FUNK: The Pimps of Joytime – Take The L-Train

This is some killer live FUNK shite from Brooklyn based FUNK crew The Pimps of Joytime.

I would love to see these cats playing a summer time shows in Australia sometime soon, if this clip is anything to go by the shows would be off the chain! so hopefully someone like NICHE is already working on it.

Cadel Evans to be Australias first Tour De France Winner… (Musical tribute: Kraftwerk – Tour De France)

Kraftwerk – Tour De France (Original Red Label Version) as our little tribute to the first Australian Tour  winner..

Not much needs to be said about Kraftwerk really as im pretty sure everyone who knows anything about music will know exactly what electronic music today owes Kraftwerk. I doubt there is a BBoy in the world who wont get amped hearing this on a floor or a record enthusiast that wouldn’t have this in their collection.

Download Kraftwerk Original Tour De France 1983 Version.

Along with being one of the releases that shaped electronic music, Tour also has its small spot in clubbing/rave history here in Sydney too. I have heard from a few people over the years about watching in awe as local DJ Stephen Allkins (Love Tattoo), regularly sample & played this back & forth with Salt & Peppers Push It at Sydneys infamous R.A.T parties at the Horden in the late 1980′s.

Check this info on RAT parties in Sydney from Powerhouse museum online;

During the 1980s in Sydney’s inner-east, a series of more than 35 parties organised by the Recreational Arts Team (RAT) formed a key element of an emerging subculture. The core of the self-styled Recreational Arts Team was Jac Vidgen, Billy Yip and Reno Dal. Vidgen, an energetic party-thrower who had come to Sydney from Brisbane, became the de facto promoter and organiser of these so-called RAT parties. Yip was an artist with a wildly creative imagination who developed well co-ordinated themes and design concepts for the parties. His striking graphic concepts were applied to posters, fliers, badges and banners. Reno Dal was the team’s original technical designer and producer, who started the events with Vidgen and Yip in 1983 and remained involved until 1986. Mark Taylor was the technical producer for the peak period 1986-1990, while Wayne Gait-Smith was technical designer.Vidgen threw his first public party for 200 guests at a rat-infested house on Cleveland St on 2 October 1983, because his own private parties had become too large and expensive. He had no idea he was setting in train a phenomenon that led to a multitude of dance parties every year. Each party had a special name, usually conceived by Billy Yip, incorporating the word ‘rat’ in its title. The first official RAT party, titled ‘Ratsurrect’ and advertised through word-of-mouth, was held at the Bondi Pavilion on Easter Sunday, 22 April 1984. The early parties, particularly ‘Ratizm’ at the Paddington Town Hall (April 1985), created a buzz, attracting an inner-city party-going crowd that included heterosexual bohemians as well as gay men and drag queens. RAT parties typically had audio-visual presentations, bizarre props, party drugs, innovative lighting, underground cabaret groups, the best DJs in town and unusual live performances by people like Martin Harsono and Simon Reptile, who performed at most of these events.What began as a creative exercise became a business. In 1987 Vidgen registered Recreational Arts Team Pty Ltd as a company. The events became larger, and were no longer exclusive eastern suburbs affairs where it was necessary to know the right people to obtain a ticket. The parties became famous for their spectacular entertainment and celebrity guests. ‘A Ratty New Year’, held on New Year’s Eve 1988 and featuring a 4am live performance by Grace Jones, was so popular that it filled both the Hordern Pavilion and the Royal Hall of Industries. The audiences ranged from 200 to 14,000 guests, with budgets from $5,000 to $400,000. However Vidgen’s motivation was not financial gain. Business was risky, profits were slim, and money made on one party was frequently lost on the next one. Vidgen described himself as ‘an event producer committed to celebration’ (Sydney Morning Herald 13/9/89).

RAT parties provided a venue for a circle of creative people to express themselves on a larger scale than had previously been available, providing a stepping stone for some to move to other levels of expression. Billy Yip is now a painter of fine art. Tobin Saunders, who is now better known as Vanessa Wagner, used to help on the decor team and performed at many of the parties with his dance group. Other contributors were the visual artist Anthony Babicci, the entertainer Ignatius Jones, and Tim Gruchy, who was responsible for much of the video production and recording at the events, particularly in the later years. The parties were vividly documented in photographs by William Yang.

