Brief rave history:

Pete Emes took me to my first party in London, ON. 1995 i believe. Mark Oliver headlined at some old theatre downtown, but i may be wrong about Mark Oliver. Red & Blue pills were dominant.

Went to UVictoria for a year and was taken to my 2nd party by John Sproat. Small warehouse affair downtown headlined by Ekeem and Slim. Went to my first "afterparty" in Brentwood Bay which was...ha crazy. BC people are far weirder than Ontario.
First big party that got me hooked though was Rest Ultra new years 95/96 in Vancouver headlined by DJ Dan, Kimball Collins, Donald Glaude, Slim, Ekeem, and some others. Crazy snow that year and just barely made it back to the island before everything was shut down until it melted a couple days later.

Came back to London and really started partying hitting Daybreaks/Tribal Funk in London on Fridays, afterparties at Ronnie's place (or mine), and loft parties somewhere on King St. where Czech never left and would dodge out on gigs just to go there. Out of Hand in Hamilton for the infamous Fever Fridays until the big bust. Crazy days, crazy club, crazy people, crazy good djs and music though. Dose/Syrous/Lifeforce on Saturdays & Out of Hand Wednesdays at the limelight, for Toronto.

Did some breaks events at the turn of the century because i needed to hear nuskool breaks which was everywhere other than ontario. i love my funk, but i just needed to hear new stuff and resolved myself to throwing the party myself if thats what it would take to bring the nuskool to ontario. Backbreakers was born in a wash of controversy and terrible politics on our part but it had its moments. Slim, Hyper, Freq Nasty, Rectangle, Josh the Funky1, Rennie Pilgrem...

Eventually i was forced to go career like everyone else and now i am just old, jaded, burned out, yet can dance when i really feel the beat from a good dj. Simply Jeff, Spence, Afrika Bambaataa, Hyper, Bassbin Twins, Tommy Gunners have taken me there in the last few years. Watching Hyper play the main room at the Guv as he opened for Crystal Method was a nice moment of personal reflection. seeing the crowd go nuts for more of his breaks made me realise i did indeed know good tunes and good djs. too bad i didnt' know crystal method before i put my foot in my mouth on their gold tour bus outside afterwards. lol.

The good old days may be over, but thankfully i make enough money as a Roller in a Hot Strip Mill at Stelco to forget about all the craziness that engulfed 1/3 of my life, and i find the few times i do go out i truly enjoy it a whole lot more as i found my way back to the original reason that drew me to it all in the first place: the music and the djs that make it live life another way.

No regrets.


So, I had a thread going on breakbeats.ca called the "Rollers lounge" (borrowed from work) which has ended because the site is suspended. ? So if the owner/moderators don't mind I am going to start a new one here where it seems many would appreciate the links i will provide and it will be nice to not have the breaks only hanging over me. basically most the links are megauploads, sendspaces, filefactories, etc, and none of the music will be copyrighted material. all will be radio shows, studio mixes, live sets from shows around the world. i hope i will be able to sort you out with tunes that you shouldn't find elsewhere and i welcome any feedback, contributions, requests, or comments. i do it as a result of music addiction, i am too old to be the man or whatever, i honestly just can't stop sharing music.

i will put it in the dj mixes room, if it needs to be moved elsewhere then please do so, if you don't like the idea at all then i won't care if its deleted entirely. if its all cool i hope to share a volume of tunes because music is definitely the only spice in this life.

cheers,

Erik the roller.

ps if you click the lounge link on my sig it will take you to the Backbreakers site i have and the live sets page. Right now i have Big League Chu b2b with Spence who is on the Alto Saxophone. Also a 2 hour mix from the Bedrock Breaks CD release party i did for DJ Hyper. And another 1 hr mix by G-Fresh & James Maggs that is a killer house/techno set. I will have more up there soon enough, please excuse the ghetto site i am still learning how to write html and had to borrow a free template to get me there.

welcome back to 1995!

welcome! nice to have new people come over from a desent site who have interesting and intelligent material to share. oppose to having a few little youts from "purerave" join and lie about there age and claim to be the biggest ravor on the forum.
so on that note, nice to meet ya.

but I am the biggest raver on the forum.

lol.

i wouldn't go so far as saying something intelligent, these days you can shot for less.

seems like this room gets the most traffic so i thought i would share some music starting with a few words about our recent loss in the music.



"Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" -- those are mighty titles, but no one can question that James Brown has earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians have been so influential on the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show; Brown's performances were marvels of athletic stamina and split-second timing.
Through the gospel-impassioned fury of his vocals and the complex polyrhythms of his beats, Brown was a crucial midwife in not just one, but two revolutions in American black music. He was one of the figures most responsible for turning R&B into soul; he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. Since the mid-'70s, he's done little more than tread water artistically; his financial and drug problems eventually got him a controversial prison sentence. Yet in a sense his music is now more influential than ever, as his voice and rhythms were sampled on innumerable rap and hip-hop recordings, and critics have belatedly hailed his innovations as among the most important in all of rock or soul.
Brown's rags-to-riches-to-rags story has heroic and tragic dimensions of mythic resonance. Born into poverty in the South, he ran afoul of the law by the late '40s on an armed robbery conviction. With the help of singer Bobby Byrd's family, Brown gained parole, and started a gospel group with Byrd, changing their focus to R&B as the rock revolution gained steam. The Flames, as the Georgian group were known in the mid-'50s, were signed by Federal/King, and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." Jbrown0002By now the Flames had become James Brown & the Famous Flames, the charisma, energy, and talent of Brown making him the natural star attraction.
All of Brown's singles over the next two years flopped, as he sought to establish his own style, recording material that was obviously derivative of heroes like Roy Brown, Hank Ballard, Little Richard, and Ray Charles. In retrospect, it can be seen that Brown was in the same position as dozens of other R&B one-shots; talented singers in need of better songs, or not fully on the road to a truly original sound. What made Brown succeed where hundreds of others failed was his superhuman determination, working the chitlin circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge of being dropped from King in late 1958 when his perseverance finally paid off, as "Try Me" became a number-one R&B (and small pop) hit, and several follow-ups established him as a regular visitor to the R&B charts.
Brown's style of R&B got harder as the '60s began, as he added more complex, Latin- and jazz-influenced rhythms on hits like "Good Good Lovin'," "I'll Go Crazy," "Think," and "Night Train," alternating these with torturous ballads that featured some of the most frayed screaming to be heard outside of the church. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in 1963. Capturing a James Brown concert in all its whirling-dervish energy and calculated spontaneity, it reached number two in the album charts, an unprecedented feat for a hardcore R&B LP.
Jbrown0003Live at the Apollo was recorded and released against the wishes of the King label. It was these kinds of artistic standoffs that led Brown to seek better opportunities elsewhere. In 1964, he ignored his King contract to record "Out of Sight" for Smash, igniting a lengthy legal battle that prevented him from issuing vocal recordings for about a year. When he finally resumed recording for King in 1965, he had a new contract that granted him far more artistic control over his releases.
Brown's new era had truly begun, however, with "Out of Sight," which topped the R&B charts and made the pop Top 40. For some time, Brown had been moving toward more elemental lyrics which threw in as many chants and screams as words, and more intricate beats and horn charts that took some of their cues from the ensemble work of jazz outfits. "Out of Sight" wasn't called funk when it came out, but it had most of the essential ingredients. These were amplified and perfected on 1965's "Papa's Got a Brand New Bag," a monster that finally broke Brown to the white audience, reaching the Top Ten. The even more adventurous follow-up, "I Got You (I Feel Good)," did even better, making number three.
Jbrown0004These hits kicked off Brown's period of greatest commercial success and public visibility. From 1965 to the end of the decade, he was rarely off the R&B charts, often on the pop listings, and all over the concert circuit and national television, even meeting with Vice President Hubert Humphrey and other important politicians as a representative of the black community. His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar (heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time"). The lyrics were now not so much words as chanted, stream-of-consciousness slogans, often aligning themselves with black pride as well as good old-fashioned (or new-fashioned) sex. Much of the credit for the sound he devised belonged to (and has now been belatedly attributed) his top-notch supporting musicians, such as saxophonists Maceo Parker, St. Clair Pinckney, and Pee Wee Ellis; guitarist Jimmy Nolen; backup singer and longtime loyal associate Bobby Byrd; and drummer Clyde Stubblefield.
Jbrown0005Brown was both a brilliant bandleader and a stern taskmaster, leading his band to walk out on him in late 1969. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers, featuring guitarist Catfish Collins and bassist Bootsy Collins. Although they only stayed with him for about a year, they were crucial to Brown's evolution into even harder funk, emphasizing the rhythm and the bottom even more. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament/Funkadelic axis.
In the early '70s, many of the most important members of Brown's late-'60s band returned to the fold, to be billed as the J.B's (they also made records on their own). Brown continued to score heavily on the R&B charts throughout the first half of the 1970s, the music becoming even more and more elemental and beat-driven. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Critics charged, with some justification, that the Godfather was starting to repeat and recycle himself too many times. It must be remembered, though, that these songs were made for the singles-radio-jukebox market and not meant to be played one after the other on CD compilations (as they are today).
Jbrown0006By the mid-'70s, Brown was beginning to burn out artistically. He seemed shorn of new ideas, was being out-gunned on the charts by disco, and was running into problems with the IRS and his financial empire. There were sporadic hits, and he could always count on enthusiastic live audiences, but by the 1980s, he didn't have a label. With the explosion of rap, however, which frequently sampled vintage JB records, Brown was now hipper than ever. He collaborated with Afrika Bambaataa on the critical smash single "Unity," and re-entered the Top Ten in 1986 with "Living in America." Rock critics, who had always ranked Brown considerably below Otis Redding and Aretha Franklin in the soul canon, began to reevaluate his output, particularly his funk years, sometimes anointing him not just as Soul Brother Number One, but as the most important black musician of the rock era.
Jbrown0007In 1988, Brown's personal life came crashing down in a well-publicized incident in which he was accused by his wife of assault and battery. After a year skirting hazy legal and personal troubles, he led the police on an interstate car chase after allegedly threatening people with a handgun. The episode ended in a six-year prison sentence that many felt excessive; he was paroled after serving two years.
It's probably safe to assume that Brown will not make any more important recordings, although he continues to perform and release new material like 1998's I'm Back. Yet his music is probably more popular in the American mainstream today than it has been since the 1970s, and not just among young rappers and samplers
James Brown, soul singer, was born on May 3, 1928. He died of pneumonia on Christmas Day, 2006, aged 78

