But more so than The Georgia Satellites, Fats Domino is really who got Kenny excited when we talked about music. And who can blame him...Fats got it going on.
Change One Thing
9 years ago
Thursday, July 28, 2011
Georgia Satellites - Keep Your Hands To Yourself
Had lunch at Shopsin's today (what a surprise) and got to talking about music with Kenny...and The Georgia Satellites came up. Pretty much a direct derivation of Chuck Berry, no?
I got a little change in my pocket going jingle lingle ling
Want to call you on the telephone baby I give you a ring
But each time we talk I get the same old thing
Always no huggin no kissin until I get a wedding ring
My honey my baby dont put my love upon no shelf
She said dont give no lies and keep your hands to yourself
Cruel baby baby baby why you want to treat me this way
You know Im still your lover boy I still feel the same way
Thats when she told me a story bout free milk and a cow
And she said no huggin no kissin until I get a wedding vow
My honey my baby dont put my love upon no shelf
She said dont hand me no lies and keep your hands to yourself
You see I wanted her real bad and I was about to give in
Thats when she started talkin true love started talkin about sin
I said honey Ill live with you for the rest of my life
She said no huggin no kissin until you make me your wife
My honey my baby dont put my love on no shelf
She dont hand me no lies and keep your hands to yourself.
I got a little change in my pocket going jingle lingle ling
Want to call you on the telephone baby I give you a ring
But each time we talk I get the same old thing
Always no huggin no kissin until I get a wedding ring
My honey my baby dont put my love upon no shelf
She said dont give no lies and keep your hands to yourself
Cruel baby baby baby why you want to treat me this way
You know Im still your lover boy I still feel the same way
Thats when she told me a story bout free milk and a cow
And she said no huggin no kissin until I get a wedding vow
My honey my baby dont put my love upon no shelf
She said dont hand me no lies and keep your hands to yourself
You see I wanted her real bad and I was about to give in
Thats when she started talkin true love started talkin about sin
I said honey Ill live with you for the rest of my life
She said no huggin no kissin until you make me your wife
My honey my baby dont put my love on no shelf
She dont hand me no lies and keep your hands to yourself.
Saturday, July 23, 2011
Friday, July 22, 2011
Beavis and Butthead | Sneak Peek
A full year after it was announced, here's a sneak peek of the new Beavis and Butthead due to premiere in October 2011:
Get More: Beavis and Butt-Head, MTV Shows
Tuesday, July 19, 2011
Beastie Boys - Don't Play No Game That I Can't Win (Full Length)
Official Full Length, Ultra HD and Explicit Director's Cut music video for Beastie Boys "Don't Play No Game That I Can't Win (featuring Santigold)" off their album Hot Sauce Committee Part Two.
Directed by the legendary Spike Jonze.
Production Company: Oscilloscope.
Producer: Samantha Storr
Friday, July 15, 2011
Thursday, July 14, 2011
Wednesday, July 13, 2011
Dock Ellis & The LSD No-No
It's a few years old, but still a sweet little animated doc about Dock:
Dock Ellis & The LSD No-No -- An Animated Short Documentary! In celebration of the greatest athletic achievement by a man on a psychedelic journey, No Mas presents the animated tale of Dock Ellis' legendary LSD no-hitter. The piece's unorthodox origins are nearly as compelling as the short film itself. And that's saying something.
Thanks to an unusual partnership between entertainment and apparel brand No Mas, artist turned animator James Blagden, sports culture guru Chris Isenberg, and journalists Donnell Alexander and Neille Ilel, who interviewed Ellis before his untimely death in 2008, the film combines the former Pittsburgh Pirate's own account of the 1970 no-hitter he pitched while high on LSD with Blagden's totally original visual style.
The making of the film is a testament to the creative possibilities of the Internet age. In the spring of 2008, radio producers Donnell Alexander and Neille Ilel, recorded a 2-hour interview with Ellis -- possibly his last before his death later that summer -- in which the former Pirate right hander gave a moment by moment account of June 12, 1970, the day he no-hit the San Diego Padres.
Alexander and Ilel's original four-minute audio documentary appeared March 29, 2008 on the public radio program "Weekend America". In early 2009, Isenberg stumbled upon the audio archive of the piece at the show's Web site and commissioned Blagden to create an animated film around the original audio.
The resulting animated short has been hailed as, among other things, among the greatest baseball films ever.
