski Love-Pee Wee Dance
Public Enemy-Rebel Without A Pause
Eric B & Rakim
Joyce Sims-Love of A Lifetime
Dana Dane-Cinderfella
Rodney O-These Are My Beats
Kraftwerk-Numbers
Nocera-Let's Go
Impact-Defcon
Criminal Nation-Put The Needle To the Record
Lisa Lisa
Two Live Crew-We Want Some Pu**y
Herman Kelly-Dance to the Drummer's Beat
Many more edits, samples and scratches throughout this mastermix<div><br /></div><div>mp3 <a href="https://www.mixcloud.com/mastermixcrew/vinyl-mastermix-stupid-def-mix-2/">Vinyl Mastermix: Stupid Def Mix 2(edited version) by mastermixcrew | Mixcloud</a></div>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-30798182301301472432021-12-21T09:06:00.000-08:002021-12-21T09:06:22.790-08:00DJ Howard ThomasDJ Howard Thomas was born on November 22, 1962. He was a former dj on KMIX 106(located in Oxnard, California) who was abruptly killed in an automobile accident on August 14, 1988. He made the classic mix HT-On the Wheels of Steelradio bit
https://soundcloud.com/jason-pollock-1/ht-in-the-mix-kmyx-106-fmMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com1tag:blogger.com,1999:blog-6768623888948728115.post-32629837304169790702021-12-21T09:05:00.000-08:002021-12-21T09:05:15.504-08:00HT-On the Wheels of Steel<a href="http://3.bp.blogspot.com/_NfvQz7WwStY/StfkWyxSEeI/AAAAAAAAAmo/BMr_VW0CydQ/s1600-h/HT.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5393030159036191202" src="https://3.bp.blogspot.com/_NfvQz7WwStY/StfkWyxSEeI/AAAAAAAAAmo/BMr_VW0CydQ/s320/HT.jpg" style="cursor: pointer; height: 320px; width: 318px;" /></a><br />
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This mix was done Howard Thomas in 1984.<br />
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Tracklisting<br />
Ledernacken-Amok! <br />
Sexual Harrassment-I Need A Freak <br />
Double Vision-Clock On The Wall <br />
Newcleus-Jam On It <br />
Divine Sounds-What People Do For Money <br />
Hashim-Al-Naafiysh <br />
Michael Jackson-Wanna Be Startin' Somethin' <br />
Grandmaster Flash & Melle Mel - White Lines <br />
B-Boys, The - Rock The House <br />
Midnight Star - Freak-A-Zoid <br />
Nuance Featuring Vikki Love - Take A Chance <br />
Prince - When Doves Cry
Radio bit
https://soundcloud.com/jason-pollock-1/ht-in-the-mix-kmyx-106-fmMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com1tag:blogger.com,1999:blog-6768623888948728115.post-85357894437845741722017-10-21T20:46:00.000-07:002017-10-21T22:13:44.288-07:00Gee I Joe-This Is A Test<a href="http://4.bp.blogspot.com/-ihXpVGkC9EM/TgbMZIUfV7I/AAAAAAAAAro/ZiKsT1ffTXQ/s1600/%2524%2528KGrHqN%252C%2521l0E2EQw6qMgBNjk6Wf7Rw%257E%257E0_3.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5622405916920862642" src="https://4.bp.blogspot.com/-ihXpVGkC9EM/TgbMZIUfV7I/AAAAAAAAAro/ZiKsT1ffTXQ/s320/%2524%2528KGrHqN%252C%2521l0E2EQw6qMgBNjk6Wf7Rw%257E%257E0_3.jpg" style="cursor: hand; cursor: pointer; height: 240px; width: 320px;" /></a><br />
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<a href="http://1.bp.blogspot.com/_NfvQz7WwStY/SUXiNwd6sEI/AAAAAAAAAKI/fEmu3Z6aR98/s1600-h/This+is+a+test.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5279874864138334274" src="https://1.bp.blogspot.com/_NfvQz7WwStY/SUXiNwd6sEI/AAAAAAAAAKI/fEmu3Z6aR98/s320/This+is+a+test.jpg" style="cursor: hand; cursor: pointer; height: 320px; width: 313px;" /></a><br />
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mp3<br />
https://www.mixcloud.com/furieuxgold/gee-i-joe-this-is-a-test/<br />
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<br />Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-44111849757449740772017-06-17T00:20:00.000-07:002017-10-21T21:48:46.539-07:00Ode to the Vinyl Mastermix-Vol-3Third edition of bits and pieces of vinyl
mega mixes
Double Dee & Steinski created a trio of mastermixes that have had a big influence on the editing technique of cutting and pasting. In this convenient mix, Lesson 1 through 7 are featured along with a tribute and a remix.<br />
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https://www.mixcloud.com/mastermixcrew/ode-to-the-vinyl-mastermix-3/Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-67216906403063927112013-05-28T21:22:00.000-07:002017-10-21T21:53:52.648-07:00Bits & Pieces 89 This is the full version taken from the master cassette, made using a Fostex 260 Multitracker. It was released on vinyl as Bits & Pieces 89 under the mix named R/U/DEf/BOY?.. a play of words with the dj's name at the time, DJ Rude Boy.
