PLAYLISTS

SUITE GROOVES NEW RELEASE #4

Track Listing

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Transcript:

Sharif 0:00
Hello and welcome to Suite Grooves New Releases. This is edition number four. I’m Sharif and I’m Galleon. We’ve got a whole heap of new music to play you as we do every month on Suite Grooves. But let’s start off with some of the tracks from the albums. But we’re going to start off with a track that’s actually been on high rotation, The Quakers album, you know I told you I still haven’t taken it off high rotation, but now they’ve one of the tracks the reason why it’s still in high rotation is the track with Sampa The Great called Approach With Caution. It’s been released as a single with a remix, it’s called the Stalag Riddim Remix, and here it is

Galleon 0:50
You’re listening to Suite Grooves.

*Some New Music:
Quakers feat Sampa the Great – Approach With Caution (Stalag Riddim Remix)
King Tide – The Cool Place
The Allergies, Lyrics Born – Going to the Party (Extended Mix)
Pecoe – For The Funk
Matt Berry feat Emma Noble – Beatmaker
Lance Ferguson – New Morning (Rare Groove Spectrum, Vol. 2 LP)
The King Rooster – Stickin’ It
Tim Carman Trio – Blues For Bob
Nina Simone – Be My Husband (Hot Chip Remix)
Lady Blackbird – Blackbird (Black Acid Soul LP)
Bonobo feat Jordan Rakei – Shadows (Fragments LP)
Lady Wray – Piece Of Me (Piece Of Me LP)
Taggy Matcher feat LMK – Push Push
Flight Facilities feat Your Smith – Heavy’ (Harvey M Remix)
The Diasonics – Andromeda (Origin Of Forms LP)
The Grease Traps – Solid Ground (Solid Ground LP)
Flushmaster Soup – Humanoid Terror
PulpFusion – Going Nuts

Galleon 47:56
You’re on Suite Grooves with Galleon and Sharif and hope you enjoyed that little little sojourn down a number of different genres and we’ll go through what we played from the top. We had Quakers, featuring Sampa The Great, Approach With Caution with Stalag Riddim Remix on a reggae tip.

Sharif 48:17
Yeah, and continuing the reggae tip is King Tide. Their new single is called The Cool Place. That guitar solo! What do you think of that guitar solo?

Galleon 48:27
Pretty cool. Hey, it’s pretty sweet. And I can’t wait to hear the new stuff. You know, given that how good that is. But what I just want to go back to the first track. What I don’t know if you know this, but Sister Nancy is actually playing here in a couple of weeks. In Mullumbimby

Sharif 48:46
Yeah. What is it, Blues and Roots or?

Galleon 48:49
No, it’s a Thursday night. I think it’s the, The 400 The 420 crew, I think are running it or the 420 group or something they’re called. They must be a Reggae Booker. And she’s playing at the Mullumbimby, I think it’s a Mullumbimby townhall it’s on a Thursday night. coming up real soon. And listen, the reason I brought that up is because that track is heavily influenced by Bam Bam, which is one of the big Dancehall tracks of the last 30 years Sister Nancy.

Unknown Speaker 49:21
Yeah, yeah, I know. Still playing it.

Galleon 49:24
Yeah. And everyone sampled it.

Sharif 49:25
Yeah, the most famous one of course is the Groove Armada sample.

Galleon 49:32
Was that Purple Haze? No? I’m having a mental blank. I can hear it.

Sharif 49:36
No the track is Fogma.

Galleon 49:38
Ah, they did too! Fogma. Yeah. Yeah, they did. Yeah, off that I think it was Goodbye Country Hello Nightclub? Yes. Yeah, yeah, yep. Yeah, absolutely. I can hear it now. Because there was another track. Oh, there was a track called Waterman by Olav Basoski, which was like a big energetic house track from about 2004 and that sampled it too.

Sharif 50:02
I’ve heard it on so many tracks and of course, so many bootlegs. Everyone loves it. It’s it’s such a cool track and after that, well no well after that was King Tide with The Cool Place and then the Lyrics Born with The Allergies, a track that you and I both played in our mix.

Galleon 50:21
Yes, it because it’s a sweet groove. We’re not allergic to sweet grooves, it’s a tune is really really tune off their last album and yeah Lyrics Born great MC from the States, Going To The Party.

Sharif 50:43
Awesome track, although you know, it’s… you sent it to me. You forgot it was on the album, and I told you it was on the album.

Galleon 50:50
Yes I did, because it was the extended mix. I thought they got a new single out, and I didn’t I didn’t check it all. And you like yeah, um, you know, we’re, that’s we’ve already had that. Well, I mean, if you call it an extended mix, it’s what 40 seconds or something added to it.

Sharif 51:05
It’s a great track. I mean, and why not? Extra 40 seconds. But of course, here we’ve only played your snippet of it. Yeah, go check out the extended mix and the album mix and see if there’s a difference. I can’t tell the difference. I don’t know where that extra 40 seconds are exactly. Are they in the middle of the track? Are they towards the end? They just kept it going a bit longer? I don’t know. It’s a mystery.

Galleon 51:31
We’ll play it we’ll play it. It’s a good track. Yeah. As is everything that they put out.

Sharif 51:37
Yep! After that was Pecoe from Perth with For The Funk a new one on Breakbeat Paradise. And after that Matt Berry featuring Emma Noble a track called Beatmaker. Emma Noble was featured on a track with Ursula 1000 that we played, I think on the last podcast, one of his tracks that he’s been putting out every first Monday of the month, and I think it ended last month. We got another one. But we couldn’t fit it into this podcast. This track. Beatmaker. Apparently is a cover by a Swedish artist called Doris. As soon as I read it, I thought it was Doris Day, but it’s not Doris Day. It’s a Swedish… And it came out in the 60s. So that’s why it’s got that very sort of 60s feel to it, Doris and it’s not Mr. Doris who’s actually touring here in Australia at the moment. And he’s been putting out some some awesome tracks that we’ve been playing here on Suite Grooves as well. But there’s a Swedish singer called Doris and I’m assuming it’s a woman. Following on from Matt Berry and Emma Nobles’ Beatmaker we get Lance Ferguson, New Morning and that’s from his latest album, which is called the Rare Groove Spectrum Volume Two.

Galleon 52:52
Very, very good album.

Sharif 52:53
Yeah, these albums, he’s basically trying to do edits, but live, so he’s taking well known tracks and reworking them as a DJ would rework an edit. But he’s doing it with a live band.

Galleon 53:12
It’s a good concept and there’s so many like, good tracks on this, like the one I went for the one I sort of mentioned to you was Carly Simon’s Why.

Sharif 53:22
Yeah, that’s, that’s really cool. And it’s a really cool compilation (it’s actually an album, sorry slip of the tongue). I chose this one because I like that the feel of this sort of, you know, it’s got that sort of loungy sort of you know, latino, boppy reminds me of the 60s, I thought it’d be nice to come out of Matt Berry and Emma Nobles’ Beatmaker, or Doris’ Beatmaker I should say, with that track from Lance Ferguson. After that was King Rooster, a track called Stickin It. That’s from 45 Live Recordings, they put out 45s, mainly a lot of funk stuff. So this is one of them. But you can buy it digitally as well. If you don’t want to buy the 45s and they don’t force you to to pay an exorbitant amount of money, if you just want the digital.