Dock Ellis & The LSD No-No -- An Animated Short Documentary! In celebration of the greatest athletic achievement by a man on a psychedelic journey, No Mas presents the animated tale of Dock Ellis' legendary LSD no-hitter. The piece's unorthodox origins are nearly as compelling as the short film itself. And that's saying something.
Thanks to an unusual partnership between entertainment and apparel brand No Mas, artist turned animator James Blagden, sports culture guru Chris Isenberg, and journalists Donnell Alexander and Neille Ilel, who interviewed Ellis before his untimely death in 2008, the film combines the former Pittsburgh Pirate's own account of the 1970 no-hitter he pitched while high on LSD with Blagden's totally original visual style.
The making of the film is a testament to the creative possibilities of the Internet age. In the spring of 2008, radio producers Donnell Alexander and Neille Ilel, recorded a 2-hour interview with Ellis -- possibly his last before his death later that summer -- in which the former Pirate right hander gave a moment by moment account of June 12, 1970, the day he no-hit the San Diego Padres.
Alexander and Ilel's original four-minute audio documentary appeared March 29, 2008 on the public radio program "Weekend America". In early 2009, Isenberg stumbled upon the audio archive of the piece at the show's Web site and commissioned Blagden to create an animated film around the original audio.
The resulting animated short has been hailed as, among other things, among the greatest baseball films ever.
Greg Wilson - GARDEN FESTIVAL POOL BOAT PARTY CROATIA 10.07.11
GARDEN FESTIVAL POOL BOAT PARTY CROATIA 10.07.11 by gregwilson
Live mix recorded onboard the Argonaughty off the coast of Petrčane in sun-drenched Croatia during the Garden Festival 10.07.11.
Live mix recorded onboard the Argonaughty off the coast of Petrčane in sun-drenched Croatia during the Garden Festival 10.07.11.
Greg Wilson - Teenage DJ Project
Teenage DJ Project by gregwilson
Teenage DJ aka Greg Wilson ‘I Was A Teenage DJ Pt 1’ (extended)
119 bpm
Previously limited vinyl only:
http://www.discogs.com/Teenage-DJ-Teenage-DJ-Disco-Best/release/482206
http://www.discogs.com/GW-I-Was-A-Teenage-DJ-Pt-1-Extend/release/1547862
The Teenage DJ project was something that organically came together from the time I initially started using a computer at home, around the end of the 90’s. It developed out of the sketch ideas I was doing at the time in order to learn how to master the basics of the music programs I wanted to work with, particularly Acid. Before I knew it, there were a dozen or so of these sketches, and the idea of a project began to form. Over the next couple of years the amount of sketches would grow to around 30 or so, at which point, in 2003, I put the project on the backburner while I directed my energies into setting up www.electrofunkroots.co.uk , before returning to the clubs at the end of the year, where I began to play some of the more dance-based TDJ grooves I’d put together, like ‘Glorious’, ‘Time And Place (Disco Break)’ and, most notably, ‘I Was A Teenage DJ Pt 1’, built around the intro of KC & The Sunshine Band’s 1977 single ‘I’m Your Boogie Man’, which dated right back to when I actually was a teenage DJ, back in my Merseyside hometown of New Brighton.
The response to them was so positive that, in 2005, I decided to press up a four track 12”, which I called ‘Teenage DJ Disco Best’ (borrowing its title, and the ‘Disco’ logo from a promo I received back in 1978 called ‘Kraftwerk’s Disco Best’).Given that all the TDJ tracks were quite short I decided to extend ‘I Was A Teenage DJ Pt 1’, creating a reprise and adding a couple more minutes for the dancefloor.
This would turn out to be something of a landmark track for me, becoming an underground favourite, most rewardingly on a personal level in New York. At this point all my bookings were still in the UK, but, with the first volume of Credit To The Edit imminent things began to shift up a gear for me, with Groove Magazine in Germany bringing me over to Berlin for my European return (I’d last played abroad at Mülheim in Germany in 1980, for the two months immediately before I landed my Wigan Pier residency).
Whilst in Berlin I met DJ Kaos, who’d just got back from a trip to New York. I was somewhat taken aback when he informed me that he’d heard one of my Teenage DJ tunes played a couple of times at the No Ordinary Monkey party. I was obviously intrigued as to who had picked up on it over there – New York still being a city I’d never been to, despite its overwhelming influence on me throughout the early 80’s, when the majority of tracks I was playing were on New York labels. It was one of those ‘coals to Newcastle’ feelings, and I was bowled over to know that a record I was behind had caught the interest of a DJ from the city. These were still largely pre-download days, so if you didn’t have the vinyl, you didn’t have the track to play. With Manchester’s Piccadilly Records being the only shop that originally stocked it, it had to be someone who’d managed to get a copy shipped over from there, didn’t it?