<a href="http://2.bp.blogspot.com/-H2aK5I5k6fA/UaWCHitKrlI/AAAAAAAAAto/lFTfYFd5Wtg/s1600/365124_l.jpg" imageanchor="1"><img border="0" src="https://2.bp.blogspot.com/-H2aK5I5k6fA/UaWCHitKrlI/AAAAAAAAAto/lFTfYFd5Wtg/s320/365124_l.jpg" /></a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-38869553201150286462013-03-30T16:35:00.002-07:002018-02-17T10:36:15.624-08:00All Mixed Up Vol. 6 <a href="http://4.bp.blogspot.com/-IxQZv0qNPyQ/UVdxgmYZpoI/AAAAAAAAAtA/801Gb9mcZgI/s1600/289867_l.jpg" imageanchor="1"><img border="0" src="https://4.bp.blogspot.com/-IxQZv0qNPyQ/UVdxgmYZpoI/AAAAAAAAAtA/801Gb9mcZgI/s320/289867_l.jpg" /></a>
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<b>Tracklist</b>
Title
Artist
1. Wake Up
Brand Nubian
2. Lies
En Vogue
3. Ruff Rhymes
King Tee
4. Raggamuffin Hip Hop
Asher D & Daddy Freddy
5. Livin' in the Light Lyrics
Caron Wheeler
6. My Hooptie
Sir Mix-A-Lot
7. Spead My Wings
Troop
8. Sensitivity
Ralph Tresvant
9 The Ghetto
Too Short
10. Tom's Diner
Suzanne Vega
11. Keep On Moving
Soul II Soul
12. Independant
Salt 'N Pepa
13. Justify my love "Remix"
Madonna
14. I Look Good (Interview With Bernadette Cooper)
Bernadette Cooper
15. Giving You The Benefit
Pebbles
16. Knockin` Boots
Candyman
17. Somebody Else's Guy
Jocelyn Brown
18. Good Love
Klymaxx
19. My Name Is D-Nice
D-Nice
20. So You Like
Samuelle
21. Around The Way Girl
LL Cool J
22. Electric Boogie
Marcia Griffith
23. You Don't Have To Worry
En Vogue
24. Oops Upside Your Head
Gap Band
25. Atomic Dog
George Clinton
26. Humpty Dance
Digital Underground
27. Doesn't Really Matter
Janet Jackson
28. Joy & Pain
Rob Base
29. 900 Number
45 King
30. I Know You Got Soul
Eric B & Rakim
31. Now's The B Turn
Jaquan
32. Bring The Noise
Public Enemy
33. Treat Them Like They Want To Be Treated
Father MC
34. Make You Sweat
Keith Sweat
35. That's My Attitude
Troop
36. I've Got The Power
Snap
37. Round And Round
Tevin Campbell
38. Jinglin' Baby
LL Cool J
39. It Takes Two
Rob Base & EZ Rock
40. I Got The Feelin
Today
41. Wanna Get With You
Guy
42. Everybody Dance
C + C Music Factory
43. Ownlee Eue
Kwame
44. Poison
Bell Biv DeVoe
45. Alright
Janet Jackson
46. Ladies First
Queen Latifah feat. Monie Love
47. Saturday Love
Cherrelle feat. Alexander O'Neal
48. Funkin' Lessons
X-Clan
49. Pumpin' It Up
P-Funk All-Stars
50. Groove Me
Guy
(51. Not Jus) Knee Deep
Funkadelic
52. Ice Ice Baby
Vanilla Ice
53. Glide
Pleasure
54. Everybody Everybody
Black Box
55. Automatic
Freestyle
56. Perfect Beat (Bonus Beats)
Soul Sonic Force
57 Creep Dog
MC Cool & Chaszy chess
58. Groove Is In The Heart
Deee-Lite
59. Can't Touch This
MC Hammer
60. Take A Chance
Nuance
61. 122 BPM
Willesden Dodgers
Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-10783201899850683492013-01-11T18:43:00.001-08:002021-12-21T20:50:09.594-08:00DJ Juanito-True Colors<a href="http://3.bp.blogspot.com/_NfvQz7WwStY/SoZPlKre8LI/AAAAAAAAAjI/aQ-dzjvOV20/s1600-h/Juanito+True.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5370067105626386610" src="http://3.bp.blogspot.com/_NfvQz7WwStY/SoZPlKre8LI/AAAAAAAAAjI/aQ-dzjvOV20/s320/Juanito+True.jpg" style="cursor: pointer; height: 250px; width: 250px;" /></a><br />This mix was done by DJ Juanito in 1988. Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-37757111057092742712012-08-18T17:15:00.001-07:002017-10-21T21:54:54.330-07:00Dopemix Volume 1<a href="http://2.bp.blogspot.com/_NfvQz7WwStY/SRkidjvkDYI/AAAAAAAAAD4/2Pc2yeGUYyY/s1600-h/Dopemix+1.JPG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5267279130392792450" src="https://2.bp.blogspot.com/_NfvQz7WwStY/SRkidjvkDYI/AAAAAAAAAD4/2Pc2yeGUYyY/s320/Dopemix+1.JPG" style="cursor: hand; cursor: pointer; height: 320px; width: 297px;" /></a><br />
<br />
(All images are copyrighted by their respective copyright owners)<br />
<br />
This mix was by DJ Prince Ice in 1988.<br />
Tracklisting:<br />
A Dopemix Volume 1 (8:30) <br />
B1 Bass Groove '88 (3:47) <br />
B2 Funkygitdown (2:36) <br />
<br />
Partial Tracklisting-Dopemix Volume 1 <br />
<br />
Shooting Intro<br />
ROdney O-Everlasting Bass<br />
BDP-Criminal Minded<br />
LL Cool J-I'm Bad<br />
Ice T-Colors <br />
Kool Moe Dee-Wild Wild West <br />
LL Cool J-Rock The Bells<br />
Audio 2-Top Billing<br />
LL Cool J<br />
EPMD-You Got To Chill<br />
Salt & Pepa-Shake Your Thing<br />
Public Enemy-Rebel Without A Pause<br />
DJ Polo & Kool G Rap-Poison<br />
Big Daddy Kane<br />
Roxanne Shante<br />
Rob Base & DJ EZ-Rock-It Takes Two<br />
Eric B & Rakim-Paid In Full<br />
Run DMC<br />
DJ Polo & Kool G Rap-Poison<br />
Kool Moe Dee-Let's Go <br />
Kid & Play<br />
Eric B & Rakim-Follow The Leader<br />
Break<br />
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<br />Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-76047252530506201262012-08-18T17:04:00.000-07:002012-08-18T17:07:03.004-07:00DJ Prince Ice Mixes<a href="http://4.bp.blogspot.com/-TIF8ZrykMHQ/UDAt4IaJoDI/AAAAAAAAAso/GRtvBfQ7lmM/s1600/320953_l.jpg" imageanchor="1" style=""><img border="0" height="300" width="300" src="http://4.bp.blogspot.com/-TIF8ZrykMHQ/UDAt4IaJoDI/AAAAAAAAAso/GRtvBfQ7lmM/s320/320953_l.jpg" /></a>
From Mixcrate:
I have been blessed to have been around great music all these years and have had the opportunity to effect so much of what has happened in the music world. I still believe today, that if it makes you rock your head, when you hear it, then it's a hot joint. Like Rakim said so many years ago It ain't where you from, it's where you at. I have had the privilege of being a radio mixshow DJ since 1986. Started my mixshow career on KSOL after which I went to KIIS in LA. I then came back and worked shortly for KYLD and then at KMEL for many years. I moved to LA again with the Wake Up Show on KKBT and was syndicated with them all over the country and outside the US. I became a Bay Area club fixture and rocked many clubs for many years from Club 412, City Nights, NRG (Pyramid Bldg), DV8, Sound Factory, Club Mirrage, Illusions, Club Fantom in SJ and other clubs in Walnut Creek and Emeryville. And it holds true today, as it did all those past year, it's all about rocking the crowd and giving them an experience they will always remember :)
Come check out his mixes
<a href="http://www.mixcrate.com/princeice">http://www.mixcrate.com/princeice</a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-51940511510504246682012-06-24T19:34:00.002-07:002012-06-24T19:34:29.163-07:00Dj Spin Tek-1991 In the Mix<a href="http://4.bp.blogspot.com/-1tWuHx_JVH4/T-fOEhc0f3I/AAAAAAAAAsY/LV9QWzboNXA/s1600/58229_l.jpg" imageanchor="1" style=""><img border="0" height="240" width="320" src="http://4.bp.blogspot.com/-1tWuHx_JVH4/T-fOEhc0f3I/AAAAAAAAAsY/LV9QWzboNXA/s320/58229_l.jpg" /></a>