Galleon 54:14
Tt’s happened we’ve I think we’ve had this conversation a number of times people are charging heaps

Sharif 54:21
Yeah, you and I have it all the time because I’m always complaining. I want to get a track and you know they want either 10 pounds instead of one pound 50 or two pounds for a track. But there’s a track in this mix I’ll play later. It’s Australian and the labels Australian and they finally, the reason I bought this track now is, it’s six months after it came out, is because they wanted $1,000 for the track. Otherwise you buy the seven inch vinyl for $15 and you get the digital free as part of that so yeah, I I’d rather wait for you know, I’ve just got no place to put any more records. So

Galleon 55:12
How many would you have?

Sharif 55:13
I don’t know.

Galleon 55:15
It’d be a lot.

Unknown Speaker 55:17
Yeah, look, it’s not as many as a lot of other DJs because I’ve lost a lot of records over the years moving from country to country, continent to continent. I’ve had a lot stolen. So, yeah, but since I moved from Perth 10 years ago, half my records are still packed up. So I just feel like, why should I buy any more until I can have them all out? And it’s just easier with digital files to do a show like this. The number of times. It is yeah… running trying to get a record on file? You don’t know where it is. But with with digital files, just type it in the computer. And here it is. You can play so it makes life a lot less stressful. So anyway,

Galleon 56:08
The Tim Carman Trio

Sharif 56:11
Oh, yeah, Blues For Bob, what do you reckon?

Galleon 56:13
This is cool, bit different to what we’ve been what we’ve been playing so far in the mix, but fitting in all the same.

Sharif 56:22
That’s why I love this track and builds up slowly. It actually goes for six minutes only play three minutes of it. So check out the whole thing. It’s really, really cool. And then it goes on to an old classic Nina Simone.

Galleon 56:35
Speaking of blues,

Sharif 56:38
Sorry, yes. Speaking of blues, Hot Chip did this remix, really cool remix. And then someone… Lady Blackbird follows on after Nina Simone. And I thought it was quite appropriate because as soon as I heard Lady Blackbird, I thought Nina Simone, Billie Holiday, even Erykah Badu the last time I remember I think you even mentioned Erykah Badu.

Galleon 57:05
Well, I thought Lady Wray reminded me a bit of Erykah Badu but that Lady Blackbird really that was cool, because I hadn’t heard her originals. And I got sent stuff on promo that was her singles, but they were remixes and they’re really good. And the Bruise remix of one of her tracks that we got about a year, a year or so ago was was really cool Collage, the bruise remix. But I’ve never really kind of gone into what she sounded like, as an artist and her original music. You sent me this, and I was expecting something a bit funkier but this was really nice, really deep kind of stuff. And yeah, definitely can hear the Nina Simone.

Sharif 57:52
Yeah, it’s it’s true. Old school soul, blues. I mean, it’s just, I mean, that track is called Blackbird. And, you know, she calls herself Lady Blackbird. So basically she’s singing about itself. It’s so heartbreaking when when you listen to it, but it’s it’s really soulful. It is from the soul. It’s from within the depths of her own soul, and it comes out. And the whole album. I mean, I heard that that’s the opening track of the album. And as soon as I heard that, I just, I knew that this is going to be a good album. I actually went okay. You know, just sit back, relax and enjoy this album. Because you know, when we’re listening to albums, were skipping going through it. Just trying to see how good it is. But this one, it was like bang! Highly recommended. She’s been around for a while, this is her debut. It’s taken years for her to release her debut album, which is called Black Acid Soul. Yeah, but it’s track after track. And I know you like Lady Wray more. I like them both. But Lady Blackbird, to me, it’s just I mean, it’s sort of, as I told you, reminds me of the old school singers like Nina Simone and Billie Holiday. Lady Wray uses more beats. Not in all her tracks. Like there’s one track, she dedicates to her to her to her daughter, which is just, it could almost be Lady Blackbird track. But a lot of it, she uses, you know, sort of beats as the foundation to sing over. So she’s, I suppose she’s a new version. Or a new soul singer. Which is Neo Soul.

Galleon 59:43
Yeah, yeah. Yeah, absolutely.

Sharif 59:46
And Piece Of Me when we played it, because we played this song I remember on one of the podcasts that we never released, because it came out years ago, but it’s also, she sang Piece Of Me when she was pregnant with her daughter. So there’s a few tracks on there that are to her either unborn daughter or her born daughter. And they’re beautiful. They’re beautiful to listen to.

Galleon 1:00:10
I love that album. And I think that In The Sun was was my favorite out of out of the whole album. It just had a very summery feel about it. But yeah, go listen to the whole thing as well, because I don’t think you’re going to be disappointed.

Sharif 1:00:27
True. Yeah, those two and sandwiched in between Lady Wray’s Piece Of Me, I chose that just because it’s the title track and because of what it meant, as well. As he said, the whole album is really hard trying to pick a track. And the same with Lady Blackbird. And also Bonobo has a new album out called the Fragments. And he features Jordan Rakei, or Rakei.

Galleon 1:00:53
We’ve played a few of his we like him. Yeah, we’ve the last few podcasts. He’s I think we’ve had two things with him on it. This year, at least one maybe two. Yeah.

Sharif 1:01:05
So yeah. Fragments. Another great album actually think it’s Bonobos’ Best Album, to date.

Galleon 1:01:10
Yeah, because he’s had two or three?

Sharif 1:01:13
More than that. I think I think about four, maybe even five? I’m not sure. At least three, at least three. I think. We should do our homework, Mitch before we come on here and start telling people

Galleon 1:01:26
telling people shit that that isn’t true.

Sharif 1:01:34
And after Lady Wray, we’ve got this guy called Taggy Matcher featuring LMK with a track called Push Push. Now, you might know him. He’s also known as Bruno ‘Patchworks’ Hovart, goes by the names of Voilaaa. Bruno’s, is his real name. So Bruno ‘Patchworks’ Hovart. He also goes by Voilaaa with three ‘a’s at the end. Mr. President, The Dynamics, Uptown Funk Empire, Metropolitan Jazz Affair, Da Break and a few others so he decided, and if you know any of these acts, you know that they’re all over, this sort of funky, jazzy, housey, he here he decided to go dubby and that’s on the French label, Favorite Records.

Galleon 1:02:28
It’s cool and it reminded me reminds me of Welcome to Jamrock by Damien Malley.

Sharif 1:02:33
And the it’s from an album actually called Push Push that was the title track. After that from a feature album last month or actually I think two months ago. Flight facilities the track we actually played I think a couple of podcasts ago, Heavy featuring Your Smith but this one is the Harvey M Remix.

Galleon 1:02:57
This had some cool mixes on it actually. Folamore did a nice little dub, discoy dub and there was CC:Disco an Australian artist doing pretty big things at the moment. She did a mix but that was that was the Harvey M Remix.

Sharif 1:03:13
Yeah, I’ve actually playlisted all three. All three of them.

