CARL CRAIG - The Workout MIX





















Editora: REACT _UK
Formato: 2xCD
Data de edição: 2002
Creditos: DJ Mix - CARL CRAIG

Notas: 2 CD's com uma música de mix contínuo: CD 1 de 1:19:28 + CD 2 com 1:18:31

Carl Craig :"The Workout is designed to be not only a listening tool, but also a tool for lifestyle. No matter what you do daily. The Workout is there to be your personal soundtrack to your life. The Workout can be listened at any volume trough any sound source whether you are driving home from the party or you are making your own party on your own or with that special someone. The Workout is the CD for you."

Biography:
Dancefloor experimentalist and top Detroit techno producer Carl Craig has few equals in terms of the artistry, influence, and diversity of his recordings. Few others have recorded so much quality music in such a variety of styles as has Craig, who jammed distorted beatbox samples into lo-fi electro riggings, crafted epic house tracks like his remix of Tori Amos' "God," and recorded the most sublime Detroit techno since godfathers Juan Atkins and Derrick May were at their peak. After an apprenticeship during the late '80s with May, Craig began releasing his own recordings in 1989, first on Derrick's Transmat imprint and later on his own label, Planet E Communications. During the following decade, Craig spread his work between solo aliases -- Paperclip People, Innerzone Orchestra, 69 -- and his own name. With each new project and each change of musical direction though, he distinguished himself as one of the few artists to consistently hit the mark with productions whose subtleties in the living room more than matched their infectious energy on the dancefloor. When he was growing up and attending Detroit's Cooley High, Craig was turned on to a diverse musical diet ranging from Prince to Led Zeppelin to the Smiths. He often practiced on his guitar, but later became interested in club music as well through his cousin, who worked lighting for various parties around the Detroit area. The first wave of Detroit techno had already set sail by the mid-'80s, and Craig began listening to tracks courtesy of May's radio show on WJLB. He began experimenting with recording techniques using dual-deck cassette players, and later convinced his parents to buy him a synthesizer and sequencer. Craig also studied electronic music, including the work of Morton Subotnick, Wendy Carlos, and Pauline Oliveros. While taking an electronics course, he met a mutual friend of May and passed on a tape including some of his home productions. May loved what he heard and brought him into the studio to re-record one track, "Neurotic Behavior." Completely beatless in its original mix (since Craig didn't own a drum machine), the track was just as sublime and visionary as Juan Atkins' blueprint for cosmic techno-funk yet called on emotions previously found only on May's material. The British fascination with Detroit techno was just beginning to take hold by 1989, and Craig was invited to witness the phenomenon firsthand by touring with May's Rhythim Is Rhythim project (which supported Kevin Saunderson's Inner City on several English dates). The trip became an extended working holiday as Craig helped out on production for a re-recording of May's classic "Strings of Life" and the new Rhythim Is Rhythim single, "The Beginning." He also found time to record several tracks of his own at RS Studios in Belgium. On his return to the U.S., Craig released several RS tracks on the Crackdown EP, recorded as Psyche for May's Transmat Records. Craig then founded Retroactive Records with Damon Booker, and despite working days at a copy shop, continued recording in his parents' basement. Craig released six singles for Retroactive during 1990-1991 (as BFC, Paperclip People, and Carl Craig) but the label was dissolved in 1991 due to disputes with Booker. That same year, Craig formed the solo concern Planet E Communications for the release of his new EP, 4 Jazz Funk Classics (recorded as 69). Deliberately lo-fi and gritty with the implementation of funky beatbox samples, tracks like "If Mojo Was AM" presented a new leap forward after the compulsive sheen of Retroactive singles like "Galaxy" and "From Beyond." Besides the distortion of 4 Jazz Funk Classics, his other Planet E work during 1991 contained off-the-cuff nods to such disparate moods as hip-hop and hardcore techno. The following year's "Bug in the Bassbin" unveiled another Carl Craig alias, Innerzone Orchestra, and added elements of jazz to his beatbox frenzy. In the process, Craig became an uncommon influence on the early progression of the British drum'n'bass movement -- DJs and producers often pitched up "Bug in the Bassbin" from 33 to 45 rpm for a do-it-yourself jungle breakbeat. The release of Paperclip People's "Throw" added disco and funk to Craig's growing list of active inspirations; his natural progression into remixes during 1994 provided the dance world with versions of Maurizio, Inner City, and La Funk Mob tracks plus a stunning reworking of the Tori Amos song "God" that lasted almost ten minutes. Thanks in large part to the Amos remix, Craig soon signed his first contract with major-label exposure, to the Blanco y Negro division of Europe's Mute Records. His first full-length, 1995's Landcruising, opened up the Carl Craig sound and gave it an epic feel closer in spirit to his earlier recordings, while the thematic tug of a journey around metro Detroit mirrored Atkins' Model 500 tracks like "Night Drive." Landcruising opened up the market for Craig's material, and several months later, RS Records released 69's Sound of Music, a compilation of two EPs released the previous year for the Belgian label. In 1996, the high-profile British house label Ministry of Sound released a new Paperclip People single called "The Floor," composed of hard, clipped techno beats but an elastic bass line and prevalent disco sample that earned it much airplay in house venues. Though he was already one of the most noted names in the world of techno, Craig's reputation began growing in the more general category of mainstream/global dance, and he soon became less tied to the mantle of Detroit techno than many of his contemporaries. Craig helmed one in the series of DJ Kicks albums released by Studio !K7 and spent several months based in London. He returned to Detroit later in 1996 to focus on Planet E, which released a Paperclip People album titled The Secret Tapes of Dr. Eich (mostly collecting previous singles) and a Psyche/BFC retrospective titled Elements 1989-1990. The new year brought the second proper Carl Craig LP, More Songs About Food Revolutionary Art. He spent much of 1998 touring the world as Innerzone Orchestra with a jazzy trio. The project also released an LP, Programmed, expanding Craig's full-length output to seven -- though only three had appeared under his own name. Two collections appeared during 1999-2000, including the Planet E mix album House Party 013 and the remix compilation Designer Music. Throughout the early 2000s, he was sporadically active, releasing a series of mix albums and compilations (2001's Onsumothasheeat and Abstract Fun Theory, 2002's The Workout, and 2005's Fabric 25), as well as the occasional production and remix. He overhauled Landcruising in 2005 and titled the release The Album Formerly Known As....

