Gerald Kaufman

Jockey Slut Presents • Disco Pogo For Punks In Pumps Vol. 3

 

Starting out as a bi-monthly fanzine, Jockey Slut increased its readership. With dance music and club culture steadily growing in popularity and the subsequent advent of superclubs with superstar DJs, bigger and better distributed magazines like Mixmag, Muzik and DJMag started to focus more on the rock and roll-like aspects of clubbing (namely the recurrent drugs features), while devoting less space to the music itself, rather than covering newer sounds and artists. Jockey Slut responded to this by adopting a more music-centered coverage, with a writing tone that aimed to strike a balance between witty, opinionated fanzine-style writing and an irreverent sense of humour inspired by the success of pop magazine Smash Hits.^{[citation needed]}

^Wiki

<sup>1. The Red Egyptians • The Red Egyptians
2. Bent • Excercise 3
3. Headland • Let's Hear It For God
4. Erlend Øye • Ghost Trains
5. Mille & Mr. Hirsch • Highway To Hell
6. Radio 4 • Dance To The Underground (The DFA Version)
7. The Flaws • Freek
8. Silver City • 1969
9. Bryan Zentz • Redfield
10. Voigt & Voigt • Vision 03
11. Agoria • La 11ème Marche
12. The Incredible Shrinking Man • Peculiar Times</sup>

Jockey Slut's old official website
archived at
Internet Archive's Wayback Machine

 

Label: Jockey Slut – BP-11371
Series: Disco Pogo For Punks In Pumps – Vol. 3
Format: 320
Country:    UK
Released: Jan 2003
Genre: Electronic
Style: House, Techno, Electro

Jockey Slut Presents • Disco Pogo For Punks In Pumps Vol. 2

 

 

 

 

According to co-founder John Burgess, he and Paul Benney (the other founder of the magazine) intended Jockey Slut to just be a slogan for a T-shirt.[citation needed] The expression was coined while both were studying at Manchester Polytechnic University (currently Manchester Metropolitan University) and frequenting the city's clubbing scene, notably at The Haçienda. The two main inspirations for it were Manic Street Preachers' recurrent slogan "culture slut" and the increasing attention DJs were getting from fans at the time.[citation needed] Burgess said: "Disc jockeys were attracting as many groupies as pop stars. Except, unluckily for the DJs, their groupies were usually after one thing; the name of the label that wicked tune was on".[citation needed]

1. Boards Of Canada • Happy Cycling
2. Lambchop • Up With People (Zero 7 Mix)
3. Roots Manuva • Witness (One Hope)
4. Faze Action • In The Trees
5. Annie • The Greatest Hit (Radio Mix)
6. Ian Pooley • What's Your Number (Jazzanova Renumber)
7. Bushwacka! • Healer
8. Slam • Positive Education (Original)
9. Plastikman • Spastik
10. Isolee • Beau Mot Plage (Heaven And Earth Re-edit)
11. LTJ Bukem • Horizons (Edit)

 

Jockey Slut's old official website
archived at
Internet Archive's Wayback Machine

 

Label: Jockey Slut – BP-10867
Series: Disco Pogo For Punks In Pumps – Vol. 2
Format: 320
Country:    UK
Released: Dec 2002
Genre: Electronic
Style: House, Techno, Experimental

 

 

Jockey Slut Presents • Disco Pogo For Punks In Pumps Vol.1

Re-Upload

Jockey Slut was a British music magazine which ran between 1993 and 2004, focusing mainly on dance music and club culture. It started as a self-published bi-monthly fanzine in 1993 before graduating to a monthly by 1999, following a buy-out by Swinstead Publishing. By 2004, it had gone quarterly, with a beefed-up web presence, a change which only lasted three and a half months before closure in late May that year.

