Reginald’s Groove (Classixx Remix)

I‘ve been dying to share this one with the world for forever, and I guess the wind must be in my favor today, because I finally got the go ahead.

In case you somehow haven’t been informed already, The Cosmic Kids, a duo consisting of Dan Terndrup of former Royal Rumble acclaim, and Ron Poznansky, have been causing quite some commotion in the scene as of late. They’ve recently signed a deal to release their first (and what a first it is) single by way of Throne of Blood, but apparently releasing an epic track on an epic label wasn’t enough for them, because they had to go and get Classixx to do yet another one of their epic remixes for the track. Needless to say, my hard drive has been weak at the knees as of late trying to support all this newfound epicness.

We already posted the Cosmic Kids track (Reginald’s Groove) a few months back, but we’ll post it again, just so you can compare it to the Classixx remix which, as was to be expected, is probably one of the grooviest tracks I’ve ever heard, and is certainly going to become a staple of my DJ sets for years to come. If only I knew how those guys manage to take something so simple and make it so catchy, I’d be set for life.

If only…..

Reginald’s Groove (Classixx Remix) – Cosmic Kids by Classixx (Official)

Reginald’s Groove by CosmicKids

From Outta Space, and With Mad Style

It brings me great pride to be able to write about one of our very own this time around:

The guy goes by 9A. He’s been crowned the one and only Grown Alien, and his debut record, Black Space Cruizin’ dropped last week on Uh Oh Disco, mostly as an extraterrestrial ploy to explain to the humans (who apparently were previously confused as to the true meaning of dirty, soulful beats) what a groove really sounds like, as well as to remind us that life isn’t always about the party. In fact, if you’ve ever felt the warmth of a nice comfy couch and a good group of friends, this jam was made for you.

9.A. – Linda Vista to Convoy

9.A. – Guide to the Black Space

9A‘s album is available to download now from Beatport.
Even better, in support of the album, we’re giving away a FREE 9A track, available to download from the homepage at UhOhDisco.com

The Banksy Tour

You know, we’ve all seen Banksy‘s art before. It’s scattered around the major cities of the world, and not to mention plastered all over the internet. Hell, it’s even lining the shelves of the book section at Urban Outfitters, but last night I saw a Banksy that gave me a feeling that none of his other pieces gave me. Why? Because it went up two night ago, a block from my house in Westwood.

Not only was it completely surreal to see a Banksy so fresh I almost hesitated to touch it for fear that the paint might still be wet, but somehow, knowing that if I’d been up wandering the streets a block from my place at 4 in the morning, I might have caught a glimpse of the man himself, the man that no one has ever caught in the act before… Well, it all just kind of blows my mind.

How does the guy pull this of? Such massive works of art and not a single person spotted him? The guy must be brilliant.

The Plight and Redemption of Hiphopanonymous

Hip hop is without doubt a beautiful scene. It’s a genre that allows for freedom of expression in ways that other genre’s simply cannot, and it’s a something we can be proud of the US for giving birth to. Unfortunately, hip hop also has a horrible downside: its formula.

Sure, it’s true that any genre, given enough time in the spotlight, is bound to become formulaic as a result of the sheer number of people hoping to find their moment in the spotlight doing the things they’ve seen and heard their idol’s doing, but hip hop, being a sample-based genre, is especially susceptible to this unpleasant inevitability, and in recent years we’ve been paying the price.

In hip hop’s early years, the fact that it was sample based was an asset. It unlocked a whole new world of musicianship and got people thinking about music in never-before-considered ways. Maybe instruments aren’t the root of all music. Maybe music is born in our brains, and instruments (especially before the advent of the sampler) are just the way we found to express that music. When sampling came around, artists overcame the need for such simple tools. Making music became about who knew enough about music to find and manipulate sounds and recordings so that they would compliment each other so perfectly, the listener actually wanted to hear them looped over and over again. For a long time, it was an incredible new art that required a great deal of talent. Notice I used the word “was.”

Hip hop is no longer smart. In the late 90’s, people started to realize that there were patterns to be found in most hip hop songs. People noticed that songs usually contain two to three samples, one on the verse, and one or two on the chorus. Unfortunately, the general public tends not to be very musically gifted, and as a result, what they didn’t notice was that these samples usually blend well together to for a cohesive structure, but since at this time computers and music making devices were becoming readily available, nothing stopped those village idiots (if you will) of music from composing their tasteless crap with bits of song leading into other, completely unrelated bits of song (See “Black Eyed Peas – The Time”).

You probably know where this is going. Over the next decade, the crap turned into worse crap, and the worse crap turned into noise that frequently struggled to even be considered music at all. So why is it so popular despite it’s obvious tastelessness? Isn’t it obvious? Because the music is being played to a crowd that’s just as musically retarded as the people making it, leaving the few people who really understand the value of music with an undeservedly tainted impression of hip hop as a whole. Many dismiss it as stale and unoriginal (understandably), and as unfortunate as it is, more often than not you’ll get a sour face over a sweet one if you mention hip hop to a fella at random.

So what’s up with the diatribe you ask? I’ll tell you. Yesterday, I got an email about a couple of musicians called Saadi & Bajah, and I can tell you that upon listening to their single called “Lights Up NYC,” my eyes went wide and the walls around me melted away as if I were looking into the future. Thinking back, I was looking into the future. It was the future of the genre. Hip hop may have gone astray, but that doesn’t mean it can’t make a comeback, and if Saadi and Bajah are at the helm of that comeback, hip hop is going to be back bigger than ever. In a good way.

Say hello to everything “Empire State of Mind” was supposed to be.

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Saadi & Bajah – Lights Up NYC

Keep it to Yourself



Every published book is the result of multiple drafts, line edits and revision. Every feature film takes a dozen script revisions, three months of shooting and six weeks of editing. Every song on the radio took half a year to write, record, mix and master. That’s kinda how creativity works: a crumpled bedsheet of an idea is ironed over and over until the final product appears, perfectly flat and unwrinkled. And the process takes a while.





But a lot of producers today don’t take enough time to actually produce. My inbox is stuffed with MP3s that sound like works in progress because they are works in progress. Musicians are so eager to get their music out that they rush the creative process. I hear a lot of songs that make me think “this could be really good if he/she spent another week working on it.” It’s not that the songs are bad; they’re just unfinished.




Chuck Close once said, “you’re only responsible for the work you go public with.” His words apply to any creative medium: keep working on something until it’s finished. Take your time to get it right. You’ll find a polished final product worth the work; your audience will find your music worth the wait.




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Temabes – Love Me