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Pusha T - Lambo Angel Haze - Werkin Girls Drake - Miss Me Kendrick Lamar - Backseat Freestyle Young Money - Roger That Los - Whoopin Ass DJ Drama - Clouds David Banner - Get Like Me Skeme - Comin 4 Da Money Young Jeezy - RIP Tyga - Dope David Banner - Fly John Hart - Who Booty Miguel - Adorn Furious - Run YG - Like This DJ Maaleek - Strip Busta Rhymes - Grind Real Slow Drake - The Motto Trey Songz - Check Me Out Wiz Khalifa - Bout Me Love Rance - Up! Dj Nyce PM - 10 February, this dude.

But do you guys mind me sharing my free edits here? I pull 'em off Soundcloud if DJCity picks up the edit s. Plus it's not a bad track. I mixed this in with Big Sean's verse from Mercy during peak hours and got a good response from the crowd. What's with this guy?!

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Goodkat PM - 16 February, Quote:. Elab AM - 17 February, Quote:. John Michael - Sophisticated lady Smooth, steppers type vibe. There was a Twitter beef between her, Baauer, Brillz and some other producers over that song and some other shit. Wise 1 PM - 20 February, Quote:. I can only sneak one or two in my sets with urban crowds. Smyth ft. Young Jeezy - My cabana.

Miguel - Adore still goes - hell I can play that at my resident into Big Poppa and keep that grown and sexy vibe up for a grip. Anyone using that Rihanna - Pour it Up? It isn't big enough for much of a reaction for my crowd yet - but I rarely get lower than Its pretty much so I'm all over the place ha. Juicy J ft the weekend one of those nights. Driver PM - 28 February, Quote:. Goodkat PM - 28 February, everything future does. Yo Heatwolves! Freaks probably transitioned into dancehall mad smooth because it actually is built from two dancehall classics, two wack rappers and too many claps.

If you don't know the original songs you really should utilize Google's search function more :. I stopped messing with it - they might just stay late on it. After that, you'll probably get booed for dropping it. I tried it again this past Friday with an all urban crowd and it failed miserably. I had "Mercy" queued up just in case of failure. I think I'd play it at the very end to be safe, instead of prime time, unless I was just feelin myself too much naw da real hood crowds could care less bout dat song..

Driver AM - 4 March, for sho. I think it's passed its peak. Driver PM - 4 March, its done by the end of march. Happy to report, however, that Future - Karate Chop and Bugatti still both killing it right now. Leggo with 2 Chainz got a good reception at the "building" part of the night, around pm. Hot track. Porter" Should be some gems on there. Didn't even get past track 2 "Goin Deep" Ima run that at my weekly Thursday gig. They should eat it up! I think it might get big and go right next to "Poetic justice" and be a "Motivation "type of track for the end of the night. Tishica14 PM - 8 March, Quote:.

The Too Short sample alone gets the crowd goin in L. Driver AM - 16 March, songs hot bro. It kind of got irritating to me though because that song seemed to lack a hook for me to transition out of. Driver AM - 18 March, Quote:. Christophorous PM - 18 March, Can anybody put a track list of some ratchet music; that's what they call it in L.

A lol. If you don't like it, she has like 5 albums you can always fall back on. Driver AM - 20 March, Quote:. Nice stuff. It's catchy but one of those rachet songs. Can actually drop a decent set of new shit and not be stuck at 67bpms. Driver PM - 20 March, yup was just about to chime in on rap tracks at Or thats what I always called it not quite miami bass Driver PM - 20 March, um there is that pure "tootsie roll" song.

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Driver PM - 20 March, Quote:. Oh you want Chief Kieff sure you can get chief kieff plus a hundred lashing of synthesized laser sounding electro elements mashed all over that shit to drown out the shit lyrics and over simplified beat. Goodkat PM - 21 March, ugh. Elab PM - 22 March, 2 piece - ying yang after party -dorrough change up- iamsu ft problem got a good reaction on all 3 even bitch dont kill my vibe jay remix. Elab PM - 22 March, in about 6 to 7 hr I am about to play BEAT IT sean kingston ft chris brown its a ladys night so I am hoping to get good reaction i dont know if any body has try this song yet.

Driver AM - 23 March, um Elab PM - 23 March, Quote:. Elab PM - 23 March, me personally i dont think romance will do any thing i only play because its a lady like song but people was singing along the hook like they know the song. Definitely cutting his verse out next time! Dj Nyce AM - 25 March, i don't know what can be done with this song, but i like it.