Galleon 1:03:18
It’s a good package.

Sharif 1:03:19
Each track is awesome. I mean, each remix of the track is really cool. So and they’re all really different as well. I mean, sometimes I really, I I playlists more than one remix of the same track. But sometimes, you know, you can easily tell that they’re the same track but with these three remixes. They’re very, very different. It’ll be hard to tell that it’s actually the same track but quality three tracks.

Galleon 1:03:45
and I think Harvey M has actually changed the key and done a few things like that with it

Sharif 1:03:48
No, it sounds completely different and it’s beefed up as well like the drums are heavier. Yeah, really cool remix and as you said the other two remixes are just as cool as well. So you should really check them out as well. Following on from Flight Facilities is The Diasonics a track called Andromeda and that’s from another feature album of the month here on Suite Grooves. It’s called Origin of Forms. And then we go into another sort of, it’s blues. It’s funk. It’s blues funk. What do you think it is? Mitch? The Grease Traps?

Galleon 1:04:29
It’s funky. It’s greasy. And it’s funky. And it’s groovy. And I like it. The whole album is good?

Sharif 1:04:37
Yeah, yeah. We also played the solid, Solid Ground. We also played the title track, Solid Ground you should you should really check it out. And then after that Flushmaster Soup, which is DJ Soup. He’s been changing his name or adding some title before Soup. And it sort of confused me a little bit. I actually didn’t know it was Soup. DJ Soup. So yeah, that that’s the track that the label wanted $1,000 for. So I waited six months so yeah, sorry guys but I’d rather pay 2 bucks than a 1000 bucks.

Galleon 1:05:17
It’s not it’s not it’s not strictly a new release, but it’s new because we’ve now got it.

Sharif 1:05:23
And to finish off that mix you probably thought we finished off with the Chemical Brothers

Galleon 1:05:29
It sounded like it.

Sharif 1:05:30
Yeah, I know but it’s PulpFusion from Switzerland and a track called Going Nuts here on Suite Grooves. Alright, time to go to our first interview for this podcast. I’m speaking to Tom Drummond. Now, some of you might know, Tom Drummond, he used to be around, or Tom Drummond started DJing when I was living in Perth, he’s from Perth. So he was a young DJ coming up. And I think I got to know him first through his edits, because you know, SoundCloud was big at the time, and he was putting out quite a few edits. And then he started putting out edits for Ghetto Funk. I think he even put out an original track with Jalapeno. I remember seeing him on Jalapeno, Chop Shop and quite a few edit labels and funky breaks labels.

Galleon 1:06:27
Yeah, I used to buy some of his funky breaks. At one of my first residencies when I guess Ghetto Funk was sort of at its peak, or maybe just coming off its peak. Off Juno, I remember getting a couple of Tom Drummond things back in about 2014 2015?

Sharif 1:06:45
Yeah, actually, that’s the last time I spoke to him. Because I left Perth 10 years ago in 2012. And I contacted him two years later, because I interviewed him for DJ Magazine. So this is actually where we start the interview. I asked him what he’s been up to since then,

Tom 1:07:02
yeah, musically, I think around that stage, I was doing a lot more kind of bootleg remix, see sort of A-Skills-esque funky breaks and Ghetto Funk style music with a bit of house thrown in there also. I think I’ve kind of toned it back a bit. So not so much in your face party stuff anymore because I’m getting old. Just just for stuff that are that I just like to listen to. So it’s um, it’s kind of got like a different utility. Now you kind of you put it on and you listen to it in the car or something. Versus being overly people pleasing.

Sharif 1:08:02
As opposed to being dance floor orientated.

Tom 1:08:06
Exactly.

Sharif 1:08:10
You’ve got two projects out at the moment. Kindred seems to be a bit more like on a trip hop, Trip Hoppy edge. Laid back.

Tom 1:08:19
Yeah. Yeah. Yeah. So that’s some a project I’ve got with two others. So we’ve got James Claringbold on bass, and Mickey Gardner on the vocals. And yes, it’s just kind of, I guess, pop music with a sort of laid back feel about it. Yeah, it just is what it is, like Mickey is an absolute machine when it comes to writing lyrics. She, her full time gig is just playing Folky type tunes with a guitar. And when you juxtapose that with what I do, I found that it made quite complementary pair. And then with Jimmy, he lays down some really good grooves on the bass and that sort of completes the Kindred picture. So that’s what Kindred is all about.

*Kindred – Better Off Alone (feat Craig Wallace-Gibb)

Tom 1:11:50
the 10 Minute, 10 minute dream stuff started maybe around two years ago. It’s a lot more sort of deep sort of introspective, melodic sort of journey music, if you will. Yeah, it’s just kind of satisfying to create. So yeah, I’m enjoying. I’m enjoying both for their different qualities.

Unknown Speaker 1:12:17
But with 10 minute dream? Is that just you? Or someone else?

Tom 1:12:23
It is? Yeah.

Sharif 1:12:24
Why didn’t use your name.

Tom 1:12:28
I’ve used my name for a lot of the other stuff I used to make and seeing how different this style is I wanted to separate it from what I’ve done before, it was just kind of it’s a new sound. So I thought it warranted a new name

Sharif 1:12:48
Cool. And we were talking earlier, but I mean, as I said to you, um, I was disappointed I didn’t record it. Talking about making music these days,

Tom 1:12:56
Yeah, that sort of ties in with the, the birth of that 10 minute dream project, which was, it was music that I actually liked to make and listen to. And it sounds quite obvious. Like, why would you make anything else? But you know, there are a bunch of other reasons why why we make music and I yeah, I used to make more dance floor oriented stuff. And from time to time I still do, this is, this 10 minute dream stuff is just really more music for the sake of making music. For no other reason than that, if people like it, they like it. If they don’t, that’s all good. Because, you know, I’m just kind of focusing on me. It’s not like it makes any money so makes sense.

Sharif 1:13:48
You were explaining before saying it’s like a painter drawing a painting? You do it because you want to.

Tom 1:13:54
Yeah, that’s that’s some the analogy and like the visual arts, a painter would not I’m assuming most painters out there don’t try to go for the world’s number one painter status. The way some musicians may they, the painters are all about just expressing exactly what they’re feeling and what they want to put out to the world. And they get kind of celebrated for that. So and they don’t expect when they when they finish an artwork to be to have smoke blown up their arse just, you know it constantly. They’re just happy that they made something that they they got it out onto the canvas what they were sort of envisioning. And that was you know, the be all and end all of the venture.

Sharif 1:14:52
Perfect analogy I think

Tom 1:14:54
in the music world. I think a lot of people get sort of a little bit sidetracked in trying to maximize hits and grab everyone’s attention and stuff like that and when they don’t when it doesn’t come off then they just get dissatisfied and they just give up and walk away, which is, just seen it happen more than once.

*Ten Minute Dream – Sound Meditation

Sharif 1:19:26
I know you’ve just put out two releases which we’re playing here on Suite Grooves. Are there any anything planned coming up as well?

