UK Hardcore of the 90's in my opinion is the best dance music ever created and massively under appreciated by the general public.

People bang on about the 60's and 70's (The Beatles, The Rolling Stones etc) but most people willingly ignore the rave era - saying that it was just for 'drugged up kids' - like everybody at Woodstock was over 40 drinking tea and eating cucumber sandwiches?

Let's give the music of that era the respect it deserves - it was massively euphoric, energetic, hugely innovative and all done by a bloke in his bedroom for him and his mates at raves - essentially music by ravers for the ravers! 

It wasn't done by corporations trying to manufacture a 'brand' to make as much money as possible out of endlessly recycled lyrics and themes.

UK rave music of the 90's had never been done before or since - it was a brief incandescent flash of creative brilliance - a truly remarkable period in dance music history, which spawned various off shoots of music still around today in various guises. 

There is something in rave music for everyone, something in there that we can all relate to. Don't just narrow your scope to the Happier side, or the Darkside - take it all in for all its glory and enjoy the lot.

That's the reason why I love it - and will continue to love it until the day I die.

-------------------------------------------

At a rave, the mixing style was not about seamless blending and building a 'mood' throughout a set, rather playing the best tunes you could, chop tunes in and out, and generally be a bit excitable on the decks. 

A good rave was more like a concert than a club. 

Think of it this way - if you're off to Glastonbury or Download Festival - do you want the bands to stand still and play songs one after the other exactly like they did on their album, or, do you want them to pick their best tunes, jump around scream/shout and be complete loons?

At most raves the DJ's had an hour slot, so fannying about building a 'mood' for 3 hours only to start playing some proper tunes later on - doesn't really work.

However, contrary to popular belief, ravers don't just want to hear the same 10 tunes played over endlessly. I think that some DJ's get a bit scared of playing less well known tunes for fear of emptying the dance floor - which is nonsense as some of the lesser known tunes are better than the bangers!

-------------------------------------------

I'm not a Pro-DJ (I don't think I'm good enough) playing around in the comfort of my own home and posting things here is about as brave as I get - I respect anyone who gets on stage to play in front of hundreds/thousands of people, digital or otherwise.

All the mixes on here are strictly Vinyl business only - no laptop help.
(I do have Traktor and a handful of digital tunes, but I barely use it. The look, smell & feel of real Vinyl is just ingrained in me - no hate against digital DJ's - it's just that my era of music was all vinyl, going out and hearing a DJ spin plastic with all it's frailties and mistakes is just what I'm used to. I still have CD's, and digital downloaded music - but the stuff I play is Vinyl ).

Anyway, I'm rambling on...get stuck in to the tracks posted here - listen to, and experience, what I was able to experience with hundreds/thousands of others in a hot smokey warehouse, dripping with sweat for hour after hour - but loving every second of it!

:-D
-------------------------------------------
Oohh, I must state that my current collection only stems from about '93 onwards, my '90 to '92 collection is woeful, but by the gads, there are some wicked top tunes from that period as well.

7 years in Jail: No Shit: 7 Years. Best fertilizer for a writer I suppose; No, I wasn't wearing the stripes, though I could admit that I pulled the same crap in my 20's.    No, my uniform was black and grey, with jingling keys and silver badges. "Counselor Ringrose," Academy Certfied. Still, to those incarcerated I was only a minor Sum'Bitch. Mainly since I was a Teacher: Addiction/Recovery classes; Their naked honesty about the glamor of their addiction "baited and switched" into pure agony led directly to "Locked in Lonely."  I'm, at heart, a Singer-Songwriter, and occasional Actor at Virginia's Official State Theatre, The Barter. 

1. Locked in Lonely. Addiction, pure and simple; unbelievably sexy and glamorous at first; pain and misery follow. Details already covered in the intro up above. 