The RAT parties were forerunners of the dance parties and raves of the 1990s. In the early 1980s pub rock was still the mainstream, and dance music was an underground phenomenon. Any music that utilised electronic instruments other than guitars was regarded as weird or avant-garde. RAT party enthusiasts eschewed rock, preferring recorded electronic music and dance music provided by pioneering DJs like Tim Ritchie, Robert Racic and Pee Wee Ferris.

Spearheaded by these DJs, Australian dance music took off in the 1980s. Ignored by major record labels, the dance movement followed the same path as the punk ethic: do-it-yourself. Following Vidgen’s lead, competing independent promoters booked nights at tired old venues like the Hordern Pavilion and transformed them into vibrant, packed palaces. Sydney’s gay community, in particular, took to dance parties. As well as RAT parties, the Mardi Gras, Sweatbox and Bacchanalia are now spoken of as some of the best parties held, featuring DJ sets from the likes of Ritchie, Racic, Ferris, Stephen Allkins and Paul Holden. The buzz of these parties spread to the UK with that country’s top DJs keen to take part. Warehouses emerged, some becoming the foundation of local rave culture. By the end of the 1980s parties flourished all around the country, with promoters booking a constant flow of influential overseas DJs such as Paul Oakenfold. While established rock venues suffered from lack of attendance, dance parties were frequently sold out.

The RAT parties altered Sydney’s night life, starting a craze for giant dance parties that lasted in to the 1990s. They provided a diverse range of entertainment based on visual and aural stimulation, provided a creative outlet for talented people and set the tone and style of Australian dance music culture.

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Cadel Evans to be crowned Tour winner

Updated July 24, 2011 01:48:41 Evans starts time trial

Cadel Evans will become the first Australian to win the Tour de France, having secured the yellow jersey in the penultimate stage of cycling’s most famous race.

Starting the day trailing Andy Schleck by 57 seconds, Evans produced a masterful performance in the 42.5-kilometre time trial in and around Grenoble to seize an advantage of one minute and 34 seconds.

Evans finished second in the time trial with a performance of 55:40.26, just seven seconds behind Germany’s Tony Martin.

The last stage to Paris is traditionally a procession for riders in the overall classification with the main action coming from the sprinters on the Champs Elysees.

Evans scorched around the undulating course in the heart of the French Alps in overcast conditions.

After near misses in the 2007 and 2008 editions of the Tour, Evans’ triumph is a massive moment for the sport in Australia.

The victory makes the 34-year-old the oldest winner of the Tour in the 88 years since Henri Pelissier finished on top in 1923.

Such has been the dominance of Europeans at the Tour, that Evans is only the third champion to have come from outside the continent’s clutches.

Evans’ performance also ticks one of the few remaining boxes on Australian sport’s ‘to do’ list.

The weight of the achievement must be considered up there with the nation’s finest sporting moments such as Australia II winning the 1983 America’s Cup.

It completes a remarkable journey after growing up in the Northern Territory and almost being killed at the age of eight after being kicked in the head by a horse.

Evans moved to Victoria in his teenage years and made his name as a mountain biker before transferring his talents to the road.

After being less than a minute away in 2007 and 2008 from capturing cycling’s holy grail, Evans struggled with favouritism in 2009.

However only months after his disappointing 30th finish, he became the first Australian to win the men’s road race world title.

He changed teams in late 2009 and went to BMC, but a fractured elbow from a crash at last year’s Tour ruined his chances of challenging the leaders.

On this year’s tour, he has not been under as much pressure and Sunday morning (AEST) was the first day that he had worn the yellow jersey.

He had been happy to mark his time before the time trial with spirited pursuits of lead groups in the final two mountain stages proving pivotal to his success.

Evans’ cleanskin reputation is a bonus for cycling’s image as it tries to clean up its reputation following decades of drugs controversies.

Ex-team-mates of seven-time Tour de France champion Lance Armstrong have accused the American of taking banned substances, while three-time winner Alberto Contador tested positive for anabolic agent clenbuterol at last year’s Tour.