mp3
http://www.mixcrate.com/spricker/1991-in-the-mixx-58229Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-43519045606175169582012-06-16T23:32:00.000-07:002012-06-17T00:16:09.144-07:00Double Dee & Steinski-Payoff Mix<a href="http://1.bp.blogspot.com/_NfvQz7WwStY/SVFjUzKaHYI/AAAAAAAAANo/LT5jFDk_jBE/s1600-h/ss-ddandsteinski3.jpg"><img style="cursor:pointer; cursor:hand;width: 306px; height: 400px;" src="http://1.bp.blogspot.com/_NfvQz7WwStY/SVFjUzKaHYI/AAAAAAAAANo/LT5jFDk_jBE/s400/ss-ddandsteinski3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5283113046864698754" /></a><br /><br />Another milestone in megamix history. Double Dee & Steinski took sampling to another level with this superb collage of sound and music done for a Tommy Boy record remix competition.<br /><br /><a href="http://tinypic.com" target="_blank"><img src="http://i34.tinypic.com/15he4gg.png" border="0" alt="Image and video hosting by TinyPic"></a><br /><br /><a href="http://2.bp.blogspot.com/_NfvQz7WwStY/SRZvqiuPMfI/AAAAAAAAACU/Q7KEWD5IPw0/s1600-h/trick_mix_label.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="http://2.bp.blogspot.com/_NfvQz7WwStY/SRZvqiuPMfI/AAAAAAAAACU/Q7KEWD5IPw0/s320/trick_mix_label.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5266519590922301938" /></a><br /><br /><br /><br /><br />(All images are copyrighted by their respective copyright owners)<br /><br /><br />Tracklisting<br /><br />Globe and Whiz Kid - Play That Beat Mr DJ<br />remixed with <br />Malcolm Mclaren-Do Ya Like Scratchin'<br />Funky Four-That's the Joint<br />Incredible Bongo Bands-Apache<br />Culture Club-I'll Tumble For You<br />Little Richard sample<br />Humphrey Bogart sample<br />Peech Boys<br />Elvis sample<br />Herbie Hancock-Rockit<br />Supremes-Stop In the Name of Love<br />Grandmaster Flash-The Adventure on the Wheel of Steel<br />Trouble Funk sample<br />Chic-Good Times<br /><br /><br /> <br />Info<br />In the fall of 1983, the aggressive indie dance label Tommy Boy tried to put some legs on a less-than-swift 12-inch by sponsoring something called "G.L.O.B.E. & Whiz Kid's 'Play That Beat Mr. D.J.' Mix Context!" The idea was for club DJs to doctor the G.L.O.B.E. & Whiz Kid record after the manner of Kiss-FM's Shep Pettibone, whose exclusive versions of the hits exploited an old club technique by intermixing hot dance tracks with hooks and breaks from other hot or classic dance tracks. The grand prize was $100, the Tommy Boy catalogue, a Tommy Boy shirt, and, oh yes, airplay and club distribution for your mix. For most of the contestants, that last was basically a career opportunity--a chance to get out of the clubs and turn into the next Jellybean Benitez. But in the public arts, distribution is power--aesthetic power. Tommy Boy certainly didn't realize it then and possibly never will. But by offering to expose a single mastermix to listeners all over the country, the label was putting into motion a set of artistic, ethical, legal, and political contradictions far beyond the power of an indie dance label to resolve.<br /><br />Pettibone and Benitez were part of a blue-ribbon panel who downed pizza and beer at a listening party where the winner would be chosen from 10 finalists. The hot dance track of the moment, Shannon's "Let the Music Play," saw heavy action in the early going--since both songs are addressed to DJs, there was even a thematic connection. But the ninth entry didn't come from a DJ, and it didn't dip into Shannon's well, either. It did glance off hot dance tracks by Yaz, the Peech Boys, Herbie Hancock, Culture Club, and Indeep amid rap, disco, funk, and rock and roll classics too numerous to mention--as well as less melodic material from Humphrey Bogart, Dr. Saint, Betty White's dance instructor, and the National Aeronautics and Space Administration. When the tape was through, the judges broke into applause. They knew instantly that Double Dee & Steinski had taken mastermixing into new realms--or appeared to, which was good enough for openers.<br /><br />On the dance floor, the aesthetic charge of any kind of mix--be it the reshaping of a single song's trajectory by repeating key passages and adding filigrees and sound effects from other records, or the cross-referential interweaving of different pieces of music--has always been what literary ideologues refer to as sensationalistic. It's not just that it's perceived kinetically, without passing Mind, which though bad enough is reluctantly recognized as inevitable in some lower forms. Even worse is that in most cases it never goes upstairs for processing, because each thrill-packed improvisation is designed to be obliterated by the next--in an environment that is not, let's face it, conducive to cogitation. Once the mix is preserved on tape or disc, some sort of considered perception becomes possible, but even then meanings are hard to grasp, much less define, because they're so often purely body meanings. The mixer looks for rhythmic relationships that provide an invigorating surprise rather than an alarming shock--a love bite that doesn't unswitch the pleasure circuits, a popper that doesn't kick off a coronary. Sometimes there'll be lyrical links, but rarely will they do more than throw one DJ or fire or I-will-survive reference smack against another. Less showy but deeper are strictly musical connections, likely and unlikely. It's one thing to know that James Brown begat George Clinton begat Rick James begat Grandmaster Flash, or that "Bounce, Rock, Skate, Roll" and "Another One Bites the Dust" have the same papa, another to put those genealogies into practice. And when a pancultural visionary like Afrika Bambaataa follows a hip hop medley with a percussion break from Grand Funk Railroad's "Inside Looking Out," it can really change your worldview, in a small way.