2. Daffodils. Cheatin' songs drive me crazy, but as a songwriter you have to try your hand at them. Female or Male, I wrote the song from the cheater's point of view, running frenzied towards an inevitable implosion. Someone told me that Daffodils have a very short blooming season after all that time sleeping in the ground. Just a brief, ferocious explosion of color; I thought it would be a cool image for anger. 

3. Sunday Morning Silences. If you're married, or ever had words with your sweetheart on Saturday night that you've regretted, then you know what this song's all about. HATE having to get truly autobiographical; at least in this case, it rhymed.

4. Up, Down, and Crazy. Hey, be honest all you gigging musicians, you've made a FORTUNE singing Jimmy Buffet's songs for years. Here's my contribution to the Jimmy Buffet/Jerry Jeff Style. I love deep poetry, Dylan, and Cohen. Admit it though, you WISH you an uncle like Jimmy when the time comes to have a little fun. 

5. I'm Still Here. A happy song; boy gets the girl; there is an pretty cool twist however: inspired by a little story in the lunch room once. Someone told me how her Step Dad, who was widowed, met up with his High School Sweetheart, who was a widower. They got together. Pretty Cool.

6. Laura. I love women's names. We have a fabulous niece in Dublin named Laura and many, many years ago I just started singing that name along to a work in progress I had; guess it's a sort of Van the Man, Rod Stewart, Clapton-esque song. My attempt at writing a fun Rock Ballad, that's all.

7. BEST I EVER HAD   This is a new, basic demo of the first song I ever wrote that I'd actually sing in public. Wrote it more than 20 years ago. Needed a clean modern demo of it since my voice has thickened up since the 90's. I think it's just a simple and very honest song. We mature when we finally realize it really does take two to tango. This latest version has a bridge added due to many notes from A&R pros who were kind enough to give detailed "notes" similar to a director or Stage Manager. 

8. Pockets of Gold.  Begun in the late 90's and finished shortly after 9/11. Had hope at first that Cheney/Bush mighn't create the total fucking disaster they did. Soon had hopes dashed. 

9. Melted in the Moonlight. Submission for a TV drama wanting a Melancholy folk Song a la 60's Ballad. Definitely channeling Simon & Garfunkel and Edgar Alan Poe. Found out from Music Supervisor directly that they loved the tone and feel, but these lyrics wouldn't work for the scene. I had written thinking it might be for something like Longmire. Later thought, "O Crap, what if it was for Dr. Who?"

10. One Hello Away. Shameless attempt to sell out to the phone company! Again, a solicited pitch to a music supervisor for a communications company's national ad campaign. 

11. Only Beautiful, Only Love: Thinking about the fact that as my kid grows older, so do I. I won't be here forever. All I'll leave behind of any worth will be her acting like a loving, decent person. 
LOTS MORE SONGS COMING
C Vinny Ringrose 2014, 2015 Goldbriar Music, BMI All Rights Resv'd

Award winning blues duo WILDSANG is a trip back in time from today to the early years of blues, folk & murder ballads. Soaring harp, jagged slide guitar & scorching vocals. It’s real emotion, full of all the sweat, grit, desperation, truth, love & sacrifice you can squeeze out of country blues. Bessie Smith & Big Mama Thornton would be proud. WILDSANG'S steamy-best gigs are often in tiny clubs, too obscure to crow about, but we always keeps a foot in the door and we'll see you there.

WILDSANG AWARDS : 
Pasatiempo's - Best New Mexico Album - SKY DIRT SPEAK OUT TRUTH -2003.
WILDSANG : finalist in the Independent Music Awards - JOSIE - Best Blues song - 2005.