The Spanish Cycling Federation cleared him of any offence and Contador’s appeal will be heard at the Court of Arbitration for Sport next month.

Brian Kirkham was the first Australian to ride in the Tour in 1914, with the legendary Hubert Opperman participating for the first time in 1928.

But it was not until 1981 that an Australian slipped on the yellow jersey for the first time in Phil Anderson.

Since then several Australians have worn the famous jersey, but only Evans has threatened to climb to the top step on the Champs Elyses with it on.


CHICAGO HOUSE CLASSIC: Adonis – We’re Rockin Down The House (Original Trax Record Version)

Adonis – We’re Rockin Down The House

Another classic 303 cut by Adonis on Trax Records.

Whenever I hear this I always think back to the times I heard Simon Caldwell drop this one at Mad Racket on the wooden dancefloor at Marrckville Bowling Club Sydney, it has been a while since I been to one of their parties but they always deliverd with the music, one of the few parties still flying the flag for chicago & deep house sounds  in Sydney.

Rockin’ Down The House (Toby Tobias & Hardway Bros Re-edit)

I also been hearing this re-edit around in mixes and on dancefloors a bit, remixed as part of the Trax Re-edited selection featuring edits by Greg Wilson, Leftside Wobble, Leo Zero, JD Twitch, Andy Blake, Swag, Ray Mang, Justin Harris, Neville Watson and more

Released by: Harmless
Release date: Feb 7, 2011


The Bloody Rain Mixtape… (Feat. Stevie Wonder,Prince,A Tribe Called Quest,Mary J Blige,The Dramatics,Eddy Gale,Love Unlimited,Soul for Real,

The Dramatics – in the Rain

Eddy Gale – The Rain

Eddie Kendricks – Date With the Rain.

Stevie Wonder – Rain Your Love Down

Prince – Purple Rain

Love Unlimited – Walking in the Rain

Soul For Real – Candy Rain

A tribe called Quest – Go Ahead in the Rain

Mary J Blige – Rainy Days


LATIN,JAZZ,FUNK,ACID JAZZ- Dj Maestro (Blue Note Records) Australian Tour Mix + Sydney Gig Details (Fri 12th Aug @ The Basement)

Really diggin’ this Latin-Jazz & Funk mix JC of funkdafied sent our way as part of the up coming Blue Note Trip tour featuring the one and only Maestro playing an intimate Dj set at the Basement.

Funkdafied & Double Lucky are proud to present Blue Note Trip with DJ Maestro at the Basement on Friday 12th August. Hailing from Amsterdam, DJ Maestro is one of the leading Jazz DJs on the scene today and this will be a one-off show in Sydney at the home of jazz music. Martijn Bark

huis, a.k.a. DJ Maestro is the only DJ to work with Blue Note and has mixed and compiled 9 albums under the name Blue Note Trip – compilations with material from the archives of the legendary jazz label.

The prestigious record label Blue Note has become the home for jazz heroes like Art Blakey, John Coltrane, Sonny Rollins, Herbie Hancock and Eric Dolphy, the label became famous for its inspired, high quality jazz recordings. Following a busy schedule of European festivals and tour dates and on the back of releasing Blue Note Trip Vol 9 we look forward to DJ Maestro performing for an Australian audience. With his own record label (Dig This!), being program director of the Swingin’ Groningen festival and the Jazz at the Lake festival, DJ at VPRO/Radio 6 and

founder of the Dutch station Radio Jazz, Maestro has a big hold on everything that has to do with Funk, Latin and Jazz in the Netherlands as well as a high profile world wide through the Delicious Jazz series, (Verve) and the platinum selling Blue Note Trip Series……

Expect a mix of traditional jazz with a blend of funk, soul and latin, up-tempo and lounge as well as forgotten treasures from the archives …
Joining DJ Maestro on the night we will have the following DJs/Acts: Trevor Parkee, (2SER Radio),and Omegaman Sound System, with some special guest musicians TBA. This will be a night of quality music,

get in quick as we expect a large demand for tickets to this event


Facebook Event

CLASSIC NY DISCO,HOUSE: Todd Terry – Keep on Jumpin'(Tee’s Freeze Mix)