<br /><br />Double Dee & Steinski--for Doug DeFranco, a 27-year-old engineer at a small commercials studio, and Steve Stein, 32-year-old producer of TV spots for Doyle Dane Bernbach--went over the top with both kinds of meaning. Fast-talking hip hop junkie Stein had gotten r&b fan DeFranco hooked at the Roxy a few months after they'd met that summer, and soon they'd evolved into a natural team, splitting roles like a rock group--funky technician DeFranco the reliable bassist/drummer, a regular guy whose tastes ran to the latest dance records, idea man Stein the mercurial singer/guitarist, a record-collecting media nut with global-village tendencies. "The Payoff Mix," as their tour de force came to be called, was pieced together in DeFranco's studio in 12 or 14 hours over two days. What was most striking about it wasn't the plethora of quotes, 24 in all--most of the contestants went for quantity, though few got over 20. It was the specificity and catholicity of their references. This was underlined by the spoken-word stuff: in the middle of a record whose chief lyrical motif was "play it on the radio," "play it for the punk rock," etc., here was Bogie rasping out "you played it for Harry, play it for me"--on the one.<br /><br />But the record's underlying kick was somewhat subtler. "Play That Beat Mr. D.J." is almost designed for mastermixing--with the DJ importuned to play that beat after almost every line at times, new musical phrases can be substituted constantly. At first, "The Payoff Mix" sticks with scratching on the original, using quotes as brief bridges or pointed interjections, such as the abrupt but perfectly timed self-promotion by a rival crew, the World's Famous Supreme Team, after "play it on the radio." Midway through, however, the original is reduced to bridgework, as the mastermix, having respectfully pointed out G.L.O.B.E. & Whiz Kid's virtues, goes on to show who's boss with a series of 10- or 15-second dance collages comprising, say, "Apache," "I'll Tumble 4 Ya," and "Starski Live at the Disco Fever." One of them even incorporates "The Adventures of Grandmaster Flash on the Wheels of Steel" the first (and still damn near only, as we'll see) mastermix ever commercially released. And for an epilogue there's a comment from Fiorello LaGuardia: "And say, children--what does it all mean?"<br /><br />By asking itself that question--and inducing a populist hero to equate this arcane dance record with the Sunday comics he loved to be baffled by--"The Payoff Mix" finesses the answer. This doesn't mean there isn't one, though. It's just that as in so much speculative art, question and answer are all but identical, complementary functions of a very contemporary, self-mocking, quasi- parodic tone--a tone you could call postmodernist if it weren't so unpretentious and optimistic, so pop (and maybe populist). The mix's cognitive dissonance comes from the voluble Steinski, it's heartening synthesis from Double Dee's hands-on groove, which endows the absurdist bits and pieces with a logic as ineluctable as a whole greater than the sum of its parts. Half deconstruction and half celebration, this is a message of brotherhood for the age of media overload, disarming "postindustrial" capitalism with humor, know- how, access, and leftfield panculturalism. And like so much optimistic art, it's more utopian--hence more trouble--than it knows.<br /><br />Hardcore dancers were never wholly convinced by Double Dee's groove--they admired "The Payoff Mix" as a novelty and did their thing to less nerve-racking backing tracks. But on dance radio, which like all radio is for listening, there were no such hitches. Though their only obligation was to air the contest winner once, many stations put the promo cassette into serious rotation, thus sparking sales of "Play That Beat Mr. D.J." Perhaps not quite as much as might have been hoped, however--there was discernable consumer demand for the mastermix itself, and Tommy Boy thought seriously about turning it into a retail item. According to the label's Rick Dutka, these fantasies were quashed by the company's attorney. The problem was simple: releases for those 24 absurdist bits and pieces, almost every one copyrighted. Getting them would obviously be an administrative nightmare. But putting the record on the market without them would be a legal one.<br /><br />This was cautious advice from a music-biz lawyer whose priority was keeping a modestly capitalized client out of litigation, which threatened from two classes of plaintiff--music publishers and record companies. Legally, you see, my use of the word "quote" has been misleading, because Double Dee & Steinski don't quote, they reproduce, electronically. Not that this is anything new. The homey glow of interpretive approximation that once surrounded the notion of quotation was blown away in 1956 by "The Flying Saucer," a "crazy novelty" in which Brill Building eccentrics Buchanan & Goodman lifted dialogue directly off hit records that they pretended were platters from outer space, e.g.: Newsman: "We're about to hear the words of the first spaceman ever to land." Spaceman: "A womp-bom-a-loo-mom, ba-lom-bam-boo." "The Flying Saucer" rocketed into the top 10 and stimulated sales of such one-and two-year-oldies as "I Hear You Knockin'" and "Earth Angel" before lawsuits from less good-humored copyright owners led to a royalty agreement. Quotation is more like the Ritchie Family's "The Best Disco in Town," a maxi-medley in which Jacque Morali's studio group strung together phrases of a line or two from more than a dozen songs and ended up owing full statutory royalty on all of them, which is why Jaap Eggermont negotiated fractional payments before marketing his Stars on 45 studio group in 1981. The publishers could sock Morali because his record was a fait accompli; when Eggermont threatened to withhold release, they dealt. Why not? As Jay Lowy of Motown's Jobete Music (long notorious for its prohibitive lyric reprint rates) told Brian Chin in Record World: "Medleys have acted as a very positive force: they act as good demos. There's not enough on a medley to stop anyone from recording the whole song again. It's found money."<br /><br />As a publisher, Lowy fails to draw the rather far-reaching conclusion that would seem to follow from this estimably realistic assessment: if medleys are so "positive," what entitles the copyright owners to their "found money"? Quiet as it's kept, the rationale of copyright law isn't that private property is the highest philosophical good. It's to provide economic incentive for the spread of ideas and information, incentive that would presumably be vitiated were works open to unlimited reproduction and resale. Historically, copyright has been circumscribed by the doctrine of fair use, designed among other things to permit criticism, which is often impossible without examples. In non-critical discourse, the chief test of fair use is whether the use impairs the potential market value of the appropriated material. And as Lowy acknowledges, Stars on 45 no more cut into Stevie Wonder's sales than "The Flying Saucer" did into the Penguins'--or than "The Payoff Mix" did into Culture Club's.