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Mannie Fresh. I've gotten good response here in san diego Watch www. Elab PM - 25 March, freaks- mohombi remix good reaction and papoose- top of my game ft movado. Anyone play that new RIP remix with kendrick lamar? Pour it Up? Played RIP remix this weekend but mixed it with 2 Chainz verse on original when I saw nobody knew the remix And we hardly see any of those remixes anymore. Goodkat AM - 2 April, Quote:. Will PM - 2 April, I saw a interview with just blaze about the new age "remix" and he said that remixes now keep the same beat because on the radio and charts the original and the remix are recognized as the same song through nielson.

Sad thing it is. I enjoy hearing the latest remixes on mixshow's but as far as playing them out, I've had little success. I use them sparingly though throughout my sets. Will PM - 2 April, Its crazy the shift things have taken in the span of a little over 10 years. Technology you crazy. But for real, that's the only jiggy song on the album. The album is IMO the best hiphop album I've heard in the last 5 years, maybe even 10 And his album before that is dope too Check the.

Track "b-boy" Now that 2 companies liscensed "Cant hold us" expect requests to start for that one It has almost a southern revival feel, excellent song. But none of the other songs on the album will ever be club-ready on this album. Goodkat PM - 2 April, Quote:. Dope Remix with biggie, extra dope with a different arrangement New producers should take note Rather than 6 rappers that want to cash in on hot record ie all I do is win. Driver AM - 3 April, Quote:. It took me back to puff daddy's "this Seems to be one of the few newer tracks that I actually like, no one really vibes with it here yet though.

Momentus AM - 4 April, Haha, you're the man. Mmm people aren't too familiar with it here yet New Zealand. Joshua Carl AM - 4 April, I had it on my show last week, a few peeps with some good feedback, bombed in the club though Give it a week b4 it's on the radio every 2 mins. AustinG PM - 4 April, R-Tistic, would u do us the pleasure of a quick re-cap of the last month or two bangers I see a lot of tracks mentioned here but I also feel like I miss a lot..

We need an update to your original post tracklist! Future you been warned. Goodkat PM - 5 April, whats up with tyga doing all thes 90s songs, now hes doing degrees i know it was degrees with lil wayne??

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Driver PM - 5 April, going to bust "beat to shit" by gunplay and lil wayne and maybe throw a trap song after. It is kinda weird at end when she gets freaky with Wayne - ewwww. I'd gladly play sensical tunes like that in a club. I was told to stay away from franchise? Dj Shamann PM - 9 April, LOL it's not exactly the height of musical genius, but I hope this blows up just for the sheer hilarity of it all youtu. Just the 20 to restart. Maybe the back fees are contingent upon a certain period of time.

Doesn't add much, not as bangin as I want it to be. Gonna be big in the Bay Area, dude is from the bay. Adrian Marcel - I'm still www. It also sounds like it directed at a certain demographic Dj Nyce PM - 13 April, tank ft. Will PM - 13 April, Quote:. Bruno Mars, Tyga and Mystic. That might be his next hit. I noticed ALL of his songs sound dark, though. Still the L. GIrls Love Beyonce- Drake can blow up.

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If you're going to play new songs like Nobody's Business and Fine China, you have to get into these bpms a bpm wasteland and the only club pleasers I have in this range are primarily old school tracks like MJ's Billie Jean or Prince's Kiss. Pendleton's voice lends Vibrolux's guitar pop the sort of moody dexterity that elevates its potentially listless moments to a more alluring level. It's that transforming and transfixing talent that allows Pendleton to tackle David Bowie's "Win" and turn it into the sort of swoon that sounds like it was made especially for her.

As less-enchanting female vocalists see Tori Amos caterwaul themselves to commercial and critical successes, it's easy to understand why Vibrolux's devoted fans hope the band keeps reaching for more. So while Pendleton's third best female vocalist award may seem a meager honor, we know it's the least she deserves. So what does a producer actually do? Well, he presses the record button, turns knobs, slides switches, checks microphones and combines individual tracks to piece together the songs and tracks.

That's the technical version. We hear the work of producers every day on radio programs, albums, TV shows, movies and commercials. So what makes Matt Pence a better producer than the other four men nominated? Chances are, unless you have first-hand experience in a recording studio, the answer probably is "his name's on good stuff" or "he makes bands sound good. But there's more to producing than just twiddling with expensive audio equipment.

There's magic. No, really, we're sure of it. Just spin any Centro-matic disc and hear the many different things a producer can do. There's "the band's live in my living room" sound. And there's the "Help! Will Johnson's trapped at the bottom of a well" sound. We're sure Pence has more technical terms for these qualities. Either way, a producer is probably doing best when you don't notice him.