WILDSANG has shared the stage with Taj Mahal, Ani DiFranco, Corey Harris, Gov't Mule, Copper Wimmin, Carolyn Brandy, Ulali, Gwen Avery, Nedra Johnson, Kitty Rose, Ramblin' Jack Elliott, Iris Dement, Eliza Gylkison, Sophie B. Hawkins, Chris Williamson, Hot Buttered Rum String Band, Buffy Saint Marie, Arlo Guthrie, Rick Danko of The Band, Steady Rollin' Bob Margolin, Tony Furtado & The American Gypsies, Henry Butler, John McEuen of Nitty Gritty Dirt Band, Pete Seeger, Janis Ian, Toshi Regan, and Judy Mowatt of the I-Threes.

groove, dub, dark, raw, and hypnotic techno played with passion and sincerity (always live)—this music saved my life, lose yourself, even if only for a while. 

“there is much pain in the world, but not in this room.”

local scene: Washington, D.C. (🇺🇸)

@eric_bidegain
ericbidegain@gmail.com

Aeroplane Pageant is not a pop band all the time.

But after fourteen months in a studio that sits directly under the rattle of the Wantagh train station and following fifteen years of brutal friendship, Aeroplane Pageant now introduces its latest effort: FLOAT ABOVE THE YARD (LP3).

And so in this ‘yard,’ or better yet on this genre-less album, you might ‘float above’ an impressionistic landscape dappled with some wolves, some apples, a crowd that gathers and then cheers on a horse, a family being pushed off a house, a few birds and flowers, some black flowers, a lovely garden, some teeth , a hundred or more ghosts, and always a TV, always a billboard, a big moon, a few cities, some cake that’s been left on the floor, and of course the compulsory ‘confessing young bear,’ a bit of blood, some of it fake, a rope hanging by a tree…

…as these songs are often dark and quirky and intimate narratives where a blend of real and imaginary ‘desperate characters,’ beg to love, to be loved, and to make sense of things, “as time, it burns us thin,” and loss, death, and confusion undo youthful expectations. And this idea of struggle and disillusionment is never more obvious than midway through the album on, We Were Once a Boy, when singer/songwriter Brian Kelly proclaims over cut-up horns, primordial drums, and panicky guitars, “Now we’re hanging by a rope on a tree in our front yard…and this kind of heaven isn’t what we’d said it be.

So how does one recover in the face of disappointment? How to begin again? “To see again with plain eyes, to be again this time and not pretend I’m alive…and we didn’t dream enough in this house!” shouts the band in harmony during the minimalist and electronic, Brief Confessions of a Young Bear, a buoyant track held together by jittery percussion and a zigzagging bass line. And this “we” sentiment of starting again together, of understanding, overcoming, and rising above the bleaker moments echoes throughout here, as the songs and music urge us to observe and celebrate, and to listen to each other, and to consider hope and the human imagination first, even as we grow and sheer apart, “Part of you has drifted/Like a voice that breaks with distance/ And I hate that I’ll admit it/So I came here to listen/ I came here for you,” we hear on the cinematic orchestral number Desperate Characters. And then the hushed playful exit, when light breaks for a moment, a sense of release or acceptance on the album’s closing track, Hello Radio; it’s a blurry-ballad that fights and breathes through shards of noise, as children laugh in the backdrop, when Kelly gently asks of someone or everyone, “I want you to be good to yourself, good to you and everyone else.”

…and yet this album, according to Kelly, “is a hyperrealistic paean to the suburbs—where the events within could happen in anyone’s backyard,” in repeating landscapes, houses stacked on top of each other, amid the drone and anxiety of shopping mall America, amid the comforts of television and self-imposed alienation—all deliberately infused with sharp juxtapositions of image and sound, at once insular and celebratory, bright and dark, abstract and material, noisy and melodic, repetitious and formless, organic and electronic.

This brace of songs is most often motivated by the sensibilities of the early dark folk idiom, the earthy confusion of psych-pop, the exploratory provocations of bands like the Velvet Underground, Guided by Voices, and the Flaming Lips. “It’s the sheer excitation of the imagination. It’s trying to make things happen. And this time we wanted to combine literary-minded content with some of the latest experimental production techniques. Our idea was if we can hear or visualize the sound in our heads then let’s figure out a way to build it,” says Brian Kelly.

