sodiumnightlife
Sweet Virginia
"mak 10 on the frontline, keeping it gully on the frontline"
haha
haha
i reckon the VIP term has probably always been loosely applied, and even more so now. either way the central point for me is how jokes all Marcus Nasty's VIP vocals are, i love them
Here it is - http://www.bbc.co.uk/1xtra/footloose/
Presenting a list of highlights/IDs-required from Maximum b2b Spyro on Rinse
badness tune at 10 mins
terror danjah(?) thing at 17 mins
22mins in (mega?)
34 mins:30 secs in
53 mins
68 mins in
72 mins - is this bulla cake? I can't remember
74 mins - stone cold!
81 mins - the 8 bar tune after the rubbish dubstep tune
107 mins - garage
most of these aren't funky actually... spyro/maximum are shit-hot in the mix tho
defo, i loved the 'do you mind' marcus nasty version, when i bought it myself it i think it was the first time i heard it without the "all night, i'm listening to marcus, marcus nasty" and it really felt like something was missing.
anyone recording this? i just got home.marcus nasty on rinse 7-9 tonight according to his myspace.
EDIT: so every wednesday 7-9 apparently
let me play devil's advocate though, and i'm not at all knocking anything you're doing. but remember for a year or so after dubstep warz there were dnb heads showing up on dsf and starting threads like "dubstep at 150/160/170 bpm"? and the chorus was usually, "dubstep has to be 140 cos it's garage" which was saying something about how the tempo and rhythm worked in a particular way at that pace. gave it a particular feel. it seems to me that working around 130 is partly about it feeling a bit weird or off and finding rhythmic ways of dealing with it. and it also seems like a conscious move to do something far enough down the speed dial that 140 stuff can't easily mix with it. not purism, just consciously picking a new way of doing things.Sorry, when I listen to funky, I always think, "lets just pitch it up a bit"
When I make it, 140 feels good. I compromise at 138. Same as when i do 2step. Still plenty of space for percussive complexity.