Lil Baby. Money Man. Young Jeezy. Boosie Badazz. Wiz Khalifa. Lil Durk. Young Thug. Moneybagg Yo. Rick Ross. YFN Lucci. Kodak Black. Big Sean. Mixtapes LiveMixtapes was established in with the mission of bringing mixtapes from every corner of the country to the internet.
Since then we have become the foremost website to premiere mixtapes for DJ's, Artists, Labels and Producers. Highly curated content and the support of independent artists has made our platform the best in the music mixtape industry. Now with the support of our full featured mixtape app for iOS and Android! Get the App! DJ MLK. Face-Card New. Logic - Twitchtape Vol. Future - High Off Life. Drake - Dark Lane Demo Tapes. The album was released in , by Egyptian Empire Records. It charted on Billboard's Pop Albums chart.
Ron C. It Takes Two. It was released on August 9, through Profile Records. Back in Bass. Jam On It. Somethin' Nasty. Kool Moe Dee. It was released in through Jive Records, making it his first compilation album on the label. The Geto Boys. Geto Boys. The Geto Boys is a remix album by the Geto Boys released in late The album contains one track from the group's debut album Making Trouble, 10 from its previous album Grip It!
On That Other Level, and two new songs. The cover of the album resembles The Beatles' album Let It Be, and the songs attracted much controversy upon the album's release. It Takes a Thief. It Takes a Thief is the debut studio album by American rapper Coolio. It was released on July 19, , on Warner Bros. The album received praise for bringing a humorous and lighthearted perspective to the often violent and profane themes of typical gangsta rap.
The song received regular airplay on MTV and became his breakout hit, peaking at No. But there are all sorts of reasons for not doing that, not least because it is probably illegal.
Everything we do is intelligence led. Before every raid, indepth research is carried out. They are generally pathetic. You should see them when we get them back to the station. In a sense, they are almost the underclass of the criminal world, small- timers. They are never part of the gangs who actually import the stuff, which makes it extremely difficult to infiltrate any gang from the bottom up. You might not be the target, but you are breaking the law. The last club we raided on a big scale we picked up quite a few non-dealers, but the situation there was outrageous.
Hundreds of people were queuing for miles to get to toilet cubicles where one of the security was selling drugs. They know that we know who they are, and we know the firms too. His Bill proposed enabling the police to shut down a club extremely quickly within a matter of days after raiding it and finding evidence of drug dealing. In a free vote in the House, the Bill was only superficially amended before being passed by Parliament and becoming the Public Entertainments Licences Drug Misuse Act The Act means, in theory at least, that clubs can be closed for good by having their licences revoked by the local authority which granted them, if any drug dealing is found to have taken place on the premises, whether or not the club-owners were involved.
The clubs then have 21 days to appeal. The police like the new legislation because it means that instead of having to wait two years to close down a club they want shut as in the case of Wandsworth's defunct Club UK , they can close it within an estimated two days. It's a tough legal proposition, dangerously draconian even.
Happily, though, the authorities are aware of this, and are working on a set of guidelines with interested parties to determine how this will work. The Act will not come into force until all the parties have reported back to the Home Office.
Among the ideas circulated in a draft consultation document to the Act which was obtained by Muzik from the Home Office , are many excellent recommendations saying that the people who run clubs must provide cool spaces, drinking water, information on the dangers of drugs and training of door staff, search policies, first aid and other security measures. More importantly, from a legal perspective, however, is how and when these groups recommend that a club should be closed.
We are keen to see the policy guidelines that are being prepared. We need guidance, as the possibility of closing hundreds of clubs down is a virtually unworkable, off-the- wall idea. Anybody who tried that would instantly be faced with immense practical and legal complications. I can understand that the people who run clubs are concerned, but if they co-operate with us, they have nothing to fear.
It is perfectly possible to run a successful, profitable dance club within the framework of the law. More interesting is what the Act signals to many clubbers of an older generation. That club culture has finally become an abused mass-market commodity, popularised to the point of bastardisation and extinction.
That its popularity with the unthinking classes will kill it. You could argue that the underground will always end up as the mainstream and that it's everybody's right to have access to clubs and house music, whether in London or Bognor Regis, but greedy promoters and unscrupulous dealers marketing corrupted wares to ignorant teenagers must accept a huge share of blame for clubland's problems.
The present official climate against dance music and its associated problems is due to them. Perhaps many of those who have tragically died in Ecstasy- related incidents should never have been allowed access to drugs in crass, suburban nightclubs in the first place. If you can't understand the music, as many surely couldn't, what's the point in going "clubbing"? Perhaps that makes me a fascist. Perhaps the Ecstasy generation really is dead. A punt serenely glides away from the Magdalen College jetty with the gentle lapping of ripples spiralling through the twinkling waters of Old Father Thames.