Download Original

In 1996, Todd Terry featuring Martha Wash & Jocelyn Brown‘s version of Keep on Jumpin reached number one on the Hot Dance Club Play. This version was house oriented and the more popular of the “Keep on Jumpin'” versions, based on strength and vocal ability of Wash and Brown alone. This was the first of two back-to- back number ones o

n Dance Club Play chart for this collaboration between the three artists; their follow-up, “Something Goin’ On (In Your Soul)“, reach number one in 1997.

12″ promo
  • A1 Keep On Jumpin’ (Tee’s Freeze Mix) (9:00)
  • A2 Keep On Jumpin’ (Tee’s JM Mix) (8:10)
  • B1 Keep On Jumpin’ (Ken Lou “Jumpin Pumpin” Mix) (6:40)
  • B2 Keep On Jumpin’ (Tee’s In-House Remix) (5:54)
  • B3 Keep On Jumpin’ (Diva’s At Work Acapella) (2:25)
12″ Rhythm masters remixes
  • A1 Keep On Jumpin’ (Rhythm Masters Vocal Mix) (6:16)
  • B1 Keep On Jumpin’ (Rhythm Masters Thumpin’ Mix) (6:22)
  • B2 Keep On Jumpin’ (Benji Candelario’s Key To Dub Mix) (6:09)
    Martha Wash in Sweden, at Gröna Lund in Stockholm

    Image via Wikipedia

CD Maxi
  • 1 Keep On Jumpin’ (Tee’s MT Freeze Radio) (4:02)
  • 2 Keep On Jumpin’ (Tee’s JM Radio One) (4:02)
  • 3 Keep On Jumpin’ (Tee’s Freeze Mix) (9:00)
  • 4 Keep On Jumpin’ (Tee’s JM Mix) (9:00)
  • 5 Keep On Jumpin’ (Ken Lou “Jumpin Pumpin” Mix) (6:40)
  • 6 Keep On Jumpin’ (Tee’s In-House Remix) (5:54)

SOUL,FUNK,EDIT, Gwen McCrae – 90% Of Me Is You (Disco Tech Edit)

Just caught this DOPE Gwen Mc Rae – 90% of me is You (edit) thanks to Sweden based remixer,turntablist & blogger DISCO TECH.

He also has a stack more to download and check out at his links below feat everying from James Brown to Dolly Parton!

Download this version @ Soundcloud

Disco Tech Links

VIDEO: ‘Still Shining” – a J Dilla Remembrance Documentary

Created in 2006, this remembrance piece is created as a tribute to the memory and legacy of James “J.Dilla” Yancey. This is a piece designed for his fans and supporters who knew of his accomplishments before February 2006 and those that have grown to appreciate his genius. Here, we gain a greater insight and understanding about our musical icon.

Image by sleepy.days via Flickr

Directed by: Brian “B.Kyle” Atkins / Gifted Films Inc

J.Dilla is Still Shining.

(2:55) – Work Ethic Starts In The Basement
(7:35) – What To Listen For in A Dilla Beat
(9:10) – J.Dilla’s Range As A Producer. The King of Reinvention
(12:16) – Going Beyond His Influences
(14:39) – The Dilla Approach To Production
(20:21) – Jay The Producer vs Jay The MC
(26:08) – The Personal Side of J.Dilla
(29:04) – A Soldier Unstoppable!
(32:05) – Venturing Out. (as explained by Phat Kat)
(33:59) – Heading Home… Job Well Done.
(34:48) – We Salute You.

ELECTRO FUNK,DISCO: Giorgio Moroder – Midnight Express/The Chase Theme (RARE1978 Original Extended 14 Min Mix)

Download Original Epic 14 Min Version thanks to (DJ Philippe B ONLINE)

Also came accross this Nu-Disco remix; Giorgio Moroder VS Martin Brodin-The Chase 2011 (Martin Brodin Remix)

Download @ Phonica Records

Hansjörg “Giorgio” Moroder (on record sleeves often only Giorgio) (born 26 April 1940, Gröden,

Electronic Dreams: Giorgio Moroder Film + Musi...