The making of this album is an over-dramatic love-story. It’s a story suffered by a collection of best friends, all of whom have known each other since the earliest days of high school—as they now plug away at their perfunctory day-jobs as writing instructors, journalists, mailmen, parks department employees and tech-managers, and unemployed US citizens— developed in a concerted fanaticism with sound, with creating sounds, with constructing ideas and tying songs together, “We really wanted to blur the content of these songs so it’d be difficult to distinguish between what’s real and what’s fake…we wanted to disrupt the illusion or the expectation of what traditionally makes up ‘the song,’” offers bassist Tim Watson. Drummer Mike DeLorenzo elaborates on this idea, by stating, “The ideas we’d established from the get-go were something we’d all felt closely mirrored our own little realities—constantly in flux and discontinuous, almost schizophrenic, and never quite real, perhaps sometimes too real.”

And so in comes 2-time Grammy Winning Mixer “Bassy” Bob Brockman to materialize Aeroplane Pageant’s “little realities.” Through a mutual contact at Technicolor Studios—the studio that produced the brand new AP video (written/directed by Brian Kelly) for “Help Me Shoot This Apple off My Head”—Brian Kelly happened to hook up and interview Brockman for a MEDIA Magazine article he was writing on the plight of the music industry. Somewhere along their discussions Brian emailed Brockman some new material AP was working on, and shortly thereafter Brockman came down to see AP live, “It was just the right blend of weird and pop…and it’s refreshing to see a band play their instruments, not just their computers, and make songs that aren’t so ‘detached and cool’…there’s a vulnerability and warmness that’s especially inviting in this digital age,” says Brockman of Aeroplane Pageant’s sound.

And of course these warm feelings were immediately reciprocated, as the band was now fixed on collaborating with an expert like Brockman, resulting in “some bigger and lower end sounds for this record,” says, multi-instrumentalist Chris Aguis, “something that Brockman is well-known for producing.” “We saw it as an opportunity for the band to generate this odd-Frankenstein by bringing Bob’s distinct R&B, pop, and hip-hop influences in conjunction with some of our fringier tastes,” explains lead guitarist/multi-instrumentalist Michael Areephituk.

And sure some of the sounds on FLOAT ABOVE THE YARD are small, and some are just grotesquely big, others are looped or stretched and frequently destroyed, and then sometimes unnecessarily put back together. But nevertheless Aeroplane Pageant produced all of these sounds, Grammy Award Winning mixer “Bassy” Bob Brockman (Notorious BIG, Debbie Gibson, Bob Dylan) mixed it all, and Joe Lambert (Deerhunter, the National, Animal Collective) mastered them. And so with the completion of their third full-length album, this collection of childhood friends is simply thrilled to be making sounds and songs, and ultimately “making things happen!”

Marco (RAW), born in Norway, but from the Cape Verde Islands located in West Africa, is a Man of GOD. His contributions were born out of a childhood marked by harassment and discrimination. As a child his identity as a born fighter, was indelibly imprinted upon his character. As the young Marco Mota Da Veiga matured he would tirelessly fight for the rights of his friends and family against the forces of hate and intolerance. Like the young Lion RAW would evolve into the leader, warrior and revolutionary he was born to be. In his youth Marco marched through mental hell, but as he would remark later “Thanks to GOD, who carried me through with HIS ARM - I prevailed". 


Marco a.k.a. RAW is a Man of Love with the high morality, ethical certainty and universal life values that mark his revolutionary mind and the very Spiritual aspects of his life and nature - Indeed this makes him a very special person in a time of moral change and cultural upheaval. In a time of misunderstood and frequently failed attempts to justify a multi-cultural society, tilted unfairly against the poor and disenfranchised of said society, RAW shows himself to be a very serious man as he takes the sorrow and pain of the oppressed and transforms them through prism of his creative mind, into a war cry for equal rights, justice and freedom for all. 