The occupants, wearing cricket whites, blend perfectly with the gentleman's game snoozily taking place over in the meadow. Concentrating hard, the man with the pole takes another mighty stab into the water.
It's man overboard as he leaves the punt pole-vault style but thankfully a grassy knoll is on hand to cushion his landing. The puntsman's name is Diesel. Sitting in his vessel are Ashley Beedle and his young son, Harry. Over in a booze-stacked rowing boat ahead, oarsman Rocky and Dave Hill are laughing hysterically. By the time we return to base it's become more like a scene from "Apocalypse Now" or the crossing to Hades.
On a quiet, hot afternoon in May, Oxford has gone Ballistic. So when it was time to talk to the Ballistic Brothers about their new album, first instincts were to avoid the usual hooligans-in-the-pub, last-gang-in-town Laandaan setting. Why not go for the direct opposite of the grimy streets and big city noise? Why not. As English as you like, tradition, with alcoholic any sort of category the press has come up with, trip hop or whatever.
I think those guys are wankers. They're all essential Ballistic ingredients but in the most unlikeliest of settings.
Thing was, we hadn't accounted for the fact that the assembled crew knew bugger all about this boat business. By the time we straggle back to base, Diesel is standing at the wrong end of the punt wielding his pole like a high-wire walker while lensman Vincent at the dour, unsmiling face of dance music, it was me. So to the album, "Rude System". With the disparate characters involved you could have expected a welter of nu house, New York boogie, a smattering of drum Ft bass, a dash of hip hop and some easy skanking tributes.
Ashley's singing the "Hawaii Five-0" theme y he new a b U m forages into the future by paying homage to the and Harry's cackling his head off. But that's the messy aftermath which resulted in me falling asleep on the bus back to co d electronic bombast of today. Then, fuelled by the spirit of dub, the Aylesbury, waking up in the bus depot and facing a three-mile walk home with a small mixing desk is carved into a technicolour spew-stream of Jamaican-inspired interruption from the local constabulary.
We convene on a strategically placed blanket, crack open shjne jnt0 an intricate Pandora's box of musical delights which avoids blandness by virtue of the fact that it is being committed by hooligans. It's certainly not your normal dance album, even in light of the supposed "ecleticism" that now dumps its own new set of cliches onto impressionable young heads. First into the fray is Mr Beedle, who, being the articulate orator and narrator he is, does most of the talking as the others interject, colour or guffaw.
Ash: "Is it a dance album? I don't know. I suppose the remixes would be. You can dance to it in a funny way, if you want to. All music is dance music really. This idea that dance music has got to fit into say, 10 genres which have been invented by the press. Nah, this is just a complete album. I live on Uxbridge Road, Middlesex. I live. It came at a time when we needed to say to people, This is where it all comes from'!
This album. I'm not sure where it all comes from because there's no concept to it. Rocky: "Hay Fever, mate. Sorry about that. When he went, it was a kind of mental catalyst. It was at that point we decided we had to make something quite mad. Something which had no roots. There's no drum Ft bass on it. Our Grateful Dead. Loads of vinyl and a keyboard player. That's the Ballistic Brothers. I think Future Sound Of London proved that.
Ash: '"Rule Of The Bone'. I am the trainspotter king! Oh yes I am! They did it on a Scream tip so this is the Ballistics tip. I So we went down the pub and left him in the studio with James our engineer. Two hours later we came back and he'd done it and buggered off! We just sat down and worked out our beats and that was it. It was just totally freeform and that's how I think John would've wanted it.
Wedid a part two which goesall Indian. Ash: "Uschi [Classen, now embarking on a solo career]. TJ on bass. A cast of literally thousands. If Ashley's listening to a Jean-Luc Ponty album in the morning it could be 'I've had this blinding string idea' and we'll do that.
I mightsay, 'I've got this to go with that' and Rocky'll go, 'I've been listening to this and that might go'. That's the creative process. It's called Rocksteady.
With Dave and Diesel not being strong musicians, they're having to rely on what they've got on vinyl. Me and Rocky aren't strong musicians either but we can articulate it better, taking their ideas and, along with the musicians, making it into a whole. That's worked really well. There's a cheese one and a ham one.
That influenced our vibe in making the album. There'sa definite reggae attitude, it'stotal roughness. There was a lot of shit we were pulling out of the air when we were making the album.
They might decide that they wanna stick us into trip hop. What they bring to us is nothing unless your name's Squarepusher or Luke Vibert. Where we're coming from is black music. Black music is the root and that's that. We'll lay all the other influences on top of that. That is the basis of all dance music. Fuck it, I love being a tra inspotter. Phone calls at nine in the morning going, 'You've got to hear this seven I got last night'.
There's nothing wrong with talking about things that get you excited. Diesel: "In my opinion, too many people take music, themselves and everything that they do far too seriously.