James Brown Live At Chastain Park 1985

James Brown - Live In Baton Rouge 1982



Adam Freeland live @ WMC31/3/06


Soul of Man @ Frosted Breaks(01.03.2006)


Krafty Kuts @ Triple J Mix Up 4.2.06


Adam Freeland @ Kiss FM (6/10/00)


The Plump DJ's & The Stanton Warriors 2006 Breakspoll Awards


Dopamine Promo mix - September 2006

Dopamine & Diverted - Only One - BLIM Remix - Diverted Traffic
Baobinga & ID Present Big Monster - Rite Of Passage - Fat!
Noisia - Gutterpump - Tom Real & Rogue Element Remix - Passenger
Pilch - D.T.Y.L.A. - Dogtown Clash Remix - Breakin Even
Dopamine - Brave New World - Psure Remix - Title Fight Recordings
Random Source - Halo - Dopamine Remix - Sound Of Habib
Ferry Corsten feat Guru - Punks - The Body Snatchers Remix - Positiva
Myagi - Funkgrinder - Dopamine Remix - Fight Club
Way Out West - Apollo - General Midi Remix - Distinctive
4Kuba - Dearmate - Dopamine Remix - Epidemic
Nils Noa & Rene Amesz - Stereo Style - Santos Metallized remix - Lot49


Evil Nine - live @ A 38 (Hungary) - (22.10.2006)