<br /><br />But demo or no demo, Lowy wouldn't have been as sanguine about Double Dee & Steinski's electronic reproduction as he was about Stars on 45's medley of quotes, not in an era when the home taping flap has occasioned attacks on "rampaging technology" like this one from RCA president Robert Summer: "Our defense of copyright, while rooted in this industry's struggle for solvency, is part of an overall defense of what is so fundamental to living society--its cultural foundations." And who can say what a judge would have made of "The Payoff Mix" had Tommy Boy released it and (by no means a certain consequence) gotten sued. Aesthetics and law mesh poorly if at all, and while I say the mix qualifies as parody and discourse and for that matter criticism, a more literal soul might well conclude that Double Dee & Steinski grabbed a piece of "I'll Tumble 4 Ya" because it has a good beat and you can dance to it--and be right. So no manner of parallel--the increasing dependence of the visual arts on appropriation techniques, or the untroubled experience of WBAI's Peter Bochan, a significant influence on Steinski who sells duplicates of his spoken-words-and-music Shortcuts tape collages--proved encouraging enough to give the ordinary consumer access to "The Payoff Mix."<br /><br />The biggest push came in England, at Polygram, Tommy Boy's well-staffed U.K. distributor. It was a nightmare. After a month of form letters and phone calls, legal assistant Sally Bevan left for A&M believing she'd landed almost every release. But Island's Clive Wills, who took up the job after Tommy Boy moved to his label, found that many of Bevan's contacts denied having granted clearance. In two significant areas, however, Bevan's and Wills's experiences were identical. First, indie labels were pleased to help, while majors balked. (Bevan says she was down to two acts on one major--"Labels always tell you it's the acts." She declined to name either; my guess is CBS, corporate home of Culture Club and Herbie Hancock.) Second, nobody expected money--all clearances were granted gratis, with no royalties at issue.<br /><br />Meanwhile, Doug DeFranco and Steve Stein proceeded with their lives. Delighted with their newfound renown even though they'd long since gone through the prize money, the did a James Brown mix called "Lesson Two" in the spring of 1984, shortly after Stein got himself canned at Doyle Dane. DeFranco had a career objective: he wanted to build his rep as an engineer and mixer. Stein's basic motives were tribute (to JB, to Bambaataa's "Fusion Beats," to Fiorello LaGuardia) and "personal satisfaction," the chance to apply his professional skills and global vision to what he loved most--and then, if "The Payoff Mix" was any example, have people hear it. "Lesson Two" was distributed to DJ and radio stations in a pressing the duo financed themselves. Soon DeFranco had moved into Stein's Brooklyn apartment, where they set up their own eight-track studio. Stein was working as a free-lance cable consultant; DeFranco quit his job and began to organize his own free-lance gigs, including board work and a little mixing at Tommy Boy. By early 1985 the label had something else for them.<br /><br />And thus Double Dee & Steinski wound up with one more tour de force and one more administrative nightmare. Hip-Hop--The Album, the centerpiece of both, was an exemplary venture for an aggressive indie dance label: a compilation of six long-out-of-print indie dance hits that hip hop DJs had been buying used and bootlegged for 25 and even 50 bucks ever since they'd revealed their funky break beats to mixer-shamans like Kool Herc, Bambaataa, and others. Tommy Boy's licensing included the right to create a single out of all this groove, and Double Dee & Steinski were commissioned to mastermix one up. In fact, they did two--one constructed from nothing but the six album tracks, the other incorporating their usual plethora of references. But neither was ever commercially released, and neither was Hip-Hop--The Album. Seems that ownership of Herman Kelly & Life's "Dance to the Drummer's Beat," which as it happened provided the mastermix's recurrent theme, was, shall we say, in dispute. Dance music is a rough business. Tommy Boy shelved the project.<br /><br />I have a cassette of the album, and it's too bad you can't buy it--a more user-friendly gathering of strange percussion bits and unselfconcious James Brown imitations would be hard to duplicate, much less make up from scratch. But the real mastermix you couldn't have bought in any case. My tape begins with the commercial-release version, a virtuosic piece of mixing that masks the slight tempo shifts between break beats with refrains and intros also lifted from the six records. In its subtle way, it shows a lot of wit, but this time subtlety isn't the big prize. The proof is in the three-song promo 12-inch of all Double Dee & Steinski's mastermixes that Tommy Boy graciously mailed out after Hip-Hop--The Album died. "Lesson 3," as the full-length hip hop mastermix is called, has the pizzazz of a full-fledged administrative nightmare. It begins with spoken words from Otis Redding--"We gonna do a song that you never heard before"--and goes on to JFK announcing that "the torch has been passed to a new generation of Americans," Lauren Bacall inviting the Human Beat Box to pucker up and blow, Ed McMahon jamming Johnny into Newcleus, the castanet break from "Hernando's Hideaway," a Groucho Marx joke, a "Flying Saucer" quote, applause from the Whoopi Goldberg album ("We wanted something polite," Steinski explains), and Fiorello LaGuardia taking his second curtain call. Also, perhaps, his last. For in the course of 1985, DeFranco fell in love, took another job doing commercials, and moved out, no longer inclined to pursue the nocturnal habits of a hip hop junkie. He took the equipment with him--Stein his hardly the first media nut who can't work a board--and Double Dee & Steinski are no more.