Meanwhile, Dave is finding Nuphonic hotter with every release and spinning all over the place. It's almost like the Ballistics provides the fun break, their very own social club.
We have our little niggly arguments but you get that whenever a bunch of people try to make music together. The thing is, it got done and it got done nicely. We got to love more things. For instance, me and Diesel freaking off every Wu-Tang record that came out. They hang out at the pre-Full Circle Queens club. Lifelong friendships formed. In 1 Rocky and Diesel gain a reputation for their commitment to real house music and consequently hit the DJ big league. Ashley, Rocky, Diesel and Dave convene in a London studio and, merely intent on establishing an outlet for their instrumental hip hop tendencies, start the Ballistic Brothers with keyboardist Uschi Classen.
He starts a record label called III Sun in Dave Hill starts Nuphonic Records in almost like a reaction against the rampant cheese and oberbanging infesting clubland. And who are we to argue? Spacey atmospherics, slices of easy listening, funky Kung Fu grooves, laid-back beats and the odd clash of wah- wah guitars with minimal distorted vocals are splattered throughout the grooves.
One for the open minded connoisseur. Ash: "That's what it's gonna be, people we like doing tracks for us for bugger all! Almost like a little community of people that appreciate each other. We had David Byrne ring us up asking to get the Ballistics to go live with him on tour. We can't, but he wants to collaborate. To us that's a dream come true because we've always spunked over Talking Heads.
We'd love to do something with David Byrne. It was a good idea and hats off to them for taking the chance but in the end it didn't work. It's all very well saying educate them and get back to basics but Cream had already established its crowd and we were being a bit romantic about it. The idea was we'd be the residents in the main room and maybe try and educate as well as entertain but after a few weeks we realised that serious house heads aren't necessarily going to come along. You can't blame them.
The average age there is about 20 years old. When you're young you do pills. We did pills with acid house. They're doing pills with Euro trance. They come from these little towns and they just want what they've heard on Radio One!
We retire to a nearby pub and talk for another three hours. And the conversation is all about music, funnily enough. Ash: 'The nice thing about it is, first and foremost we are good friends outside of the music thing.
If that got between us and the music I think I'd knock musicout the window. If I was asked what was my favourite project was out of everything I've done, I'd have to say the Ballistic Brothers because they're my mates. We always have a laugh. What was best about recording the album was down the Lord Palmerston at lunchtime! It's here that John Beltran paints the fragile colours of his music.
Beltran first emerged onto the techno scene back in with "Aquatic" on RetroActivc. He'd been an one-time regular at Detroit's legendary Music Institute and had spent time clubbing in Chicago as well, but the tones and shapes of "Aquatic" suggested a uniquely individual take on modern electronics. Shades of jazz, classical and Latin music he'd grown up listening to Tito Puente, Ruben Blades and John Coltrane whispered through the mix.
These influences were confirmed on the three-track outing which followed soon afterwards on Sinewave before Beltran decided to go into hibernation. For a time, he stopped writing music altogether, but gradually returned to it, eventually crafting the elegiac moods that made "Earth Et Nightfall" such a distinctive treasure. Last year's bitter-sweet opus "Ten Days Of Blue" built on the successes of his first album with sharp rhythms and achingly pure digital sounds flooding through dreamy sequences and subtle chord shapes.
He pushes the energy of techno into soft, vulnerable emotions, painting rhythms across canvases which can be so pretty they make you cry. I can talk better with music. Beltran's next project will be his forthcoming "Moving Through Here" album, due on RaS later this year.
Until then, there's "The Cry" and, of course, his new-found hobby as a soccer player. I'd really like to get involved with that. Just listen to their "War And Peace" collaboration from V Recordings' "V Classics" album , where reductive beats and ultra-charged bass revolve around an axis which is channelled straight into your belly.
In many ways though, it's hard to extract their individual output from the Full Cycle spherical whole. One of the first things Die and Suv are quick to point out is that they are both integral parts of a single unit. Or sometimes it'll happen the other way round. I couldn't really say what it is exactly that makes it work though. Butjust who are Source Direct? The two figures behind such menacingly dark opuses as "Black Rose" and "Call Et Response" are certainly not averse to making the odd bold claim about themselves.
But after that there were no new tunes coming along to back those first releases up. That's why we had to step in and do it. So let's get those background facts out of the way. Hailing from Hertfordshire, Source Direct are bred from the same culture of fractious suburban backlash as fellow Science labelmate, Photek.
In their teens, Jim and Phil were already putting on their own raves. Called Epitany, its hybrid make-up of epitome and epiphany was a more than apt description. A ramshackle underground set-up, it was an affair which neatly summed up the vibe which initially nurtured the Source Direct phenomenon. As Jim explains, they are both simply on a "mission of life" and will surface when the time is ready. Operating from a home studio bulging with cutting-edge technology, Phil and Jim are developing a sound which easily defies categorisation.