Tom 1:19:36
Yeah, I’ve got a whole stack of tunes with a 10 Minute Dream project. I’m just going to sort of just just slowly put them out over the course of a year or so. So maybe another five releases this year. Just small EPs like two to three tracks each. I was actually just working on one this morning and I’m quite excited about the the next two tracks that I’ve planned to put out much more sort of, they’re around they’ve got a kind of deep breakbeat feel, around 120 BPM. Yeah, I think I’m really kind of honing in on that sort of, that specific sound, so the the BPMs go from like 80 up to around 120 for that project but the vibe is always very sort of trying to keep it. It’s too hard to put into words if anyone wants to listen to it just hit up my Spotify or Bandcamp just search in 10 Minute Dream and you’ll find me. You’ll get, you’ll hopefully understand what I’m trying to say.

Sharif 1:20:59
Cool. Well, I look forward to

Tom 1:21::01
Plenty more on the way

Sharif 1:21:03
Cool. Well, I look forward to hearing it and as I would enjoy a beautiful painting I’d enjoy listening to it.

Tom 1:21:10
Cool, and if there are any artists out there that want to collaborate with some music artwork projects. I’m all for that as well.

*Ten Minute Dream – Moon Walk

Galleon 1:23:13
You’re on Suite Grooves with Galleon and Sharif and that there was 10 Minute Dream, aka Tom Drummond with Moonwalk coming out of this little interview there. And I noticed you had a good old laugh in amongst all of that. What was that all about?

Sharif 1:23:29
Well, as I said, I mean Tom started DJing when I was in Perth, and so he was a young kid starting out, you know, in Perth when he when he was saying like he’s getting old. Yeah, I couldn’t help it. Yeah, you know, I’m pretty sure he knew. That’s what I was laughing at. Because, like, if he’s old, then I’m ancient, you know, I know I’m Egyptian, but you know, I don’t have to be ancient. Yeah, look, I’m really excited that Tom is sort of making music again. I didn’t know he was putting it under different names. But I know I you know, most artists like to change what they’re doing. They like to challenge themselves. And it’s good to see that Tom is doing that as well.

Galleon 1:24:22
It’s great stuff.

Sharif 1:24:24
Awesome stuff. He’s always produced quality beats. All right, up next is our feature interview for this podcast. Mitch’s segment because Mitch is part of the This Is Not An Edit team as Boogie Nights and also as Sole Solicitor.

Galleon 1:24:42
Well, this one is Galleon. Yeah,

Sharif 1:24:45
As I said you’ve put out a few edits with This Is Not An Edit. And they’ve been around now for 15 compilations. The latest one compilation 15 is kick arse. Honestly. It’s hard, it’s hard to find a bad track.

Galleon 1:25:03
It’s wall to wall. Yeah.

Sharif 1:25:05
All this stuff is available on Bandcamp. And also on SoundCloud. But we started off the interview by asking them, how did it start? And did you think you’ll get to number 15?

Jeremy 1:25:17
It just started as an idea and a love project. Yeah, we never really had a long term vision. Just, yeah, it was just a love thing.

Lachlan 1:25:25
We’re pretty good to get to number three to be honest. Just yeah, it’s just, it just shows there’s so many talented producers in Australia, that some it started pretty much as people we need personally. And then it grew from there. But yeah, just Yeah, people like it. It’s it’s a way to revitalize older songs and hopefully get it out to people to hear.

Sharif 1:25:49
But what was the idea behind it?

Jeremy 1:25:53
Um, it was, it was kind of like a, you know, if you think of the traditional sort of veggie cooperative, it was just about going, okay, you’ve got some like, big wig producers, guys that have like a lot of followers, like 10 15k followers. And then you’ve got other guys who are like, really awesome producers, but they don’t have a wide reach. So it’s kind of like just the power numbers thing. And let’s all just get together and work together and push push this comp and just reach as many people as possible.

Sharif 1:26:28
So building a community of producers

Jeremy 1:26:30
Yeah, essentially, yeah. Yeah. Like a cooperative, collaborative community.

Sharif 1:26:35
And why is it called This Is Not An Edit.

Jeremy 1:26:42
Lachlan you came up with that,

Lachlan 1:26:44
I think, yeah, it’s, we call it That’s Not An Edit. I think it was just what are we gonna call this thing it was it’s a reference to the scene from the first Crocodile Dundee movie, where he it’s pretty much like he has a knife pulled on him. And then he pulls out like a huge knife and says, that’s not a knife this is a knife, because we knew from the start that we wanted to focus, you know, to be Australian producers because that’s who were our friends and we want to highlight, and yeah, so it’s pretty much like a tongue in cheek reference to that.

Sharif 1:27:19
Okay, okay, I was trying to intellectualize the whole thing and I’m going maybe there are no edits on it. So…

Lachlan 1:27:31
Maybe. It opens the door if we start doing things that aren’t edits it is therefore becomes true as well.

Jeremy 1:27:37
That’s not an edit, this is an edit!

Lachlan 1:27:40
Yeah.

*DJ Bacon – Wheelz Of Steel

Galleon 1:30:09
So that was Scott Barker, aka DJ Bacon from Brisbane with Wheels Of Steel nice little Afrobeat edit off That’s Not An Edit 15. And we’re in the midst of a chat with Jeremy and Lachlan about That’s Not An Edit, and we asked them how did they meet?

Jeremy 1:30:27
Yeah, we met I actually met on SoundCloud. And the thing with SoundCloud is you know, you might be listening to some person’s some producers tunes for ages, but not actually realize that they live next door. And I’m Sydney born and bred. So I only moved up this area about four years ago. So yeah, we actually met through SoundCloud and we, we decided to actually write a tune together. And so you actually save the file into Dropbox. And so you can both edit it live. But we never actually finished that. Did we?

Lachlan 1:31:06
No.

Jeremy 1:34:12
Do you remember what tune it was? I think it was Southern Breeze, wasn’t it? Is it Southern Breeze, is that the tune?

Lachlan 1:31:20
Jeez. You’re right. Yeah. Um, I might. Do you reckon it’s still there. Should revisit it.

Jeremy 1:31:26
Yeah, maybe. It’s only been 8 years.

Lachlan 1:31:32
Yeah, cuz we were sharing the Ableton file, as well, like packaging it and chuck it in the Dropbox back and forth.

Jeremy 1:31:40
Yeah. Yeah, I did that with my crew at once as well. We started doing a chain but we never finished it.

Lachlan 1:31:47
Yeah, yeah.

Sharif 1:31:48
So you’re both living in Sydney in the same city. And you got in contact with each other. And you started the compilation without even meeting each other.

Lachlan 1:31:59
I mean, that’s the thing with Sydney you can actually be a working DJ here and depending on the venues that you work at or you just don’t cross paths with people for years even though in some cases you might even be playing at the same venues. But like you said like the you’re asking before the way yeah Jeremy and I just had a lot of admiration for his edits his taste with all the funk and soul thing tunes that he was doing and I think there was a period probably around 10 years ago or nine years ago where I was really just getting the way more than I’d ever experienced it before and he was you know, one of the people it’s particularly in Australia doing such, yeah, like digging and reworking and in ways that you could play out in clubs so I remember going on his SoundCloud and download just going like every single track almost download that’s load tracks from off SoundCloud just straight off of SoundCloud and you know on a system you know, you leave a comment without being told to and that sort of thing and then we got chatting through the messenger and it was like hey, maybe we should yeah, um, try the compilation What do you think about that? So there’s, because as we touched on at the start there lots of friends of ours and people we knew they were just doing the same thing that maybe didn’t have the starting platform to get their edits or, or tracks out there as widely as we were probably lucky enough to have at the beginning.