<br /><br />The split seems completely congenial, and both artists will pursue their own careers, as the saying goes, but you know what's lost when a group breaks up: synthesis. The spoken-word interjections on Double Dee's hot dance remix of downtown composer Peter Gordon's "That Hat" share the cut-up surrealism one hears on other arty remixes, and I suspect a certain aura of abstraction will linger when he gets mainstream assignments, as he surely will. Steinski's "Technical Difficulties," a medley drawn from indie phenom Steve Gottlieb's hit compilation of TV themes and set over a functional "Planet Rock" electrogroove, is more overtly satiric (hence less complex tonally) than any of his Double Dee collaborations. Yet though both pieces diverge discernably from their common heritage, they do continue on all too familiar tradition: neither seems likely to achieve commercial release. The head of CBS Masterworks was so baffled by "That Hat" that he had to be talked into pressing up white-label DJ copies. And though Gottlieb had been warned that Steinski did better on radio than in clubs, he was disturbed by the mastermix's "fragmented" groove and commissioned a substitute.<br /><br />After dozens of hours and several thousand dollars, Steinski is also nearing completion on another piece you won't be able to buy: a mastermix of JFK's assassination that he compares to Paul Hardcastle's "19." One keystone of the concept is a specific newscaster: "Walter Cronkite is the national daddy. I don't want anybody else. You want the thing, you don't want the almost-thing." But CBS, fearing "trivialization" of Big Daddy's wholly owned vocal cords, refused clearance on Cronkite's 1963 coverage. So Stein is settling for more personal satisfaction. He'll get Cronkite-included cassettes out to interested parties when he's done, and as long as he's not taking money for them, the law will protect him. But the law is an ass. Profit isn't the issue for Steinski, and except in a speculative way (will "trivialization' reduce Walter Cronkite's market value?), it's not the issue for CBS either. The issue is who gets to use this stuff, and for what--whether the public has any claim on the output of public artists whose creations would mean nothing without it. In an age when all products of the mind have been commodified, the freedom to sell equals the freedom to disseminate. It means access, control. That's what's really at stake in Steinski's work.<br /><br />I wouldn't claim Steinski is any kind of rad; disarming "postindustrial" capitalism is a sideline for him. He's just a perpetually disillusioned optimist who still assumes that the sounds and images rippling through the American consciousness are, forget copyright, every American's birthright--that we're all free to interpret and manipulate them as we choose. His disillusion, I should say, didn't begin with his recent disappointments--it goes back at least as far as JFK's assassination, and it's what activates his absurdist, quasi-parodic tone. A rad like me could even wonder whether his disillusion isn't a little corny, but--especially but not exclusively when it's turned around by Double Dee's freewheeling natural optimism as well as Steinski's own--it's clearly too much for the information barons. The keepers of the copyright at CBS wanted to protect the physical and intellectual property called "Walter Cronkite" from "trivialization" because they didn't want it sullied by Steinski's absurdist disillusion, or his lowlife pancultural optimism either. They didn't want it criticized --not as a judge is liable to understand that concept, with its traditionally forbidding baggage of essay form, but much more sensationalistically, and much more potently and directly for that.<br /><br />I don't mean to single out CBS, although I do suspect that the more information one controls, the less one worries about other people's information deprivation. And I should make clear that neither Stein nor DeFranco, media pros both, fully agrees with me. But I think this is censorship, and I think it's reprehensible. Appropriation art isn't even the parallel, because appropriation art's primary purpose is undermining images. Double Dee & Steinski only recontextualize, as in that quintessential 20th century genre, collage, thus achieving a cool tone that's more affectionate, more irreverent, and more distanced, than, say, a Weird Al Yankovic takeoff. Maybe G.L.O.B.E. & Whiz Kid or James Brown can legitimately claim partial credit for the vitality, meaning, and commercial value of their respective mastermixes. But to make the same kind of claim for Culture Club or Ed McMahon is like forcing Tom Wesselmann to get a clearance from House Beautiful, or wherever he cut out the gardenscape you can see through the Great American Nude's window. I'm not saying there isn't a kick to hearing Culture Club or Ed McMahon changed utterly--to hear the thing, not almost-the-thing, subjugated by a rival culture and vision. And I'm not saying they should like being taken over by hip hop's new generation of Americans. But they shouldn't be able to stop it by administrative fiat. As long as the copyright is a weapon of censorship, "postindustrial" capitalism will remain armed.<br /><br />Village Voice, Mar. 25, 1986(thanks to CPB) <br /><br /><br /><br />More info<br /><a href="http://www.littlevillagemag.com/content/2008/10/mix-it-up/">http://www.littlevillagemag.com/content/2008/10/mix-it-up/</a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-27541450608770987692012-06-16T18:42:00.000-07:002012-06-17T00:21:21.311-07:00Ode to the Vinyl Mastermix, Vol. 2Second edition of bits and pieces of vinyl <br />megamixes<br /> <br />For all the vinyl mix collectors.<br /> <br /><br /><br />http://www.mixcrate.com/mix/107021/ESP-Ode-to-the-Vinyl-Mastermix-Vol-2Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-547950195660146292012-06-15T23:53:00.000-07:002012-06-17T00:17:55.878-07:00Ode to the Vinyl Mastermix, Vol. 1In this offering, I have taken the liberty to take some bits and pieces from these vinyl masterpieces to create this retrospective<br />edit Megamix.<br /><br />Respect to the Bay Area Mixmasters: Dj Efx & Mind Motion ,Dj Juanito,DJ Prince Ice, Cameron Paul, Michael Erickson, Alexander Mejia as well as the Latin Rascals, Double Dee & Steinski, Dj Blend Daddy, Dj Deryck D , Debonaire, Dj Howard Thomas(RIP) , Dj Antron and countless others.<br /><br />For all the vinyl mix collectors.<br /><br />MP3<br /><a href="http://www.mixcrate.com/mix/11008/Ode-to-the-Vinyl-Mastermix,-Vol-1">Ode to the Vinyl Mastermix, Vol. 1 by ESP</a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-36806194525797378872011-12-29T20:23:00.000-08:002011-12-29T20:25:01.558-08:00Bits & Pieces '85<iframe width="420" height="315" src="http://www.youtube.com/embed/mobknWcNOos" frameborder="0" allowfullscreen></iframe>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-6474550175938204902011-06-15T21:57:00.000-07:002011-06-17T22:45:19.669-07:00Cameron Paul DJ Legend SeriesDJ Cameron Paul was a Bay Area pioneer in the mix world. Even before his radio gigs, he was a dominating force on the SF club scene. In this mega mix, I compiled and mixed some of his radio mixes on KSOL and KMEL, mix releases on Hot Tracks and Mixx-it, Tandem records and a nice interview intertwined in the music.