Wiki

1. Lucky Pierre • Angels On Your Body

2. Simian • The Swarm

3. Turner • My Aeroplane Mania

4. RJD2 • Ghostwriter

5. Roots Manuva • Bashment Boogie (Shadowless Tomz Remix)

6. Savile Robots • Am-Trax

7. DJ Q • The Birth Of A Beautiful Thing

8. Kenny Hawkes • Dance For Me

9. Derrick L. Carter • If I

10. Michael Meyer • Love Is Stronger Than Pride

11. Kiki • Our Time

12. Underworld • Mo Move

13. Danny C • The Mexican (Jockey Slut Edit)

Jockey Slut's old official website
archived at
Internet Archive's Wayback Machine

Label: Jockey Slut ‎– BP-10542

Format: 320

Country: UK

Released: Nov 2002

Genre: Electronic

Style: Electronic 

 

 

 

Oz Fritz

 

 

 

 

Umar Bin Hassan • Love

 

 

http://oz-mix.blogspot.com/

https://www.youtube.com/@ozfritz539

 

 

 

 

 

History Lesson

 

A Genius Bass Line

Let's dive into Tom Browne's funk anthem from 1980, "Funkin' For Jamaica (N.Y.)" and the three young phenoms that made it happen: Marcus Miller, Bobby Broom, and Bernard Wright. I'll explore some history on the session and the tune with an exclusive one-on-one with the one-and-only @bobbybroom himself, break down some of the music, and take a moment to reflect on the legacy of 'Nard. 

pdbass

 

 

 

"Funkin' For Jamaica (N.Y.)"

1980 

In Conversation with Bill Laswell

 

 

Interview by Stephen Lepre

 

Bill Laswell GoFundMe

An Interview with Bill Laswell on Decades of Collaborations with John Zorn

 

Unbounded Horizons: An Interview with Bill Laswell on Decades of Collaborations with John Zorn

Can you share with us how your friendship with John Zorn began and how it evolved over the years?

My friendship with John Zorn began many years ago, and it has been a continuous connection ever since. We first crossed paths through the vibrant New York music scene in the late '70s, where our shared interests and creative inclinations quickly brought us together. Over time, we've developed a simple and easy-going relationship based on mutual respect and understanding. As musicians and artists, our paths have intertwined on numerous occasions, resulting in a multitude of collaborations that have left a profound mark on both of us. Our shared passion for pushing the boundaries of music and exploring unconventional sonic territories has fostered a strong bond between us. We've always believed in the power of creative expression as a means of transcending genres and conventions.

What are some of your earliest memories of collaborating with John Zorn? How did those experiences shape your musical journey?

I collaborated with John Zorn on a couple of projects, like the Cobra pieces and the I Ching pieces. They were early experiences that influenced my musical journey. John's innovative game-like structure challenged traditional notions of composition and performance. It was an entirely new way of approaching music, where the musicians' interactions shaped the direction of the piece in real time. This experience opened my eyes to the potential of collective improvisation as a powerful means of creative expression. That started everything, and later we formed bands together, most notably PainKiller and Bladerunner.

John Zorn is known for his eclectic and experimental style. How has his unique approach to music influenced your own artistic development?

John Zorn's eclectic and experimental style has definitely influenced me. We have different approaches, but knowing each other for so long has shaped our tastes. While we may have different approaches to music, there is no denying the significant impact of John's work on my tastes and creative outlook. On the other hand, you can say he didn’t influence me at all. We just have a great relationship. Our collaborations have been characterized by a sense of mutual respect and a shared commitment to artistic integrity. We understand that the strength of our partnership lies in our differences, and we cherish the creative energy that emerges from our diverse perspectives.

Could you describe the dynamics of your creative process when working with John Zorn? How do you navigate the balance between structure and improvisation in your collaborations?

Our creative process is open-minded and without a specific plan. We don't have much structure, but it works well because we get along and respect each other. Our creative process when working together is a unique and fluid journey that thrives on openness and spontaneity. One of the defining characteristics of our collaborations is the absence of a rigid plan or preconceived structure. Instead, we embrace the freedom to explore and experiment, allowing the music to evolve naturally in the moment. 

 

Nenad Georgievski

 

Read full interview