*Black Cane (Timber’s RIP Gab Mix)

Galleon 1:36:27
That’s another cut from That’s Not An Edit 15 we had Black Cane (Timber’s RIP Gab Mix), I’ve got no idea who Timber is I maybe I should have asked them. But what we did do was continue talking about SoundCloud and its popularity at the time these guys met and then leading up to that.

Jeremy 1:36:48
It was massive. Yeah, once that once the Gates came came in, you know, like, before that, you know, you weren’t forced to share a tune. So you share a tune that you really, really liked. And you thought your followers would want to listen to. But now to download a tune you’ve got to like and you’ve got to comment you got to follow you’ve got to share. And so if you don’t check your feed every hour, and you’re following, you know, six 700 people, you’re gonna miss the tunes. So yeah,

Lachlan 1:37:23
Another thing that’s missing too, I don’t know if you guys remember that that used to be like the whole group format on SoundCloud as well, you know, the Do you remember those?

Galleon 1:37:33
The what, sorry.

Lachlan 1:37:34
Like, SoundCloud had a thing called groups, which you could join, um, where it was just the good ones ended up as you know, like minded people sharing their tracks just in these one singular group. And it could be anyone from a really famous, well known producer to someone just putting something new up and they did away with those about five or six years ago, but that was actually a real community centered around those groups, which in a ways manifested in things like Facebook, sort of, but yeah, there was there was a golden period, like you said, I think we SoundCloud for edits that

Galleon 1:38:11
I think there was a disco edits group. Yeah.

Jeremy 1:38:14
Yeah. And even Log, Mr. Log, he had a quite a big group. And then I think, Pecoe over in Western Australia, he had a breaks links. Yeah, he had a group as well. So yeah, that was great. It was just awesome. community feel. Now there’s now Facebook’s big for music finding and for there’s a new disco re-edit page, which is exclusively funk, soul, kind of disco oriented music. And you drop a tune on there, and a few people like it, you’ll end up getting like, you know, 1000s of plays, just from putting it on that, on that on that group. So yeah, but what Lachlan was saying there, there definitely was a golden era. And, and yeah, once the Gates came in, and they sort of tried to monetize it, it just changed the way that people interacted with the platform.

Lachlan 1:39:14
It’s still a very good hosting platform, like it is, I think it’s the best one actually just have your music there available to play, but that, um, that there’s a community thing that existed within SoundCloud itself that isn’t quite there anymore.

Jeremy 1:39:28
Yeah. Also, I think it was around maybe 2005. That was a massive sort of SoundCloud was receiving a lot of pressure from some of the bigger labels. And they started to just have a, like a three strike system. So yeah, if you were reported for having a tune that shouldn’t have been on there, you got three strikes and then your account was just deleted and never to be restored. And so a lot of people just remove their music from the platform and just went over to different platforms which which probably saw the rise of you know, Bandcamp. There was another one that came out was like Heartme or something, wasn’t it? Heartme? Yeah.

Lachlan 1:40:15
It’s Hear This.

Jeremy 1:40:17
Hear This. I always read it as Heart Is.

Sharif 1:40:23
What was it was it? Sorry?

Jeremy 1:40:25
It was Hear This, it was essentially like, alright Soundcloud is going to the shit. This is our opportunity to create a new platform. That was like SoundCloud was, and everyone went over there.

Galleon 1:40:44
And now there’s some people you know, like Pete Le Freak who are jumping on Patreon and just getting people to pay and getting exclusives and things that way.

Lachlan 1:40:54
They’re like, yeah, that’s kind of cool in a way. It’s like your own private record.

Sharif 1:40:59
I remember interviewing DJs that time, who were telling me that SoundCloud had become their only source of music because people producing original music would post original music there. And those producing edits, post their edits there. And so, I’m, there’s more than one DJ, who told me they stopped going to Beatport and Traxsource and all those sites, and focus solely on on SoundCloud because they had access to all this music. So it did seem really strange that it sort of basically got pulled apart, afterwards. It was such a winning formula.

Jeremy 1:41:46
Yeah, yeah, we’ve definitely seen that with with just the amount of plays that we received, like we still, I mean, all up were just about to hit 2 million plays. But if you look at earlier releases, just the amount of interaction and the huge amount of plays we’ve had on each song you can just say that there was definitely that was still released within that sort of era that Soundcloud was very much the go to but yeah, there really isn’t a platform that’s better. So

Lachlan 1:42:23
things like Sharif like it was saying before too though was to I think with SoundCloud that was the go to platform for edits but particularly for soul disco funk jazz edits because it was about the only place he could put those things. I mean I don’t know if, did it correlate as much with say House music or drum and bass or I’m not sure in those early days. It was actually where you really could reach out to a community of like minded people through that avenue in ways that you that’s probably become much harder again, it was harder before outside of things like Napster or

Jeremy 1:43:07
Yeah, you’re right, it really was a community with people messaging me all the time. You know, come over here, come over to America come over here I want you to play and meeting other producers from all around the world and just yeah, making these relationships with people it was yeah, it was a it was really really really awesome.

Lachlan 1:43:30
And that’s how Jeremy and I met so there you go.

*Bourgie Bourgie (D-Funk Edit)

Galleon 1:45:52
Right there we had an absolute Paradise Garage New York classic in John Davis and the Monster Orchestra, Bougie Bougie, the D-Funk Edit. And we continue our chat with the crew from That’s Not An Edit by asking them, were all the producers that contribute to the compilations Australian?

Jeremy 1:46:10
Yeah, they’re either like living in Australia, but from another country, or the Australian and living in another country. So we have San Frandisco who lives in San Francisco.

Galleon 1:46:21
Ah, Paul Goodyear?

Jeremy 1:46:24
Yeah. And, you know, we’ve had The Owl. John Devecchis. Yeah, yeah. And he’s released a few tunes. He’s from London, from England. But he lived in Australia, but now he’s back in England, but I’m sure he’s still got an Australian residency or his citizenship. So yeah, we

Lachlan 1:46:45
We check everyone’s permanent residency before we put their song on. That’s the rule.

Sharif 1:46:52
And do they have to be double vaxed as well?

Jeremy 1:46:55

Ha ha, totally, you’ll have to have that booster.

Lachlan 1:46:58
That’s a good question.

Jeremy 1:47:01
B B vaxed.

Sharif 1:47:03
Maybe for Edit number 16. Special edits..

Lachlan 1:47:08
You got to be boosted for 16!

Galleon 1:47:11
That’s not a booster. So how do you like with with sort of selection process, like how do you say yea or nay? Or it’s kind of really good, but not hitting the mark like a… Is there any particular things you think about when you’re doing that? Or is it just whenever whatever?