Then no one's thinking, "What the hell happened to [insert band name here]? They sounded so much better live. Don't expect him to stop now. They're currently renovating the studio, adding a new control room, live room, isolation booth and lounge. And once they finish the construction in May or June, they'll have even less free time than before. Don't be surprised if all three find themselves nominated again next year. There are bands you want to listen to, bands you want to hang out with, bands you want to make part of, well, the soundtrack of your life.

And then there are bands you just want to be in. You see them onstage, plugged in and jacked up, and you wonder what it must be like to have that much fun, to wear that stupid-goofy-giddy grin, to hit that note on the keyboards, to jump that high with a guitar strapped around a gangly frame, to make that sound that lingers into the rest of the night and maybe even the next morning or the next week.

There's not a drop of cynicism or irony spilled on the stage, no sound made between quotation marks. But who has time for smirks when everyone in front of you--the audience, your fanatical fans who love you so much they're willing to jump up and down and bob their heads like broken spring-loaded dolls and look so effin' silly in the process--sports only satisfied smiles?

I want to be in Chomsky, just because I want to know how it feels to have that much fun making music with the new new-wave. Full disclosure: I also want to be in Britney Spears, just because I want to know how it feels. I'd never felt that way till hearing the band at South by Southwest last month, as they popped and rocked on a Sixth Street stage so tiny it barely held five grains of sand, much less five full-grown men and their instruments. How guitarist-singer Glen Reynolds found room to pogo and windmill twixt frontin' frontman Sean Halleck and keyb dweeb Don Cento is a subject currently under investigation by physicists and mathematicians.

Rare is the SXSW shindig full of audience members digging the tunes--usually, it's three out-of-town rock critics, two label lackeys trying to run up the expense account and a bunch of other jive bastards talking louder than the band's playing--but the kids were out in force that night, singing along to songs they'd never even heard before. A good chunk of the set consisted of selections from the band's forthcoming Onward Quirky Soldiers , to be released at an unspecified time by an as-yet-unspecified label; it's yours for the asking, if you've got enough money in the bank to cover expenses for travel, and just think of the coin you'll pocket when some label comes sniffing around trying to lure Chomsky to the Promised Land of Signanddrop.

It was that kind of night, one of those times when you realize how lucky you are to live in a town where this kind of thing is available on a weekly basis; I'd see Chomsky every night. If they came to my house. Upon its release in , it was easy to think of the band's debut A Few Possible Selections for the Soundtrack of Your Life as retrofitted new-wave--nostalgia-rock for the under crowd that misses the glory days of drinking Blue Nun in the Video Bar parking lot. But listen after listen it's the disc that keeps on giving reveals a big, beating heart among big, beating other things--like Halleck's "gun" beneath the sun-drenched surface; it's the Cars without the sneer, Devo without the sarcasm, XTC without the stage fright.

But what I've heard of the new album including the moody, mellow "Gravitate" suggests a band that's become its own best influence. And that town. And that town over there. On the back cover of her second album, Mama's Gun , which was released late last year, Erykah Badu asks "What's yo izm? She's baiting us, of course: Badu received a mountain of flak for calling her debut Baduizm , as if the blatant name-branding was a self-aggrandizing stroke of calculated marketing zeal which it was and not a reflection of the artist's indefatigable sense of personal definition which it really was.

With Mama's Gun , the question is a double entendre: "Y'all believe me yet? We should. Over two studio albums and a smoldering live one, Badu's become Dallas' queen-bee soul sister, a woman as comfortable reeling off Billie Holiday vocal licks in a Top 40 hit about hippy-chick determination as she is singing her hazy, crazy breakup blues in the minute suite called "Green Eyes" that closes Mama's Gun.

Mad love to Ginuwine, but the dude's still riding the pony he came in on. Much longer and earthier and more embarrassing "With no bra my ninnies sag down low" than most anything released in our increasingly moment-driven "urban music" industry, it's the type of record artists either don't seem interested in making or aren't allowed to make anymore, subtle and organic and funny in ways that R. Kelly and Babyface and their ilk seem incapable of even understanding. That is, as always, the question. For Badu, like her co-visionary D'Angelo, the problem's as simple as the one she asks us: Would it be Badu-like to sing along to a tape?

Would it be Badu-like to not give these people more than my CD played really loudly? Would it be Badu-like to play the same set every night? So she worked up a show with a live band and everything and wowed 'em from here to both shining seas, every night singing her heart out and, at the appropriate moment during "Cleva," taking off her signature headwrap and showing off her bald-ass head.