Part One Part Two


Plump_djs_Live_Southfest_Buenos_Aires_06_05_2006


Plump Djs, Evil Nine, Splitloop Y Nitro vs Isy en Breakspoll 2006



LTJ Bukem Breezeblock Mix 2000

LTJ Bukem essential mix live from Creamfields - 25-08-96

LTJ Bukem Studio Mix 11

LTJ Bukem - Dreamscape 5 1993

LTJ Bukem - Earth Volume 1

LTJ BUKEM (into the jungle studio mix) 1994

LTJ Bukem @ Inter-Dance 92/2



2 Many DJ's - Essential Mix 02/01/05

David Bowie - 'Rebel Rebel' [Soulwax Edit] (White)
Soulwax - E-Talking [Soulwax Nite Version Feat.Nancy Whang] (PIAS)
Unknown - 'Martini Bros' (White)
Tiga Vs Human League - 'Unknown' (White)
Thomas Anderson - 'Unknown' (Bpitch)
P.Diddy (With Felix Da Housecat) - 'Jack U' (White)
Bob Seger - 'Ramblin' (White)
Unknown - 'Gamblin Man' (Capitol)
Whitey - 'Y.U.H.2.B.M.' (1-2-3-4 Records)
Ladytron - 'Sugar' (Island)
Fisherspooner - 'Just Let Go' [Thin White Duke Remix] (EMI)
Sweet Light - 'Abusator (Freak 'n' Chic)' [Soulwax Edit] (White)
Vitalic - 'Valletta Fanfares' (PIAS)
Miss Kitten - 'Requiem For Hit' [Soulwax Edit] (White)
Simian Mobile Disco - 'The Count' (Kitsune)
Who Made Who - 'Satisfaction' (Gomma)
Jackos One - 'Bats Danse' (Toxic Wreckords)
Zongamin - 'Bongos Song' (White)
Midnight Mike - 'Hot In The Kitchen' (Gomma)
Hot Chip - 'Over And Over' (White)
Beastie Boys - 'Stand Together' [Soulwax Edit] (Capitol)
Annie - 'Chewing Gum' [Acapella] (679 Records)
Nocturnal Emissions - 'Unknown' (Sterile Records)
Queens Of The Stoneage - 'First It Giveth' (Interscope)
ODB - 'Got Your Money' [Acapella] (Elektra)
Fatal Error - 'Fatal Error' (R&S)
Adriano Celentano - 'Alright' (Prisencolinensinainciusol)
The Girls - 'Zebra Jeans' (Wall Of Sound)
Kling Klang - 'Heavydale' (Rock Action Records)
LCD Soundsystem - 'Daft Punk Is Playing In My House' [Soulwax ShibuyaMix] (Emi/DFA)
Franz And Shape - 'Countach' (Relish)
Yellow House - 'Jack My Body' (Dance Mania Records)
Jersey Devil Social Club - 'Homage At 121bpm' (Environ Records)
Tiga - 'Louder Than A Bomb' (PIAS)
!!! - 'Louden Up' [Rub'n Tug Mix] (Warp)
Whitey - 'Leave Them All Behind' [Soulwax Mix] (Regal)
Jon Spencer Blues Explosion - 'Unknown' [DFA Remix] (Mute)
Johanman - 'Move My Body' (Turbo)
Linus Loves - 'Night Music' (Breastfed)
Lopazz - 'Blood' [Tiefschwarz Remix] (Output)
Static - 'Dream It' [US Rave Mix] (Strictly Rhythm)
Human Resource - 'Dominator' Vs '808' (White)
State - 'Cubik' [Soulwax Renominator Mix] (White)
Audion - 'Kisses' (Spectral/Ghostly International)
MU - 'Paris Hilton' (Output)
Mr. Oizo - 'Flat Beat' (F Com)
The Ark - 'Mr Oizo Remix' (White)
Soulwax - 'Teachers' (PIAS)
Gary Numan - 'Steel And You' (Beggars Banquet)
Jimi Hendrix - 'Little Miss Lover' (Polydor)
MIA - 'Galang' (679)
ZZ Top - 'Cheap Sunglasses' (Warner Bros)
Jay-Z - '99 Problems' (Roc-A-Fella)
Meat Beat Manifesto - 'Pressure' (Waxtrax)
Snoop Dogg - 'Drop It Like Its Hot' (Doggystyle)
Public Enemy - 'Channel Zero' (Def Jam)
Siouxsie And The Banshees - 'Supernatural Thing' (PVC)
Kraftwerk - 'Man Machine' (EMI)
Dutch Breaks - 'Unknown' (Demon Fuzz Records)
Ronnie James Dio - 'Unknown' (White)
DJ Shadow - 'Number Song' (Universal)
The Animals - 'A Girl Named Sandals' (IRS)
Chemical Brothers - 'Galvanize' (Virgin)
Dizzee Rascal - 'Fix Up, Look Sharp' (679)
DB - 'Future Now' [DB Remix] (Future Now Records)



Booka Shade Essential Mix 02-07-2006


the Chemical Brothers - Live in Santiago, Chile (24-10-2004)

01- Intro
02- hey girls, hey boys
03- get yourself high
04- music : response
05- block rockin' beats
06- song to the siren
07- come inside
08- under the influence
09- it doesn't matter
10- out of control
11- star guitar
12- surface to air
13- electronic battle weapon 6
14- electronic battle weapon 7
15- setting sun
16- the golden path
17- elektrobank
18- the privat psychedelic reel
19- noises