www.spectralsound.com


A spectral sound é uma editora musical dedicada ás electrónicas mais dançantes e que nasceu como uma sub-editora da fantástica Ghostly International. Dela fazem parte artistas muito bons em matéria de produção: Matthew Dear, Osborne, James Cottom, Broker/Dealer, Jeff Samuel, Audion, Peter Grummich, entre outros. Mas não é só de boa música que esta editora se envolve porque para além disso desenvolvem também um aspecto visual gráfico á altura, como provam as edições em vinil e o próprio site na internet, que aconselho a visitar se quiserem saber mais acerca deste projecto.

Dj HARVEY




















A Brit abroad who gets the yanks feathers ruffled and those trendy Tokyo kids screaming for more. From acid rock to disco obscurities, the feller plays em all. We caught up with him on a Californian beach, charging waves and dropping bombs.....

Hey Harvey, things seem to suit you well over there, caught some pics of you spinning at Candelah’s in San Diego and damn! Where did that body come from?
Yes things do suit me very well in California, Hawaii and NYC where I divide up my time. The body in fact comes from expensive, somewhat illegal steroids and regular visits to Gold’s Gym inbetween charging very heavy waves. I have a regular circuit of parties I spin at; Candelahs in San Diego, Smart Beat Oasis in Oakland, R X Gallery in San Francisco, Moonshadows in Malibu (funny that. I once played at Malibu’s in Bracknell -Ed) and other odds n’ sods including the Spider Bar in Hollywood and New York’s Deep Space. The crowd there have been schooled to perfection by Francois and its a real pleasure to spin there.
Those old Black Cock tunes are going for big bucks at the mo. Any chance of getting it going again?
There’s an outside chance of a re-issue box or maybe even a cd but Black Cock remains flacid at the moment. Map of Africa is my new band project with DJ Thomas - ex Wicked are Weapons. We’ve been working on an album (pretty much completed) which is being recorded and produced in his Woodstock studio. We should have something for your ears sooner than later. It’s not a change of direction, just another creative avenue. I’ve played in and out of various bands for most of my life - you could say this reflects my home listening.
Tell us about the club in Hawaii...
Yes we have recently opened up thirtyninehotel (www.thirtyninehotel.com) a community- based multimedia space that features artists and contemporary dance parties. We plan to have the planets best NYE party there this year. The soundsystem is work in progress, if any studymasters out there have any juicy bits to donate to a good cause we are always on the search. I recently discovered a Richard Long system that a friend has elements of which I must have.
Do you remember the old days at Moist/MoS fondly?
All those days were really, really good fun but not as good fun as these days...“it’s always better than it used to be”, I’m lucky I keep it movin. Moist ran for a fair while and was an alternative to a few of the so-called trend setting nights of the time. It was Heidi and myselfs brainchild. I think that night was definitely responsible for showing (London) DJs and crowds that DJs could play for a longtime and create a mood, make a journey and keep things exciting. Larry Levan, FK, Kenny Carpenter, Daryl Pandy, Terry Hunter all performed there as well as UK guys that Heidi wanted to elevate such as Trevor Jackson, the Idjuts, Gerry Rooney, Fraser Cooke and Ashley Beadle.
Any crazy nights stand out?
Group sex on the dance floor of the Zap Club, Ibiza, Larry Levan at Moist, the reflection of Miss Nude Australia’s punani reflecting on the bald patch of Gary Saltzman’s (Todd Terry’s manager) head as she danced naked on the ministry booth to one of my sets.
You once told me you could turn up on a Saturday night at the Ministry with just a plastic carrier bag full of records...
That comes from something I believe in which is I see some DJs with far too many boxes and they are only spinning for one or two hours. I’m usually spinning much longer and only have one box - thats because i have the upmost confidence in the records and the groundwork I’ve put in beforehand. When I DJ you get me and records from my mind, each one so carefully considerd at the point it makes it into my bag thats it’s the absolute right one for the job. You know one hour of music if you play the record through can be as little as two, three, maybe four records - if they are the right ones they will be enough.
Have you any ambitions left DJ-wise?
To learn to mix, havin lost the skill a few years back during a severe case of the Mancuso’s.
Finally what happened to your legendary record collection? Did you fly it out to the states or is there a cave of wonders somewhere in England?
There is a cave of treasures somewhere but I made my brother memorise a location then swear a samurai blood oath to protect it forever.