Don't think Badu deserves this award? Come back next year when you're ready to believe. Release an ambitious pop album 's My ears are ringing but my heart's ok on Last Beat Records that's equal parts grand ideas and catchy hooks, infused with country rock and beautiful melodies and top-down drums.

Play infrequently, but complement the trio with musicians from several other bands on slide guitar, cello and such during those rare appearances. Release an even more ambitious album last spring's Last Beat-released LUXURY or whether it is better to be loved than feared , as idiosyncratic as it is brilliant, meaning both intelligent and radiant. Continue playing rarely. Since , when Chellew first talked Curtis and Garza into practicing some songs, Captain Audio has been based on the freedom to experiment and follow the musical impulse wherever it leads--from the Spanish lyrics and Vince Guaraldi-like piano opening on "Los Pedasos" to the variety-show theme song trombones on "Star," both of which show up on LUXURY.

Not long after the band formed, Garza told the Observer , "What makes it fun for all of us is there are no rules. If we want to do a good, catchy pop song, we do it. If we want to do a Pet Sounds , Beach Boys song, we do it. If we want to do [Pink] Floyd, we do it. Whatever we feel like doing, whereas maybe our other bands were like, 'Oh, we're space-rock' or, 'We're punk-rock. No one's gonna get uptight if it isn't pop or if it's too artsy. Who cares as long as we're having a good time? And I haven't had a good time in a band in a long while. Whatever it is, we hope Captain Audio keeps doing it, though it doesn't look like they'll be doing it anytime soon.

In the meantime, Chellew is recording a solo album for Last Beat under the name Chao, and Curtis and Garza have moved to Brooklyn and are working on other projects under The Secret Machines banner. All bets are off though on what new influences the three might bring to a new release. We'll be brushing up on our Latin and French just in case.

We are misunderstood. We are. No, this is not a retreat, a reversal of position, a contradiction. It is a clarification, something we've, I've, always believed, but possibly, probably, have never said or written. We, contrary to popular belief and most of the things we've written in these pages in the past, like the Reverend Horton Heat, or used to anyway. And most of you do, too--still do, in fact--based on the Rev's extermination of all comers with extreme prejudice. We were fans, close enough to have bassist Jimbo Wallace kick us in the face with a beach ball at a long-forgotten New Year's Eve show.

Long story. The Full Custom Gospel Sounds of It is one of those albums that managed the neat trick of being brand new and decades old, a disc that had something new to say and used familiar words to say it. It was Dallas music history, wrapped up in a dozen songs--from the Big "D" Jamboree to the Theater Gallery with not a single misstep along the way. Where did we lose Jim Heath? Was it when he made the honest mistake of thinking Al Jourgensen could produce anything other than an ounce of heroin at 4 a. When he hopped a trend and fell off?

Or was it, more likely, when powerhouse drummer Taz Bentley left the flock? Who knows or cares at this point. Fact is, we've gone into every record since Full Custom Gospel Sounds believing, knowing , Heath has another one in him, and we probably always will. More than a few of you, no doubt, are sure that Space Heater or Spend a Night in the box or It's Martini Time is that album, that the Rev the band and the man only gets better with age.

And since, with these awards, the fans and voters have the floor, we won't disagree. No matter what we think, what we believe, Heath has earned at least that much respect. We'll save our opinions for the next album. Maybe it'll have the full custom gospel sounds we've been waiting for. Sure, we could undertake the futile endeavor to school your sorry asses on the difference between reggae and dub, but that's a diatribe for a different day.

However you slice it, the now Fort Worth-Denton-Austin-based Sub Oslo is one of Texas' truly original acts and arguably one of the only projects of its kind on any side of the Atlantic. And slicing it is one thing Sub Oslo knows how to do. Sometime back in , this nine-piece--yes, onstage and behind the mixing boards there are nine motherfuckers constantly crafting and shifting and shaping the wall of percolating bass and rustling rhythms that wash over you at one of their shows--decided it had the audacity to create and play a style of Jamaican-born-and-bred music that was as synonymous with the island in the mids as rock steady was in the s and dancehall was by the s.

And they were going to do this in Texas. With local musicians. But before anybody had a chance to give these guys a clue, guitarist Frank Cervantez, drummer Quincy Holloway, sound mixer and engineer John Nuckels, percussionist Moses Mayo, multi-instrumentalist Alan Uribe, flute and percussionist Brandon Uribe, bassist Miguel Veliz, piano and synth man Ben Viguerie, and visual-mixer Paul Baker had gone off and perfected something that had as good a chance of thriving in North Texas soil as Washington, D.

