Choon of the Day, redux
- Thread starter Leo
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- bobbins is a stupid ilx term chongle mossif choon of the day acid reflux copper nonce didcot parkway didcot parkway didcot parkway don't like most of these songs everybody is weeping foolish buffoon just loads of shakira tunes back to back mr tea stuck a toadstool up his bum nonce reggae omazed predator soundtrack but only the drums shut it down this goes out to all the players in the hood
IdleRich
IdleRich
Go on...
out to my fellow bottom line records possee
@WashYourHands mad it took sasha and digweed 9 years to catch up to this with their 'dark tribal prog fodder'
going through tunes to play in a mix to my group, which seems to be full of unfunky germans and shouty Amrikan punks, and this must go in there.
Madness for 1991, just sheer madness.
@WashYourHands mad it took sasha and digweed 9 years to catch up to this with their 'dark tribal prog fodder'
going through tunes to play in a mix to my group, which seems to be full of unfunky germans and shouty Amrikan punks, and this must go in there.
Madness for 1991, just sheer madness.
Murphy
cat malogen
Works is nuts
You could do a Bottom Line mix and have a ton of options
For the uninitiated
More images
You could do a Bottom Line mix and have a ton of options
For the uninitiated
Bottom Line Records
More images
| Profile: | House, Deep House Label from New York. Bottom Line Records owner Edward Goltsman started his music education at the age of 6 in Moscow Russia and continued it in the USA at Berklee College of Music. In the 80s he worked as a professional keyboard player in NY with funk, jazz, gospel and top 40 bands. At that time he also started producing records. The first few singles that he produced were hip-hop and gospel, but after he was introduced to NY dance club scene, he started writing and producing house music with successful releases on labels like Emergency, Atlantic, Select, Mic Mac, Jump Street, Supertronics, Quark, Sutra and others. At the same time he started DJing and doing guest appearances at some of the major clubs all over NY City. In 1990 Edward Goltsman started his own label, Bottom Line Records, that quickly became a household name among the lovers of Garage House. He became very popular as a producer/DJ around the world, particularly in the United Kingdom. There were 78 releases on Bottom Line Records of which Ed produced about 60. He's licensed the tracks all over the world to labels like: ZYX, Kicking, Moonshine Music, Street Beat, Esoteric, React, Meldac (Japan), Shock (Australia), General Overseas (South Africa), Pschent, Delabel (France) and many others. In 1993 Edward Goltsman moved Bottom Line to Florida and in November 96, started a new label, U-Turn Records that specializes in Electro, Funky breaks and Progressive Breaks and House. There were 18 releases on U-Turn Records up to date two of them are full length CDs, Electronica, Vol.1 (mixed by Ed The Red) and "United We Funk" released in March, 2000. These days he spins mostly breaks, progressive house and classic Garage House. Show less |
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| Sublabels: | U-Turn Records |
| Contact Info: | Obsolete contact address: Bottom Line Records, 3738 Cypress Ave., Brooklyn, NY 11224, (718) 373-9123 |
I should probably have not opened my mouth. My excuse? I'm staying up for days on end again with a restless mind full of chaos and noise.
I'll just message you privately.
shakahislop
Well-known member
it is still weird to me to think about how the things i like listening to can shift so much from week to week. this kind of thing is totally doing it for me right now. it's almost not music, there's so little going on. almost sounds like it's intended to be a building block for something else. but that absolutely non-flashy minimal basic beat is the only thing i want to put on this week. there's something insistent but calm about it. have a feeling though that it will work for right now and then i'll never touch it or remember it again
Murphy
cat malogen
can’t miss a Bottom Line prompt
they released surreal mind-melting sonic variations underpinned by 4/4 as you posted but they could also rock the post-ascendant plateau varietal of 4/4 too .. Jerzzey Boy, Sample Minded (Ed the Red), so many of their releases still punch
2 examples of plateauing pleasure, the first .. my god it’s still full of stars when its harmonies get flowing, second is a DiY favourite so I associate it with the Dales/south Pennines and systems cranking it right up outdoors on a Sunday afternoon in the sun (you could dedicate an entire thread to Sunday afternoon 4/4 greatness), has everything the ants in your pants itching up a beat through to the ultimate keyboard solo
hallelujah
Murphy
cat malogen
tracks that slide in and out of so many releases listed here
just add MK dubs, all that beefy distilled Mood II Swing wonder up until 95ish and everything solid about Jersey
if it didn’t have the legs it would’ve been forgotten by now
Ravey New York dance music - late 80s-early 90s
Stuff that fed into the uk rave scene and reminds you of hardcore, basically. House, techno and hip hop colliding. Samples, breakbeats, divas and feverish energy. Not boring. Almost anything goes if its from NY in the given timeframe but please keep it ravey - there's already a deep house and...
www.dissensus.com
just add MK dubs, all that beefy distilled Mood II Swing wonder up until 95ish and everything solid about Jersey
if it didn’t have the legs it would’ve been forgotten by now
Murphy
cat malogen
A DiY favourite in the years preceding the millennium, you could blend these two well, insane discography overall
Mateo & Matos were/are a heavyweight combo and as consistent a duo as any double act have been in this realm. Think they get overlooked slightly due to mid/late 90’s weighting of releases trajectory. They were listen on sight, if that makes sense, wading through piles of store recommendations and digging around all the way through to M&M releases on Glasgow Underground circa 20+ years ago
They always remind(ed) me a lot of Mood II Swing and maybe 95 North more because of parties where their records almost picked themselves, mixing back II back and in blocks with small groups of mates - similar rich use of chords, no ott gospel elements which can ruin tunes so Yellorange and Basement Boys vocal mixes were regularly saved by b-side dubs, as examples
King St you could do a thread on, add Strictly, Easy St, through to Guidance, Ferox and Peacefrog. Huge hauls of records with just this lot, rosters of the ages
Mateo & Matos were/are a heavyweight combo and as consistent a duo as any double act have been in this realm. Think they get overlooked slightly due to mid/late 90’s weighting of releases trajectory. They were listen on sight, if that makes sense, wading through piles of store recommendations and digging around all the way through to M&M releases on Glasgow Underground circa 20+ years ago
They always remind(ed) me a lot of Mood II Swing and maybe 95 North more because of parties where their records almost picked themselves, mixing back II back and in blocks with small groups of mates - similar rich use of chords, no ott gospel elements which can ruin tunes so Yellorange and Basement Boys vocal mixes were regularly saved by b-side dubs, as examples
King St you could do a thread on, add Strictly, Easy St, through to Guidance, Ferox and Peacefrog. Huge hauls of records with just this lot, rosters of the ages
who is he? i love him!
You used to call me on my cellphone 🥺🥺😔😔💃🏻💃
what are your guys thoughts on this band? i feel compelled to love them but at the same time idk, it feels derivative in some weird way, like if sam smith was trying to emulate nina simone
Yes, it's an affected voice. I can cope with his contributions to the first Hercules & Love Affair LP because that was a good album, but I don't think I'll check out any more. It's like how I just can't get past David Tibet's voice to give Current 93 a fair listen.
william_kent
Well-known member
funny you should say that, Antony features on more than one apocalyptic folk tune by C93....