Lachlan 1:47:34
One of the main things you’d probably go for, is, would you play it out? Because we do have like a DJ focus with it. And that that can be wide ranging. And that like, it could be something that you might be playing in a really downtempo, early part of the evening, or, you know, or will it work on a dance floor is one big criteria, not exclusively, but that’s probably is this actually something that would work out. Because largely when we think, Jeremy, I’m sure probably agrees on this is that it’s, it’s focused on DJs. Most of the people that support what it’s about, and play the tracks are DJs themselves. So that’s, that’s probably one of the main main things.

Sharif 1:48:20
And do you release it on vinyl as well for DJs?

Jeremy 1:48:24
We, yeah, I’d say, look, it’s started off as a digital release. And probably around the ninth, around the 10th comp, we started doing seven inches. And there hasn’t been a sort of like, consistency and or like release volume 10. And we’ll take two songs off that and put it on. It’s just kind of like, oh, we’d really love that song on 45. What can we throw on the flip? So yeah, we’ve got we’ve got maybe two or three coming out in the next and this first half of the year, which are excited about

Lachlan 1:49:03
it’s been a lot of fun doing that actually, like, I mean, the mailouts probably a bit less fun, but the, you know, it’s fun in its own way but to actually shift to that format. And I guess that does open up a set of DJs that like say the 45 or vinyl, vinyl only set and to be well received there it’s been really cool as well.

*SLMDNK – If U Want Edit

Galleon 1:52:22
So right there, we had Slam Dunk, I’m pretty sure that’s a pronounce it, it’s SLMDNK. With the If U Want Edit from That’s Not An Edit Vol 15. We continue to chat about vinyl. Just slightly off topic, but um, what do you sort of think of the vinyl only no digital release thing, like, you know, sometimes you’ll see an artist will go, ah, you know, this is a vinyl only thing, and there’s no digital. It’s like, oh, but I want to play it. I don’t really play vinyl at the venues I play like, what what are you? Do you sort of have an opinion on that, or?

Lachlan 1:52:58
I think music should, no, no, I mean, I consider the merits on both theories. I think if you’re dealing with funk and soul music, and rare music, and also like, music of say, it’s not entirely , but coming from that rare groove. I’m deep digger sort of culture as well, which in a way has been behind a lot of just the Edit revival in general. There is a thing of exclusivity, or you know, finding certain tracks and not everyone having them that is appealing to people that do collect those records, because you gotta remember a lot of people have continued to collect records as DJs and never stopped. It’s not like they started recently, then a lot of DJs might have been doing it from the 80s and that but I mean, as far as purely vinyl only. Yeah, it can be a cool thing. I know. I buy it isn’t appeal to me if I’m buying records and you know, it hasn’t been released digitally there is a certain thing of having an exclusive thing to play there. Um, but it’s a case by case basis thing for me. To be honest, but

Sharif 1:54:11
Jeremy?

Jeremy 1:54:13
Ah, yeah, I would agree with Lachlan I think yeah, if you know if you’re, if you’re buying something on vinyl, that hasn’t had a digital release, I would consider the value of that vinyl considered to be more valuable. So I think there is benefit in doing that. Not something that we’ve considered as a as a digital label. Yeah, that’s cool. I like it. I’ll go with it.

*Rowan P – No Stopping

Sharif 1:57:22
That’s Rowan P with No Stopping one of the tracks from This Is Not An Edit number 15. And we’re talking to Jeremy and Lachlan about the compilation, and I asked them about the title, and if any of the tracks are original tracks. It’s called That’s Not An Edit, but I’ve seen a few tracks including one by Galleon. Next to it’s written original mix. Does that mean you have some original tracks on the compilations or?

Galleon 1:57:52
No, that’s just me being annoying. It was the way I named the file ages and ages ago.

Sharif 1:58:02
But, I’ve seen that I’ve seen it on other tracks on This Is Not An Edit on previous ones as well. Was probably

Jeremy 1:58:10
Basically Mitch. It means it was the original mix of his mix. And if someone did a remix of his remix, then it’ll be the original remix of the remix

Galleon 1:58:22
of the edit.

Jeremy 1:58:23
Yes.

Lachlan 1:58:24
This is getting too four dimensional.

Galleon 1:58:27
thing is like when you buy a track now like everything used to have original mix on it, but now it’s extended mix because the original mix is the short.

Jeremy 1:58:35
Yeah.

Lachlan 1:58:36
Yeah, that’s just the radio mix.

Jeremy 1:58:38
Yeah. But um, we do have some originals. There was Sard, Sard Boogie. Was it Sard Boogie? He did an original. And then

Lachlan 1:58:49
It’s called One Tonne Boogie.

Jeremy 1:58:52
One Tonne Boogie and then Skinny Dip, who, half of Skinny Dip is actually my brother Mike. Yeah, they did a cover of, original cover of Teardrops, which is done really well actually. It was a nice tune. But you know, there’s we’re open to any to anything. It doesn’t have to be exclusively an edit.

Lachlan 1:59:16
Yeah, we definitely like a sample based originals are a thing that fits really neatly, like kind of acts that Jeremy just mentioned as well.

*Frankee Moore – Final Edition

Galleon 2:02:09
Right there that was someone who I love as a producer Frankie Moore with Final Edition from That’s Not An Edit 15. We continue our conversation and we asked them whether they were happy with number 15 it’s pretty damn strong compilation.

Lachlan 2:02:24
Yeah, I mean it’s it’s it’s really is incredible like because it’s they’re quiet large compilations, but it really is no filler, um, going on. And that’s I think a testament to all of the the talented producers and you know, and a lot of cases people that have been producing for a very long time. Other sort of sample stuff or producing like pure original music. There’s a lot of legends that who keep trying to send tracks to us for and yeah, it is. Um yeah, thanks for the kind words there Sharif.

Sharif 2:03:05
No honestly, man, it’s it’s a kick arse compilation, one track after the other. And you know, you probably know as DJs who listen to a lot of music. That doesn’t happen that often. We can sit there and go. Yep. Yeah. This is good. This is really good. So, yeah, hats off to the two of you. You know, you guys have been at it for 15 editions now. So

Lachlan 2:03:31
15 editions, yeah.

Galleon 2:03:33
How many years? When did you start?

Jeremy 2:03:36
I think it’s like eight years now? Maybe seven or eight years?

Lachlan 2:03:40
I reckon it was 2015.

Jeremy 2:03:42
Yeah, so about seven years because we do two a year I think we might have done three in one year or something. But we tend to do it sort of like May and December. coming in, coming into the northern hemisphere summer and then coming into the southern hemisphere summer. Yeah. But it’s been really nice. You know, like, coming back to you Sharif, you know, some of the artists that have released on our comps, you know they’ve been there since the beginning. Yeah, so it’s also really beautiful just to watch the growth of that talent. Like guys like Frankie Moore, Henri LeBlanc they’re just growing and growing and then we’ve got you guys CC:Disco she she put a couple of tunes on the early comps and she’s just

Galleon 2:04:32
She’s killing it now.

Jeremy 2:04:34
And then Clue, Gabe like,

Lachlan 2:04:39
Yeah, he was on the first one.