But blossom Sub Oslo has, regularly filling large rooms when it hits Austin, turning new ears onto the seasoned sound every time it plays an epic set at a Denton house party, or just blowing whatever Brit's mind that gave the band's latest album, 's Songs in the Key of Dub , the sort of glowing review in The Wire that the esoteric magazine typically reserves for European free improv or whatever John McEntire or Jim O'Rourke has touched that month.

It's easy to see why. Sub Oslo's sound isn't the sort of neo-dub low-end theories peddled by Bill Laswell or African Head Charge, but it's also not a straight dub roots approach. The band's added a different sort of twist to the cut-and-paste rhythm-is-the-rebel pyrotechnics of King Tubby and takes a modestly more modern avenue to create the mood and message than old-school legends such as Jackie Mitto, Joe Gibbs, Augustus Pablo, Dennis Bovell and Yabby You and the Prophets.

Admittedly, hearing live dub in Dallas makes about as much sense as the Warren Commission's magic bullet, but at least when this shot hits its mark and takes the back of your head off, you get to go tell your friends about it. After a performance by Weener, we overheard an audience member say to one of the band members, "Dude, you rock. Do you have a CD out? After all, big fans--and Glen Reynolds, Ben Burt, Mark Hughes and Jason Weisenburg are such devoted Weezer fans that they spend their free time practicing, perfecting and performing songs written by another set of musicians--are also the most defensive.

And, in the eyes of a disciple, admitting ignorance is a sin worse than saying the band sucks.


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Instead, the incredulous musician responded with grace, directing the new fan toward Weezer's two albums, Weezer and Pinkerton. With an arsenal containing just those two full-lengths and a handful of B-sides, compilation contributions and covers Weener covers Weezer covering The Pixies' "Velouria" , it wasn't surprising when the members announced last year they'd no longer be getting their Rivers Cuomo on. However, last month, Weener reunited, with Hughes and Reynolds' newer cover band Bluh opening.

The announcement in Trees' ad of "The Return of Weener" overwhelmed bassist Hughes, who, in the interest of full disclosure, is a Dallas Observer listings editor and contributing writer. Who'd expect a bunch of local musicians covering a band with a few minor hits would generate such a stir? But one of the great things about Weener is or is it "was"? Likewise Weener has pleased even the fans who know all the words and each close-part harmony. These days Weener probably even sounds more like the '90s Weezer than the Weezer that's on tour does, especially since original bass player and harmonist Matt Sharp left Weezer to front The Rentals.

Plus, how could anyone, even Cuomo himself, sing "Say It Ain't So" for the trillionth time with as much passion and enthusiasm as another musician who has studied each note as if it were his own? Perhaps that's the reason Weener is pulling a hat trick, winning three consecutive awards since it formed. These guys are doing these "oldies" because they want to, not because it's what some fans expect from them.

And, maybe after Weezer's performance during Edgefest next month, Weener will have some new artillery. Because, in Weener's case, imitation really is the sincerest form of flattery. Giving the best jazz artist award yet again to the Earl Harvin Trio is almost unfair in Dallas, a city that boasts as lively yet unheralded a jazz scene as you'll find anywhere in the country.

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Most local jazz musicians have to play safe, recognizable, traditional fare to the Big Duh's self-obsessed dinner-crowd set, where solos are interrupted by orders for another bottle of that week's au courant zinfandel. The group will lay down its heavy, diversified jams over a week during which it plays almost every night from Dallas to Denton and back.

It plays rock clubs, it plays jazz haunts, it plays bars. Hell, this small combo could probably wander into a honky-tonk and have the boot-scooters howling and raising longnecks after it turned Hank Williams inside out and Palmer launched into one of his trademark tirades against the government, Napster or some extemporaneous hypothesis about the interconnections of aliens and Pam Anderson's breasts. Of course, it doesn't hurt that drummer Harvin is a local music veteran with talent to burn, which he always displays during his incendiary solos and polyrhythmic time-keeping.

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About Richard Forsythe. Richard Forsythe. I have always read avidly. I was lucky enough to read English at University before the real world rudely interrupted and demanded that i find a way to make a living. For many years I devoted myself to pursuing a career that I was good at but which held little real allure. Five years ago I began to write. A million words later and i really ought to be getting a bit better at it. The Caligula Club s I have always read avidly. The Caligula Club series is an irreverent look at the financial markets and recent contemporary events.

It is written in with an understated English humour that readers either get or find perplexing. I greatly enjoyed writing them and hope that at least some of my readers will share a few lazy hours enjoying my efforts. Books by Richard Forsythe. Trivia About The Caligula Club No trivia or quizzes yet.