I was about to find out as the following month I made my NYC debut, going over to help promote the Credit To The Edit album with a launch at APT.It was a massive buzz to discover that all of the DJ’s I met during my weekend there had copies of the 12” packed tight in their record bags. I started doing some detective work to try to deduce who the DJ was who’d first played it there, and finally it all became clear. The first copy played in NY hadn’t come from Piccadilly, but my own promo stock.
Rewind a few months and I’m making my first festival appearance on the Isle Of Wight. I’m introduced to a couple of DJ’s who are playing on the same stage, one American (Eric Duncan), the other English (Thomas Bullock) – they collectively go by the name of Rub N Tug. I get chatting to them and we exchange good vibes and a couple of records – they give me a Beastie Boys mix they’ve done and I give them one of the copies of ‘Teenage DJ Disco Best’, which I have in my bag.
They proceed to drop ‘I Was A Teenage DJ Pt 1’ at all the underground parties they played in NYC throughout the following months, their own cult DJ status helping cultivate the ever growing cult credentials of the track. However, as it turned out, it wasn’t Rub N Tug that DJ Kaos heard, but Carlos Arias from Whatever We Want Records, who later told me;‘I played it twice at that party!I borrowed a copy from Thomas (from Rub N Tug), and ended up buying three on the internet to give away to friends.I think I wore it out here! It was my secret weapon for a bit, but those days are over’.
I generally cross paths with Thomas and/or Eric somewhere around the globe a couple of times a year, most regularly at the Garden Festival in Croatia, where I head this weekend. I’m always thankful for that first meeting with them on the Isle Of Wight, for otherwise it’s doubtful the 12” would have caught fire in New York as it did, or at least not as quickly as it did, allowing me to arrive at exactly the right time, with it still smouldering from that first wave of attention. So I raise my cup to Rub N Tug, and all who sailed with them.
The ‘Teenage DJ Disco Best’ 12” would become a DJ favourite far and wide, both at this early point and later via subsequent re-pressings, all four tracks picking up plenty of plays. In 2008 ‘I Was A Teenage DJ Pt 1’ would re-emerge, having been pressed up back to back with another landmark tune for me, my Imagination / Missy Elliot mash-up, ‘Gotta Keep Workin’ It’, for the first Reactivate 12”. It’s something I’ll always return to from time to time, given its special place in my DJ heart – it’s the groove that keeps on giving.
Greg Wilson – July 2011
Teenage DJ aka Greg Wilson ‘I Was A Teenage DJ Pt 1’ (extended)
119 bpm
Previously limited vinyl only:
http://www.discogs.com/Teenage-DJ-Teenage-DJ-Disco-Best/release/482206
http://www.discogs.com/GW-I-Was-A-Teenage-DJ-Pt-1-Extend/release/1547862
The Teenage DJ project was something that organically came together from the time I initially started using a computer at home, around the end of the 90’s. It developed out of the sketch ideas I was doing at the time in order to learn how to master the basics of the music programs I wanted to work with, particularly Acid. Before I knew it, there were a dozen or so of these sketches, and the idea of a project began to form. Over the next couple of years the amount of sketches would grow to around 30 or so, at which point, in 2003, I put the project on the backburner while I directed my energies into setting up www.electrofunkroots.co.uk , before returning to the clubs at the end of the year, where I began to play some of the more dance-based TDJ grooves I’d put together, like ‘Glorious’, ‘Time And Place (Disco Break)’ and, most notably, ‘I Was A Teenage DJ Pt 1’, built around the intro of KC & The Sunshine Band’s 1977 single ‘I’m Your Boogie Man’, which dated right back to when I actually was a teenage DJ, back in my Merseyside hometown of New Brighton.
The response to them was so positive that, in 2005, I decided to press up a four track 12”, which I called ‘Teenage DJ Disco Best’ (borrowing its title, and the ‘Disco’ logo from a promo I received back in 1978 called ‘Kraftwerk’s Disco Best’).Given that all the TDJ tracks were quite short I decided to extend ‘I Was A Teenage DJ Pt 1’, creating a reprise and adding a couple more minutes for the dancefloor.