RAW is indeed a Man of GOD 


Thru his personal muses of Father Bernardino Da Veiga, Bob Marley and the immortal Jesus Christ, not to mention 2Pac among others... RAW began his movement by founding his own organization "Youth United" after a brief apprenticeship in African Youth in Norway. Mr. Marco Mota Da Veiga has been quoted as saying in reference to "Youth United" Youth United is the future". RAW is still a man and lives in the world of men and unfortunately even for the gifted, things end. After a valiant effort, the survival of Youth United could not be included in the coming maturation of Mr. Marco Mota Da Veiga and sadly was laid to rest with the sorrow and anguish. Fortunately the demise of Youth United was the resurrection of RAW's true calling - his musical vision.


At the age 15 RAW began to communicate his message through the medium of rap and freestyle lyricism. RAW, in the rougher sections of the city of Oslo, honed and perfected his Kraft. By the age of 17, RAWs blessing and multitude of talent where to large developed to ignore. His observations of world stresses and problems reflected in and on the streets of Oslo Norway, combined with his other world wide travels, and at this impressionable age fostered his commitment and love of the "mission" as he himself terms it. 

His "mission" began as a member of the group “Black Fist" 1999-2000. Unfortunately they were not the correct vehicle for his message, so in 2001-2002 he formed his own group, "Abidas Tribe" but again the correct medium of expression was lacking and it was time again to search for the correct path. 


RAW continued from these unsuccessful attempts to communicate his fight for righteousness and good, into a "Lone Rider". 
Alone with his message, RAW had only his natural family to draw substance from and in the great loneliness and isolation that prophets are born of, RAW has kept the faith hope and love that fuels his creativity. His GOD given talent, his one true source of substance, has never failed. 
All the intense spiritual trials that have appeared have also been vanquished so that his goal, dreams and destination may be achieved in our lifetime. 


Finally in 2002, recognition - The MC's fight night freestyle battling and press recognition, more development and in September 2005 RAW released his first single and music video, entitled - GOD. In 2008 the music video O.D. 98 a collaboration with the Moroccan "IDOL" winner Mona Roukachi. This very successful video was showcased on MTV, The Voice TV and other video outlets in addition as part of a CD compilation released in New York City, New York USA - "Let Me Be Heard".


<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p>&nbsp;</o:p>

Songwriter/Musician/Vocalist/Multi-Instrumentalist/Recording and Mastering Engineer/Arranger/Producer/Worship Leader and Minister

This is a catalog of my original songs, some secular 1970-1981 and the rest Christian worship and special music. 

I just wanted to get these songs out and have a platform and resource to direct listeners to and also to archive my past works.

I've been a professional music since 1970 and played in a couple secular groups, The Marlay Brother's Band, Montanna, and Blue Magnum. In 1981, Taos, NM, I gave my heart and life to the Lord and have been leading worship and even served as Associate Pastor. My life and music is now dedicated to honor and glorify the Lord and to bless and minister to the body of Christ.

I am not ashamed of the Gospel of Christ, the Lord, His Holy Spirit, His Word and hope it all reflects in the content of my Christian material. My older and secular songs are just for archiving and I have even rewritten some of them into Christian songs. I consider it an honor and a privilege to share this music with you and hope that it ministers grace to the hearer.

My older songs serve only to show where I was, where I came from and what the Lord has done in me and brought me to. Everyone past, I accept and embrace the fact that i was a sinner and I have been saved by grace through Jesus Christ. I have been redeemed by the blood of the Lamb and rejoice that my name is now written in the "Lamb's Book of Life". To God be the glory forever and ever!