2 Many DJ's - live @ I Love Techno, Belgium (2003)

"I love techno" festival, Gent, Belgium 18/10/2003


(39:46)
00:00 - Green Velvet - Answering Machine
01:15 - LFO - Butterslut
03:45 - White stripes - Seven nation army
04:30 - White stripes - White stripped ("The Hardest Button To Button Remix" by Ursula 1000)
06:31 - The rapture - House of jealous lovers
08:46 - Benny Benassi - Satisfaction (Soulwax Noise Re-Edit)br>12:38 - Tyree - Video Crash (Crash instrumental)
15:12 - Depeche mode - Just can't get enough
16:31 - Felix Da Housecat - Cyberwhore
16:51 - Ferenc - Yes Sir, I Can Hardcore
17:39 - Technotronic - Pump Up The Jam
19:46 - LFO - Freak
22:09 - Stakker humanoid - Humanoid (plump djs retouch)
25:06 - Laurent Garnier - The sound of the big babou
29:58 - Aphex Twin - Window Licker
32:16 - Guns & roses - Sweet child o' mine
33:54 - White stripes - Seven nation army
39:32 - Outkast - Ghettomusick (Benny Benassi Remix)


2 Many DJ's - live @ "Printemps de Bourges", France (25.04.2003)

"Printemps de Bourges", France 25/04/2003

(01:47:51)
00:00 - Saul Williams - Not in our name
00:14 - Green velvet - La la land Vs. Led Zeppelin - Immigrant song Vs. Ace The Space - Nine Is A Classic
03:32 - Felix da Housecat - Silver screen Scene ( Static Revenge Remix )
04:48 - The rapture - House of jealous lovers
10:20 - Jamie Starr scenario - Welcome to thee light
13:26 - Hanayo - Jo le taxi
15:30 - Inner city - Good life
17:05 - Archigram - Doggystyle
18:44 - Stooges Vs. Salt n peppa - Push it like a dog
20:55 - Benny Benassi - Satisfaction
24:24 - LCD Soundsystem - Beat Connection Vs. Electric six - High voltage
29:41 - Lil Louis - French kiss
31:50 - Weezer - Hash pipes
33:40 - Vitalic - La rock 01 Vs. Fingers Inc - let there be house (acapella)
38:50 - Nirvana - Lithium
42:35 - Daft punk - Rollin and scratchin
44:47 - Armand Van Helden - Hey You Punky Funky (acapella)
46:24 - New order - The beach
48:50 - Radio 4 - Dance to the underground
50:50 - Guns n roses - Welcome to the jungle
51:22 - Beastie boys - sure shot
52:21 - Old dirty bastard Vs. Kelis - Got your money
53:46 - Axel Bauer - Cargo de nuit
55:26 - nine inch nails - closer Vs. 50 cent - in da club (acapella)
57:03 - Notorious B.I.G. - Hypnotize
58:00 - nelly - hot in herre
59:14 - dolly parton - 9 to 5
01:00:14 - royksopp - eple
01:02:15 - house of pain - jump around
01:04:46 - Justin Timberlake - Like I love you Vs LCD Soundsystem - Losing my edge (acapella)
01:07:44 - soul grabber - motorcross madness
01:09:42 - the clash - rock the casbah
01:11:42 - josh wink - higher state of counsciousness(plump djs remix) Vs. Cameo - Word up
01:14:10 - Los Ninos Del Parque - ? Vs. ? - "I get deep" (acapella)
01:19:09 - The Faint - The Conductor (Thin White Duke Remix)
01:23:55 - Andrea Doria - Bucci Bag
01:27:35 - White Stripes - 7 Nation Army
01:29:51 - Technotronic - Pump Up The Jam
01:32:19 - David Guetta Vs. David Bowie - Just for one day (from Heroes)
01:37:02 - Jaydee - Plastic dreams
01:39:33 - Ferenc - Yes Sir, I Can Hardcore
01:42:24 - Van Halen - Eruption
01:43:11 - Sonic Youth - Kool Thing
01:46:24 - Serge Gainsbourg - Requiem pour un con


Tiga Live @ Studio 88 10-03-2006

Malente @ Sputnik Intensivstation 2004



Enjoy the music! oh i have some old flyers to upload when i get my scanner working.

cheers.

Links dont work

SWEET! I can't wait to start downloading. The links seem fine to me.
Thanks man.

oh, now I see. Some of the files are no longer available on megaupload. I sure would love to hear that 2 many djs in france mix.