<br /> <br />Enjoy with multiple listening. Feedback is welcome.<br /> <br />Dedicated to DJ Cameron Paul and his fans.<br /><br /><br /><br /><br /><a href="http://www.mixcrate.com/mix/55535/ESP-Cameron-Paul--DJ-Legend-Series">http://www.mixcrate.com/mix/55535/ESP-Cameron-Paul--DJ-Legend-Series</a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-53068529329879013912011-04-16T09:29:00.000-07:002011-06-17T22:41:41.329-07:00Latin Rascals : DJ Legends SeriesBack when Big Apple Production 2 was released in 1984, I always wondered who made this musical opus.<br />Later, I found that the Latin Rascals were responsible for this influential megamix.<br /><br />Check this nice write-up by Johnny Freeze about this amazing duo on our blog:<br />http://mastermixcrew.blogspot.com/2008/11/latin-rascals-edits-in-mix.html<br /><br />In this<br />megamix, I chose some of their commercial production, radio edits and some of their mastermixes along with a recent interview with Albert Cabrera. <br /><br />Dedicated to all the edit heads out there.<br /><br />Special mentions to the Edit Kings(aka the Latin Rascals) and DJ Paco for the intro<br />http://www.mixcrate.com/mix/42998/ESP-Artist-Profile-SeriesLatin-RascalsMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-76450425122483073632011-01-01T22:36:00.000-08:002011-02-01T22:24:05.284-08:00DJ Deryck D-Miami Rumble Mix '89<a href="http://1.bp.blogspot.com/_NfvQz7WwStY/SVgyQFdq3HI/AAAAAAAAAPw/ljtY-1dOLrI/s1600-h/Scan10001.JPG"><img style="cursor:pointer; cursor:hand;width: 320px; height: 270px;" src="http://1.bp.blogspot.com/_NfvQz7WwStY/SVgyQFdq3HI/AAAAAAAAAPw/ljtY-1dOLrI/s320/Scan10001.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5285029414645193842" /></a><br /><a href="http://2.bp.blogspot.com/_NfvQz7WwStY/SU1RiWhJfQI/AAAAAAAAALI/xWA0HVp3iYM/s1600-h/Miami+Rumble+%2789.JPG"><img style="cursor:pointer; cursor:hand;width: 320px; height: 310px;" src="http://2.bp.blogspot.com/_NfvQz7WwStY/SU1RiWhJfQI/AAAAAAAAALI/xWA0HVp3iYM/s320/Miami+Rumble+%2789.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5281967588577475842" /></a><br /><br /><br />(All images are copyrighted by their respective copyright owners) <br /><br /><br />Side A-Miami Rumble Mix<br />Side B-Bonus Bounce Mix<br /><br />Tracklisting<br />Deryck D Intro<br />Tricky D-Take It To The Max<br />Public Enemy-Bring the Noise sample<br />Antoinette-Make It Boom<br />Egyptian Lover-And My Beats Goes Boom<br />Vanity-Nasty Girl sample<br />Time sample<br />JJ Fad sample<br />Attitude-We Got the Juice sample<br />Techno Bass sample<br />Midnight Star-No Parking on the Dance Floor Sample<br />Vicious Bass-Shake That Thang<br />NWA-Something To Dance To<br />Afrika Bambaataa-Planet Rock sample<br />DJ Rob Base-It Takes Two sample<br />Salt & Pepa-Push It sample<br />Afro-rican-Give It All You Got<br />Kano-I'm Ready sample<br />Jonzun Crew-Pac Jam sample<br />Dial-A-Freak-Uncle Jamm's Army instrumental<br />Deryck D rap<br />Clay D-Get Funky<br />Kraftwerk-Tour De France sample<br />Freestyle-It's Automatic sample<br /><br />mp3(courtesy of DJ Deryck D)<br /><br />Side A-Miami Rumble Mix<br /><br /><a href="http://www.mixcrate.com/mix/31479/Miami-Rumble-89">Miami Rumble 89' by DJ Deryck D</a><br /><br />Side B-Bonus Bounce Mix<br /><a href="http://www.mixcrate.com/mix/31499/Derycks-Bounce-Beats">Deryck's Bounce Beats by DJ Deryck D</a>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-87185382519894072112010-09-15T13:28:00.000-07:002010-09-24T20:35:49.475-07:00MP3sWith the exception some related links, this site does not store any mp3s. To listen to some of these mixes, please take a look at other sites on the net or some of the posted Youtube links. This site is meant primarily for information of these vinyl mixes.<br /><br />Thanks for looking,<br />Mastermix CrewMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-86973958766375193962010-06-19T10:25:00.000-07:002010-06-26T14:13:07.616-07:00DJ Bacon-Universal B Boy Mega-Mix<a href="http://1.bp.blogspot.com/_NfvQz7WwStY/TCZtRXlvb5I/AAAAAAAAAqk/HUc0GOM9XRM/s1600/img061.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 317px;" src="http://1.bp.blogspot.com/_NfvQz7WwStY/TCZtRXlvb5I/AAAAAAAAAqk/HUc0GOM9XRM/s320/img061.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5487193341155045266" /></a><br /><br /><br /><br />This mix was done by DJ Bacon in 2008.<br />Limited release of 300.<br /><br />Tracklisting-TBA<br /><br />MP3<br /><a href="http://www.mixcrate.com/mix/9097/Universal-B-Boy-Megamix">Universal B Boy Megamix by DJ Bacon</a><br /><br /><br />Video<br /><object width="480" height="385"><param name="movie" value="http://www.youtube.com/v/d5piT5NNu_k&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/d5piT5NNu_k&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="385"></embed></object><br /><br />Shout out to DJ Bacon for providing several copies.Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-5630522060885048052010-06-19T09:38:00.000-07:002010-06-19T10:51:00.283-07:00DJ BaconDJ Bacon has proved his versatility, mastering different styles of blending, quick mixes, juggling and cutting within different genres. Old school hip hop and b boy anthems are where he is most passionate - rocking the party with original hip hop style and a funky approach to DJing. DJ Bacon's scratch style is unique - with the ability to tear it up with equal precission on both turntables with funk and technical ability. Bacon has proved his ability within the club, festival, and live DJ environments as a turntablist and crowd rocking DJ. <br /><br />DJ Bacon is one of only a handfull of Australian Dj's to release vinyl. Support independent artists, buy their music!! Bacons debut Vinyl release is out now!! Check out the "Universal B Boy Megamix" in all good Oz hip hop stores or contact me here for a copy. DJ Bacon has been influenced by listening to early hip hop records and admiring the pioneers like Jam Master Jay, DJ Jazzy Jeff, DST, Jazzy Jay, Bambaata, Grandmaster Flash, DJ Too Tuff, Mr Mixx and countless others that pioneered the genre. After puchasing his first 12" vinyl "It's Tricky" by Run Dmc at the tender age of 12 (1987) his passion and knowledge of hip hop culture and music has grown continually. <br /><br />Growing up in Brisbane It was hard to source a lot