This would turn out to be something of a landmark track for me, becoming an underground favourite, most rewardingly on a personal level in New York. At this point all my bookings were still in the UK, but, with the first volume of Credit To The Edit imminent things began to shift up a gear for me, with Groove Magazine in Germany bringing me over to Berlin for my European return (I’d last played abroad at Mülheim in Germany in 1980, for the two months immediately before I landed my Wigan Pier residency).
Whilst in Berlin I met DJ Kaos, who’d just got back from a trip to New York. I was somewhat taken aback when he informed me that he’d heard one of my Teenage DJ tunes played a couple of times at the No Ordinary Monkey party. I was obviously intrigued as to who had picked up on it over there – New York still being a city I’d never been to, despite its overwhelming influence on me throughout the early 80’s, when the majority of tracks I was playing were on New York labels. It was one of those ‘coals to Newcastle’ feelings, and I was bowled over to know that a record I was behind had caught the interest of a DJ from the city. These were still largely pre-download days, so if you didn’t have the vinyl, you didn’t have the track to play. With Manchester’s Piccadilly Records being the only shop that originally stocked it, it had to be someone who’d managed to get a copy shipped over from there, didn’t it?
I was about to find out as the following month I made my NYC debut, going over to help promote the Credit To The Edit album with a launch at APT.It was a massive buzz to discover that all of the DJ’s I met during my weekend there had copies of the 12” packed tight in their record bags. I started doing some detective work to try to deduce who the DJ was who’d first played it there, and finally it all became clear. The first copy played in NY hadn’t come from Piccadilly, but my own promo stock.
Rewind a few months and I’m making my first festival appearance on the Isle Of Wight. I’m introduced to a couple of DJ’s who are playing on the same stage, one American (Eric Duncan), the other English (Thomas Bullock) – they collectively go by the name of Rub N Tug. I get chatting to them and we exchange good vibes and a couple of records – they give me a Beastie Boys mix they’ve done and I give them one of the copies of ‘Teenage DJ Disco Best’, which I have in my bag.
They proceed to drop ‘I Was A Teenage DJ Pt 1’ at all the underground parties they played in NYC throughout the following months, their own cult DJ status helping cultivate the ever growing cult credentials of the track. However, as it turned out, it wasn’t Rub N Tug that DJ Kaos heard, but Carlos Arias from Whatever We Want Records, who later told me;‘I played it twice at that party!I borrowed a copy from Thomas (from Rub N Tug), and ended up buying three on the internet to give away to friends.I think I wore it out here! It was my secret weapon for a bit, but those days are over’.
I generally cross paths with Thomas and/or Eric somewhere around the globe a couple of times a year, most regularly at the Garden Festival in Croatia, where I head this weekend. I’m always thankful for that first meeting with them on the Isle Of Wight, for otherwise it’s doubtful the 12” would have caught fire in New York as it did, or at least not as quickly as it did, allowing me to arrive at exactly the right time, with it still smouldering from that first wave of attention. So I raise my cup to Rub N Tug, and all who sailed with them.
The ‘Teenage DJ Disco Best’ 12” would become a DJ favourite far and wide, both at this early point and later via subsequent re-pressings, all four tracks picking up plenty of plays. In 2008 ‘I Was A Teenage DJ Pt 1’ would re-emerge, having been pressed up back to back with another landmark tune for me, my Imagination / Missy Elliot mash-up, ‘Gotta Keep Workin’ It’, for the first Reactivate 12”. It’s something I’ll always return to from time to time, given its special place in my DJ heart – it’s the groove that keeps on giving.
Greg Wilson – July 2011
Monday, July 11, 2011
The Velvet Underground - I Can't Stand It Anymore
It's hard being a man
living in a garbage pail
My landlady called me up, ooohhh
she tried to hit me with a mop
I can't stand it anymore more
I can't stand it anymore more, oh
I can't stand it anymore more
But if Shelly would just come back
it'd be all right
Yeah, if Shelly would just come back
it'd be all right, come on baby
I live with thirteen dead cats
a purple dog that wears spats
They're all out livin' in the hall
and I can't stand it anymore
I can't stand it anymore more
I can't stand it anymore more
I can't stand it anymore more
But if Shelly would just come back
it'd be all right
Ooohhh, if Shelly would just come back
it'd be all right, be all right now
Ah, come on baby
I'm tired of living all alone
yeah, nobody ever calls me on the phone
But when, ah, things start getting bad, ah
I just play my music louder
I can't stand it anymore more
I can't stand it anymore more
I can't stand it anymore more
Thursday, July 7, 2011
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