o formato vinil como objecto de culto


12 discos (tamanho 12 polegadas) musicalmente brilhantes que se fazem acompanhar também de um suporte físico excepcional em termos de design gráfico. Quando estes dois factores se conjugam conseguimos entender melhor a razão pela qual o vinil ainda hoje se mantém com uma grande legião de consumidores fiéis que o consideram um objecto de culto tão interessante e espectacular.
*podem clicar na imagem e posteriormente expandi-la para verem em tamanho grande.

2005 - Alguns discos essenciais...

1. CARL CRAIG "darkness" (planet e)
2. QUIET VILLAGE "can't be beat" ( whatever we want)
3. DAVID ASTRI "dancing digits" (soft rocks)
4. SYCLOPS "the fly" (tirk)
5. DJ COLE MEDINA "1.5 upgrade" (house arrest)
6. JAMES DUNCAN "night tracks" (le systeme)
7. LINDSTROM & PRINS THOMAS "further into the future" (feedelity)
8. TODD TERJE "eurodans" (full pupp)

OUTRA VEZ DANCIN' DAYS


As marcantes sessões Dancin' Days (e não Dancing Days como anuncia o flyer do Trintaeum...) voltam ao Trintaeum para um "one-off" natalício.
Esta noite que, durante cerca de 5 anos, celebrou a influência do Disco na actual música de dança( seja qual for a sua linguagem...), desvendando um imenso número de temas obscuros e intemporais que soam hoje tão surpreendentes como na altura em que foram editados, alimentando as mais esclarecidas pistas de dança de Nova Iorque na viragem dos setenta para os oitenta, e estando na génese da revolução House operada em Chicago, parece ser hoje mais pertinente do que nunca.
Nesta edição de natal de Dancin' Days, que decorreu na sexta-23, o passado, presente e futuro desfilaram numa excursão pelas diversas expressões que o Disco tem assumido, e que faz dele, hoje mais do que nunca, uma das forças motrizes da mais moderna música de dança.
Só quem não lá esteve é que ficou a perder...

***10 DANCE CLASSICS*** 1980-1990


LIME "on the grid" dub version (prism) 1983
MARRS "pump up the volume" (virgin) 1987
LIQUID LIQUID "optimo" (99 records) 1983
MIDWAY "set it out" funky breakdown mix (personal records) 1984
CABARET VOLTAIRE "don´t argue" adrian sherwood´s dance mix (parlophone) 1987
MY MINE "hypnotic tango" instrumental (ariola) 1983
TONEY LEE "reach up" dub mix (radar) 1982
KC FLIGHT "let´s get jazzy" dope dub (rca) 1989
SINNAMON "thanks to you" instrumental" (becket records) 1982
NITZER EBB "shame" mix one by daniel miller (mute) 1989

Casa de Chá da Boa-Nova


Projectada em 1963 pelo arquitecto portuense Álvaro Siza Vieira, esta obra-prima da arquitectura é aplaudida em todo o mundo pela crítica mais exigente. Uma pequena pérola situada mesmo aqui ao lado e que não devem deixar de visitar...
*fotos por PMC

::::::: COSMIC DISCO :::::::


se a música se visse, imagino qualquer coisa como isto... ;)

LUCHINO VISCONTI





LUCHINO VISCONTI (1906-1976), cineasta italiano que foi um dos grandes representantes do neo-realismo no cinema europeu do pós-guerra. Deixou um espólio de 20 obras primas editadas. Um luxo...
mais informação em : emmanuel.denis.free.fr/visconti.html

2005 - alguns álbuns essenciais...



  1. PRIMA NORSK 3 "the space disco edition! (beat service)
  2. UNCLASSICS "obscure electronic funk & disco 1978-1985 (environ)
  3. LCD SOUNDSYSTEM "lcd soundsystem" (dfa)
  4. OUT HUD "let us never speak of it again" (kranky)
  5. ACID can you jack? "chicago acid and experimental house 1985-1995 (souljazz)
  6. ISOLEE "we are monster" (playhouse)