Jeremy
Yeah. And same with Casual Connection. Just some guys who have gone off to do just some incredible, incredible stuff and just smash it. So it’s yeah, that’s that’s been really beautiful. Even The Owl like The Owl, he’s just released a comp and he’s doing some cool stuff with Craig Charles overseas and stuff so yeah it’s been cool

Sharif 2:05:02
Yeah, his last album. Have you heard it?

Jeremy 2:05:06
Yeah it was on vinyl as well.

Sharif 2:05:08
Yeah awesome album. Yeah one of the best albums of 2021 in my books, easy, yeah. Well done guys you’ve you’ve fostered a lot of talent and pushed a lot of talent yeah

Lachlan 2:05:23
You shouldn’t say that a lot of them done it on their own steam as well but you know we try to encourage and and also just following what Jeremy said to like a lot of people that’s maybe started on the label on that’s not an edit of out there releasing stuff left right and center and you say that if you go to Juno and things like that as well it’s just it’s just a privilege to have so many really talented people involved with it as well.

*Pecoe – Average Money (2021 Remix)

Galleon 2:07:40
We heard from this guy earlier on in the podcast but right here was Peace with Average Money the 2021 Remix from That’s Not An Edit number 15. We asked the guys about their names and what they go by and how they came up with them.

Jeremy 2:07:55
I’m, JR dynamite.

Galleon 2:07:57
See, I thought it was Junior Dynamite.

Jeremy 2:07:01
Yeah, yeah. Ha, ha.

Lachlan 2:08:02
I thought that for many years as well actually.

Jeremy 2:08:05
Jr Dynamite is pretty cool. I like it. But yeah, my initials are JRD. So that’s where I went.

Lachlan 2:08:12
If one of your kids starts DJing then he can be Junior Dynamite junior.

Jeremy 2:08:18
Yeah, totally.

Galleon 2:08:19
Yeah. How did you guys get your names of all obviously, Jeremy with JRD. But Hober Mallow?

Lachlan 2:08:29
I’m a bit of a science fiction nerd especially growing up and it’s a character from an Isaac Asimov book that I really liked. He’s sort of a famous old school science fiction writer. And I just thought the name sounded really cool. And on top of that, the character himself was like a trader doing his thing on the on the far reaches of the universe. And when I chose that name, I thought it had a bit of relevance to me sort of making music on the on the far reaches of the musical world as it seemed. So sort of in growing up on the south coast of New South Wales and things like that. So there’s a few little meanings there, but I just like the way it sounds, and some people mistakenly call it Hober Mellow, which I like as well, because I like mellow music a lot.

*To Be In Love (Hober’s Bump Luv Edit)

Galleon 2:12:17
Right there we had Masters At Work and India from 1999 with To Be In Love, but it’s the Hober’s Bump love Edit and Hober is Lachlan, Hober Mallow from That’s Not An Edit number 15. And somehow I found myself under the spotlight about my name,

Lachlan 2:12:34
Mitch! Galleon. Where did you get Galleon from?

Galleon 2:12:37
Where did I get Galleon from? So I play blind table tennis, and about, it was 2011 we were going into a competition. And they were having shirts made for us. And they said are what do you? What do you want to have on your shirt and all these people were having all these tough kind of names put on their shirt and I kind of like galleon and I don’t really know why. And I couldn’t really explain it. And that was just the name I had because it was a bit different, but it was still a bit kind of strong. And at the time, it was before I was really playing out and I was using the very amazing creative DJ named Mitch M.

Lachlan 2:13:23
That’s strong as well.

Galleon 2:13:24
Yeah, yeah, at the time it was when you’re an 11 year old and you want to have a DJ name. It’s Mitch M.

Jeremy 2:13:31
Oh, awesome.

Galleon 2:13:32
I was. Yeah. And it was the guy who actually showed me how to mix was Michael M. Michael, Michael Monk. Uh huh. Yeah, so I sort of thought that was cool. But um, the more I thought about it, I thought Galleon, it’s kind of a cool a DJ name. And it just cause, sort of stuck a little bit and when I eventually started playing out and promoting stuff, it was Galleon.

Lachlan 2:14:00
That’s cool. It’s like nautical. It’s like you’re a bit of a pirate.

*Galleon – Do Me Again (Original Mix)

Sharif 2:17:00
Listening to Suite Grooves and now a very special feature for this podcast talking to Jeremy and Lachlan from this is not an edit, and they just played a track that Galleon remixed for This Is Not An Edit 15, it’s called Do Me Again, who’s that by Mitch? Or Galleon?

Galleon 2:17:20
That is Mona. Yes. Did that is Mona Ray, from 1981 Do Me. Nice little sexy morning music track that I heard about eight years ago in a disco mix. And I’d always liked it, I thought it was just really, really cool and really sexy. And, um, I thought it needed a bit of an edit not too much just to extend the intro and flesh out a few bits in the middle. But I mean, my Edit process probably is a little bit different to a lot of others in that the edits I do are actually live edits. And I get two copies of a track into USB and I sort of think, okay, where does this need to be extended. And I do the edit as like it’s on mixing live with two copies of the track. So sometimes it will happen in first go, and it will, you know, I hit record and I bounce it out as a .wav, or sometimes, you know, I have to do it two or three times to really capture what I want to do with it. Some things I’ve done are a lot more complicated than others. Some are very simplistic. This one wasn’t too much. But there was a bit of rewinding and fast forwarding and getting to the bits of the track that I wanted to extend and then looping them and hoping the loops in time, which I guess didn’t really matter so much with this one because being in 1981, we were still using live percussion, and drummers, and you couldn’t really count on it being in time anyway. So when I’m doing my edits, where I will put a house beat over a track to beef it up. I really need it to be in time and that sometimes can pose difficulties. But that’s just a little bit of a snapshot into my edit the editing process when I’m working solo on edits,

Sharif 2:19:17
So you’re actually doing the Edit live?

Galleon 2:19:23
Yes, yeah. With Boogie Nights, which you’ll hear later on, that’s the same process that’s how it started. And it got polished up on a computer but a lot of the other edits bar one, Dreamworld, which was on a few compilations back was a live edit I did some years ago. So yeah, like I’ll, it’s a process that I’ve got gotten used to and I used to record things on cassette tapes years and years ago. But now having a Pioneer controller allows me to record it and bounce it straight out as a .wav. And then I I must have it mastered. And then they go on the compilation. So just a really little unique Edit process that I’ve that I have, because I don’t know how to use the, you know, the the D.A.W’s that people are using. I’ll be learning them. But at the moment, I don’t know how to use them. So that’s how I work.

Sharif 2:20:20
Well, I thought you’re, the reason you’re doing it live is because you can’t see. So the only way for you to hear the music and be able to control it is by playing like doing a live edit. But how are you going to use a digital audio workstation, whether it’s Logic or Ableton, if you can’t see it?

Galleon 2:20:43
With my screen reader, apparently there are workable ways around that. And I don’t know what they are yet, but there’s definitely learning to be done. And I’m keen because you know, that way, I can contribute a lot better to, to Boogie Nights and some of the other collaborations and things that I’m working on, other than musical direction and, you know, structure and things like that.