Image by 92YTribeca via Flickr

Italy) is an Italian record producer, songwriter and performer based in Los Angeles. When in Munich in the 1970s, he started his own record label called Oasis Records, which several years later became a subdivision of Casablanca Records. His work with synthesizers during the 1970s and 1980s had a significant influence on New Wave, house, techno and electronic music in general. Particularly well known for his work with Donna Summer during the era of disco (including “Love to Love You Baby” and “I Feel Love“), Moroder is the founder of the former Musicland Studios in Munich, which was used as a recording studio for artists including Electric Light Orchestra, Led Zeppelin, Queen and Elton John.

In addition to producing several hits with Donna Summer, Moroder also produced a number of electronic disco hits for The Three Degrees, two albums for Sparks, and a score of songs for a variety of others including David Bowie, Irene Cara, Madleen Kane, Melissa Manchester, Blondie, Japan, and France Joli.

Music career

Moroder made his first steps in music in Berlin, Germany by releasing a few singles under the name “Giorgio” beginning in 1966, singing in Italian (as George, to explain his German accent), Spanish, English, and German. He came to prominence in 1969, when his recording “Looky Looky”, released on Ariola Records, was awarded a gold disc in October 1970.Often collaborating with lyricist Pete Bellotte, Moroder had a number of hits in his own name including “Son of My Father” in 1972 before releasing the synthesizer-driven From Here to Eternity, a notable chartbuster in 1977, and in the following year releasing “Chase“, the theme from the film Midnight Express. These songs achieved some chart success in the UK, the U.S., and across Europe, and everywhere disco-mania was spreading. The full movie score for Midnight Express won him his first Academy Award for best film score in 1978. In 1979, Moroder released his album E=MC². Text on the album’s cover stated that it was the “first electronic live-to-digital album.” He also released three albums between 1977-1979 under the name Munich Machine.

In 1984, Moroder worked with Philip Oakey of The Human League to make the album Philip Oakey & Giorgio Moroder; which was a UK singles chart hit with “Together in Electric Dreams“, title track to the 1984 movie Electric Dreams. In 1986, Moroder collaborated with his protégé Harold Faltermeyer (of “Axel F.” fame) and lyricist Tom Whitlock to create the score for the film Top Gun (1986), with the most noteworthy hit being Berlin‘s “Take My Breath Away“. “Chase” was also used as an entrance theme for wrestling’s group The Midnight Express. In 1987, Moroder produced Falco‘s song “Body Next to Body”.

In 1997, Moroder and Donna Summer won the Grammy Award for Best Dance Recording for the song “Carry On”.

On 20 September 2004 Moroder was honored at the Dance Music Hall of Fame ceremony, held in New York, when he was inducted for his many outstanding achievements and contributions as producer. In 2005, he was given the title of Commendatore by the then President of the Italian Republic, Carlo Azeglio Ciampi. On September 5, 2010 Moroder received the Great Order of Merit of the South Tyrol.

Film work

Moroder won three Academy Awards: Best Original Score for Midnight Express (1978); Best Song for “Flashdance…What a Feeling“, from the film Flashdance (1983); and Best Song for “Take My Breath Away“, from Top Gun (1986).

Moroder also won two of his three Grammy Awards for “Flashdance”: Best Album Of Original Score Written For A Motion Picture Or A Television Special and Best Instrumental Composition, for the track “Love Theme from Flashdance”.

In 1984, Moroder compiled a new restoration and edit of the famous silent film Metropolis and provided a contemporary soundtrack to the film. This soundtrack includes seven pop music tracks from Pat Benatar, Jon Anderson, Adam Ant, Billy Squier, Loverboy, Bonnie Tyler and Freddie Mercury. He also integrated the old-fashioned intertitles into the film as subtitles as a means of improving continuity, and he also played the film at a rate of 24 frames per second. Since the original speed was unknown this choice was controversial. Known as the “Moroder version”, it sparked debate among film buffs, with outspoken critics and supporters of the film falling into equal camps.