It's the sound of a dysfunctional future which is littered with dead cities, nuclear landscapes and raving hardcore chaos. A few years back, hardcore was the vibe of the whole nation and we want it to be like that again. I really like tasee people getting off their heads and losing it, but there's just not much of that around at the moment.
We want to be right at the very forefront of the next generation of madness. Suv, however, remains off-hand about his previous fame. Although Die and Suv both have backgrounds immersed in hip hop culture, it was at these "dodgy" raves that, alongside Size and' Krust, they began to find their true sonic identity.
Jumping in cars every weekend, their journeys would inevitably take them to Exodus, Circus Warp and Spiral Tribe's free parties, where they were more than primed to absorb the new sounds which were emerging as breakbeat began to adopt reggae influences.
You could write a list that goes on forever. Then he hustled his own label, London Something, virtually out of thin air, although he was working for another one at the time. One thing Ron didn't hustle, however, is his current seven-album deal with RCA. Which means that, after over a decade behind the decks of jungle's landmark clubs, 1 finds Ron compressing his rave-thru-to-drum Et bass education onto vinyl, the results of which he describes as "hard but musical".
A mascot for seminal jungle club, Roast, where he first played on Christmas Eve in 1 yet another hustle, after the DJ who was originally booked failed to show and has been a resident ever since. It was here that Ron became one of the first to realise the cataclysmic impact of jungle. But Roast has survived through thick and thin purely because of its party vibe. And it's here that the true circumference of Ron's sonic compass is now emerging.
If you're looking for some easy reference points, Ron mentions Quincy Jones, the Wu-Tang, DAngelo and even Jamiroquai as artists who all "use unorthodox methods". Just like an unwritten book. And you can be equally confident that DJ Swift's name would come up too. Holding forth from studios in disused flats all over London since 1 , you can still tune into Swift, rolling out fresh cuts from V and Ram as he continues to mine the underground vibe.
From jump up to dark, I've got it all covered. Diamanter: Talet. Australian Pop of the 70s: Get That Jive. Tokyo Disneyland Music Album. One Hit Wonders [Horizon 2]. Jsem Pry Blazen Jen.
Party: The Definitive Collection. Ray Dorset. Primary Artist, Engineer, Arranger. Blood of the Snake. Derek Sherinian. Wedding Crashers. The World of Oldies's Thekenhits. The Top 20 of Disco. The 70's Album [Castle Pulse]. Supergroups of the 70s [K-Tel]. One Hit Wonders [Disky]. Massive Party Hits. Love Story. George Lam. Hard to Find Hits of the 70's. Glam Greats: 20 Seventies Stompers. Friend N Fellow. Best of Reggae [EMI]. Baby Jump: The Definitive Collection. Ain't That Loving You.
Ken Boothe. Trojan Sunshine Reggae Box set. Trojan Seventies. The Best of the Polydor Years. Everyone's a Winner: 60 Original No. Everyone's A Winner: 20 Original No. Essential Shaggy. Endless Summer: Sunny Days. Celebration Party Mix. Calypso Favourites. Caribbean Allstars. Boombastic Hits. Adults Only. Trojan Carnival Box Set. The Sunshine Collection. The British Are Coming. Stars on 45 [K-Tel]. One Hit Wonders. History of Rock, Vol.
Elite '80s. Disco Box Vol. Cover the World. Biggest Hits of Summer. All Your Disco Favorites. The Best of the Atlantic Years. Herbie Mann. Sounds of the Seventies [Castle]. Reggae Sunshine. The Countdown Singers. Pop Goes the 70's [K-Tel]. Non-Stop Party Album. Jukebox Hits of the '70s [Collectables].
Golden Greats: Greatest Love Songs. Flashdance [K-Tel UK]. Flashback: The Seventies. First Days of Disco. Eighties [Rajon CD 5]. Eighties Complete, Vol. Drew's Famous Island Party Jams. Drew's Famous. Disco Divas: Birth of Girl Power. Sahara - Love So Fine. Legion - Guarantee. One On One - Gotta Thang. Gloria D. Klymaxx - Wild Girls. Cutty - Naughty Times.
Jonathan Butler - Overflowing. Jazzy Dee - Get On Up. Private Joy - Cooling Out. Masterpiece - I Can't Wait. The Horn Section T. Cool Runners - Play The Game. Charades - Gimme The Funk.
Direct Drive - Pass The Paper. Margie Joseph - Knockout Frankie Rodriquez hansom re-edit. Carl Anderson - Magic.Established in with the mission of bringing mixtapes from every corner of the country to the internet. Since then we have become the foremost website to premiere mixtapes for DJ's, Artists, Labels and Producers. Highly curated content and the support of independent artists has made our platform the best in the music mixtape industry.