Off The Beat Podcast, featuring public safety expert DJ Seals, explores the challenges and changes facing the law enforcement industry. Hear DJ’s unique and experienced perspective covering topics from command center best-practices and current events, to important legislation and community engagement techniques. DJ has earned a wide range of policing knowledge and hopes this platform can help to educate and extend the conversation for all agencies. Stay diligent. Stay educated. Stay safe.

DJ SEALS:
Daniel Seals began his law enforcement career with the Covington Police Department in Covington, Ga., a suburb of metro Atlanta. In less than two years, he was promoted to the Criminal Investigations Division where he was in charge of investigating major felonies to include Murder, Rape, Armed Robbery, Child Pornography, Copper Theft, Identity Theft and Embezzlement in the millions of dollars. Many of his cases have led to other states and foreign countries where he worked with various state and federal law enforcement agencies to apprehend the suspects. Detective Seals has amassed nearly 2000 hours of POST training and is a master of interview/interrogation techniques, a certified Computer Voice Stress Examiner, and a certified Crime Scene Tech as well as serving as point man/entry leader on the Newton County/Covington SWAT team for nearly 10 years.
In 2009, he was tasked to create an Intelligence Division and to direct the entire department toward the Intelligence Led Policing Model of law enforcement. Detective Seals became a graduate of the Alpha Group (a world leader in Intelligence Officer training), set up a secure intelligence database using, among other tools, the Public Engines software suite, including CrimeReports, CommandCentral and TipSoft. Since the inception of that unit, he has received hundreds of training hours with regard to Intelligence, including Intelligence Analysis, Criminal Investigative Analysis, Intelligence Gathering, Terrorism, Security and Integrity, Human Trafficking and Gang Investigations. His intelligence division became a model in the State of Georgia, with agencies from within Georgia, as well as from neighboring states, coming to him for direction for their department. In 2010, Detective Seals was appointed to the Georgia Crime Information Center board as the only Intelligence Officer to ever do so. In 2013, Detective Seals joined Public Engines full time as the Director of Public Safety and Strategy. Seals worked directly with law enforcement agencies across the globe to ensure they have the best tools and training to most effectively utilize the Public Engines product suite. He was also integral in implementing tools such as; Intelligence Sharing and Predictive Technologies.
In 2015, PublicEngines was purchased by Motorola and Seals was named as a Motorola Industry Specialist, where he now leads their Professional Services Division. Seals has trained over 2000 law enforcement officers in nearly all 50 US states and 8 countries. Seals has taught classes on: Gang Investigations, Intelligence Sharing, Social Media Investigations, Child Pornography/Human Trafficking, Intelligence-Led Policing and Predictive Technologies. He has trained on various topics such as; Intelligence Led Policing, Social Media Investigations, and Predictive Policing methodologies. He has been a featured speaker for many organizations including; The Georgia State Intelligence Network, the International Association of Crime Analysts, the FBI National Academy Continuing Education Division, International Association of Chiefs of Police, the 19th Annual Violent Gang Information Sharing Conference in New York, NASA Langley, the Pentagon, the Canadian Association of Chiefs of Police, the Association of Caribbean Commissioners of Police, and the National Organization of Black Law Enforcement Executives.

The name is stupid. That much is clear to me. 

Everyone who claims to be an artist has some sort of vision for their music, film, drawings - and it's often in the realm of love, trust, relationships, hate, betrayal, sex, rebirth, struggle, etc. What I like about this project (more to come, that I can promise!) is that I can use basic software to create brief jaunts through space and forget about the fact that, oh I work a 9 to 5, I have this and that to worry about, etc. 

The name itself can be interpreted only a few ways really. I like that it sounds silly and unsettling at the same time. If you picture extraterrestrials marching in unison, maybe they look like cartoons, oversized hands and eyes with silver suits. But what if you envision an army of unknown sentient beings, with unknown intentions and origins, marching their way to our planet? What if they aren't so cuddly and disney-esque? 

The best part is, we still don't know, and until then - we have our imaginations to fill in the puzzle. 

Micheal Chadwick is following