of the early US hip hop, however local radio show 4zzz (Phat Tape w DJ Katch) proved to be a source of ever inspiring hip hop jams. Another local - DJ Cybex had amazing hip hop and electro mixtapes too, that continued to inspire. <br /><br />After years of passionate DJing and collecting, DJ Bacon formed a partnership with longtime friend Shazam - starting an instrumental project "Briztronix" in early 2000. With Jazz, hip hop and electro influences the band has now released an EP and two full length LP's. Remaining independent has allowed the band to explore and manufacture a truely unique sound - featuring on countless compilations and winning the Q music Q Song award in 2007 (hip Hop category) for their electro hip hop anthem "Beats From the East". <br /><br />Briztrronix latest offering "Structures Of Canyons" is out now (including a vinyl 12" ) - this will be the album you're still talking about in 10 years time. <br /><br />After relocating to Melbourne in 2004, DJ Bacon inserted himself in the Melbourne club scene, holding down several residencies and Djing on the b boy circuit. <br /><br />Club residencies in Melbourne since 2004 have included : <br /><br />Revolver <br /><br />First Floor <br /><br />Black Cat <br /><br />Laundry <br /><br />E55 <br /><br />Workshop Bar <br /><br />North Bazaar <br /><br />DJ Bacon has been heavily involved in many community youth arts projects , DJ performances and tutorials over the past decade - teaching and travelling throughout Australia and spreading hip hop culture to the next generation. <br /><br />DJ performances, battles, workshops and releases have been many since the late 90's. Gigs around the country and overseas include the Australian DMC competition, Oz B Boy championships, Wicked Force 20 year anniversary Jam, Livid Festival, Big Day Out, Brisbane festival, Woodford Folk Festival, Stylin Up, and more. Some supports of note include Grandmaster Flash, Ugly Duckling, The Roots, Anticon, Hilltop Hoods and DJ Dexter. DJ Bacon ripped many shows supporting international acts as DJ for legendary Queensland B Boy crew Gravity Warriors throughout the early 2000's. <br /><br />After a five year DJ holiday in Melbourne, Bacon is now a Brisbane resident again, and will be doing similar things with turntables up here in 2009. For bookings and community workshop inquiries contact : <br /><br />scottebarker@hotmail.com <br /><br /><br /><br />Read more: http://www.myspace.com/therealdjbacon#ixzz0rK0bNZqFMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-92070596571623162102010-01-30T23:48:00.000-08:002011-02-01T21:05:12.191-08:00Visitors to the site<a href="http://1.bp.blogspot.com/_NfvQz7WwStY/SUyOqH7OzbI/AAAAAAAAAK4/eakdHJDQuLo/s1600-h/vrg33.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="http://1.bp.blogspot.com/_NfvQz7WwStY/SUyOqH7OzbI/AAAAAAAAAK4/eakdHJDQuLo/s320/vrg33.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5281753317331881394" /></a><br /><br /><br /><br /><a href="http://3.bp.blogspot.com/_NfvQz7WwStY/SUx62WQ3L2I/AAAAAAAAAKo/XwysHKZFW-Q/s1600-h/743324b1.gif"><img style="cursor:pointer; cursor:hand;width: 320px; height: 154px;" src="http://3.bp.blogspot.com/_NfvQz7WwStY/SUx62WQ3L2I/AAAAAAAAAKo/XwysHKZFW-Q/s320/743324b1.gif" border="0" alt=""id="BLOGGER_PHOTO_ID_5281731537106579298" /></a><br /><br /><a href="http://3.bp.blogspot.com/_NfvQz7WwStY/SfOIPAadYAI/AAAAAAAAAX4/lp4WmXTqeTI/s1600-h/26live_wave.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 216px;" src="http://3.bp.blogspot.com/_NfvQz7WwStY/SfOIPAadYAI/AAAAAAAAAX4/lp4WmXTqeTI/s320/26live_wave.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5328752575499821058" /></a><br /><br />Please give us a shout out in the Cbox and let us know what you would like to see in this blog.<br /><br />If you have any other info on any vinyl mixes or have vinyl mixes not reviewed on the site, please let us know. If you need to contact us, email us at <br />mixcrew1@gmail.com <br /> <br /><br /><br />Thank you all.<br />Mastermix CrewMastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com2tag:blogger.com,1999:blog-6768623888948728115.post-24937035057627692072010-01-02T09:33:00.000-08:002010-01-02T09:49:47.456-08:00James Brown-The Payback Mix<a href="http://4.bp.blogspot.com/_NfvQz7WwStY/Sz-EU59vfEI/AAAAAAAAApA/SLf0ZNw2124/s1600-h/payback+mix+a.jpg"><img style="cursor:pointer; cursor:hand;width: 320px; height: 320px;" src="http://4.bp.blogspot.com/_NfvQz7WwStY/Sz-EU59vfEI/AAAAAAAAApA/SLf0ZNw2124/s320/payback+mix+a.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5422197971069402178" /></a><br /><br />This mix was done in 1988 by Various djs.<br />A1 The Payback Mix (Keep On Doing What You're Doing But Make It Funky) <br /> <br />A2 Payback (The Final Mixdown) 5:53<br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/CUGrc_JV9Nc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CUGrc_JV9Nc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0tag:blogger.com,1999:blog-6768623888948728115.post-75567001241287097752009-12-03T19:31:00.000-08:002009-12-04T20:51:16.560-08:00DJ Mega-Mix Vol. 1<a href="http://2.bp.blogspot.com/_NfvQz7WwStY/SVWiAvv0BHI/AAAAAAAAAOQ/18Ir_dShIR4/s1600-h/R-260504-1105371429.jpg"><img style="cursor:pointer; cursor:hand;width: 200px; height: 198px;" src="http://2.bp.blogspot.com/_NfvQz7WwStY/SVWiAvv0BHI/AAAAAAAAAOQ/18Ir_dShIR4/s320/R-260504-1105371429.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5284307871489852530" /></a><br /><br /><br />Thix mix was done by Norman Cook. This was released in 1986.<br /><br />This record was really well ahead of it's time! This was released when Norman Cook (Fatboy Slim), was still in Indie group The Housemartins, and this influenced hundreds of turntablist cut-cup records (such as Coldut's Beats + Pieces). <br /><br />The reason this never got released was due to the heavy amount of samples in it (dialogue from Doctor Who, Batman, The Jungle Book, and lots of familiar bronx breaks samples), and got bootlegged to death (under the name of Norman Housemartin!). <br /><br />On to the record itself. In my ears, the main part sounds a heck of a lot like the Inspector Gadget theme, and Norm incorporates loops of him doing some turntablism (a thing that he almost dosen't do nowerdays), and the other side features the same track, but with Norm himself rapping (badly) with future Beats International member, MC Wildski! <br /><br /><br />Source:<br />http://www.discogs.com/Norman-Cook-DJ-Mega-Mix-Vol-1Mastermix Crewhttp://www.blogger.com/profile/02085019881591353629noreply@blogger.com0