Sharif 2:21:11
Wow, that’s Yeah, I actually always wondered how you, you recorded but I thought maybe use the keyboard and you knew where the notes were. Good on you. And I think if anyone will be able to, to know how to use a D.A.W. without seeing it, blind. It’s you mate. Good luck.

Galleon 2:21:32
Yeah. I just got to learn it.

Sharif 2:21:35
Well, we’ve heard from Mitch, why he chose his track and how he puts it together. We won’t ask Jeremy and Lachlan how they put it together, but I asked them which one is their favorite edit out of the edits that they’ve done? And why, and why they picked it. First up, his Lachlan

Lachlan 2:21:52
One that was on I think one of the really early compilations that I really liked was a remix of Queen Yana Ain’t It Time, that that was I did it in a more tougher kind of house style. Just yeah, I love the original of that as well. It’s a fairly rare modern soul tune. No one was really playing it or well apart from sort of niche circles but yeah, just a really powerful vocal about finding peace in your own state of mind. And be happy within yourself. So that’s, that’s one I really like.

*Queen Yana – Ain’t it time (Hober Mallow Remix)

Galleon 2:25:52
Right there we had Queen Yana and Ain’t It Time the Hober Mallow Edit, Lachlan’s favorite edit out of the many edits he’s done. And now we asked Jeremy the same question.

Jeremy 2:26:03
My latest tune I mentioned before was a rework of Albert King’s Chump, Chump Change. And I just love that tune I had a I had the actual album and it’s obviously you know, Alber King is more well known as a Blues artist. And a lot of the artists you know, went into funk and into disco because that’s where the money was and that’s where the trend was going. Like even Jimmy Smith has a disco album and it’s tip top but yeah, this tune is just so damn funky I used to drop it like all the time back in the days when I used to play vinyl lot so yeah, it was just it was just asking for it I can’t believe I hadn’t done it earlier so yeah, that was my choice

*Chump Change (JR.Dynamite Edit)

Sharif 2:30:14
That’s Albert King with Chump Change remixed by JR Dynamite who is Jeremy and we’re talking to Jeremy and Lachlan from This Is Not An Edit. And next I decided to ask them about the tunes that they decide to remix. How do they choose them? Well, are most of the tunes that you get for the comp, are they well known tunes? I mean, I know some of them are but do you specifically try and get the lesser known tunes to be remixed?

Jeremy 2:30:45
We don’t ask people to specifically produce anything we just say, guys, it’s time. It’s time, you know, the dates going to be May 11th. And just send us what you got. And surprisingly, sometimes the comps tend to have like, like a thing where without us actually sending it out we just end up getting a whole bunch of tunes it seemed to really work well together. So yeah, we must all be like Voltron or something. Yeah, no, we we actually do shy away from tunes that are really really popular. If we think it’s maybe too commercially focused. We’ll say to them, Yeah, we just, no. we’re not going to do that.

Galleon 2:31:31
It’s like that Simply Red thing I sent you. Yeah. Yeah. Like it’s good. But yeah, kind of a bit. Yeah.

Jeremy 2:31:38
Yeah. No, I mean, it was it was a fantastic rework. It’s just not not comfortable going there.

Sharif 2:31:45
A bit too obvious.

Galleon 2:31:47
Yeah, considering it was Simply Red who sampled Hall & Oates.

Jeremy 2:31:52
Yeah, exactly. Ha, ha..

*Jam Chamber – Somebody To Love

Galleon 2:35:18
You’re on Suite Grooves. And right there, we had Jam Chamber with Somebody To Love, of course, sampling Jefferson Airplane from the 60s. We asked the guys what the future plans were for That’s Not An Edit.

Jeremy 2:35:30
We’ve got some really good ideas. I mean, like, like I said, yeah, it started with just an idea and it’s growing and growing, it’s still going. But, we definitely, you know, if anyone’s listening, we’d love to sort of start branching out into into some more more original tunes, and we’d like to start releasing them as sort of small EPS on on Juno, and Beatport. Because it’s currently we don’t have any of our catalog on there. We were thinking about doing a mixtape an actual tape. Just a small run. That was the idea wasn’t it, Lach?

Lachlan 2:36:16
Yeah, something I keep coming back to. Yeah, there’s yeah, hip hop style beat mixtapes and stuff. Back during lockdown and I made this really wacky Australiana TV themes mixtape sampling everything from Neighbours to the VB theme to all sorts of weird shit and just got me thinking how can you release this kind of stuff, it just doesn’t, you can’t put these out as tracks anyway, that was an idea. Cassettes are a cool physical format, but like, like what Jeremy says it’s um, we’ve got a sound that we want to push with Not An Edit but we’d like really like to just be able to use the platform that we have such as it is to just to show showing off what great producers and tastemakers, actually I hate that term, but like just all the RAD producers that we have here in Australia and in a lot cases are close friends to keep encouraging them to do awesome stuff because I don’t want people to stop

Jeremy 2:37:17
the real thing that Lachlan brings to to this is he just he really thinks like a collector. So he just comes up with these great ideas. Yeah, it was it was Lachlan’s idea to get into the 45s as well I was always a lot not really a 45 collector so it’s not something I really think about so yeah, now it’s great I’m like yeah I’d love love to do that mixtape. We should we should revisit that.

Lachlan 2:37:47
Whether anyone will buy that, it’s another question but it’s kind worth doing, I don’t know. Let’s find a B-side for it though.

Jeremy2:37:57
The actual cassette?

Lachlan 2:38:00
Yeah yeah the cassette because it’s the flip of the cassette so if anyone’s making wacky interesting mixtape style music out there I’d love to hear from you.

*You Can Do It (Andy Elston’s Pipedream Edit)

Galleon 2:40:59
That was You Can Do It the Andy Elston’s Pipedream Edit from That’s Not An Edit volume 15. We’ve been chatting to the guys about That’s Not An Edit at the series and the current compilation. And now we find out how you guys can get involved.

Lachlan 2:41:14
Just one last thing that kind of Jeremy touched on before and you asked as well is that anyone thinking of getting in touch if you want to send music and we’d love to hear, always, always listening out. Like for anyone that don’t that’s making stuff like Don’t be shy. It’s actually it’s a really open just community of music lovers, so that’d be Yeah, that means you if you’re listening

Sharif 2:41:41
and the best way to contact you through your Bandcamp or SoundCloud page?

Jeremy 2:41:46
Yeah, by SoundCloud by Facebook by Instagram. That’s not an [email protected]. Yeah, so many different ways. We get set a lot of stuff. Unfortunately, we get a lot of good stuff, but it’s from people not from Australia as well. So I still tell him it’s good.

Sharif 2:42:09
Oh, maybe you can have a sister compilation? That’s an edit.

Jeremy 2:42:12
Yeah, well, we do have we do have a New Zealand comp that we’re been sort of in the process of organizing over the past few years. We just haven’t gotten around to doing it but yeah, we just got to come out with a good name.

Lachlan 2:42:28
I mean, yeah, if we were gonna do this, there’s so many talented Kiwi musicians and yeah, probably yeah, keep keeping the great tradition of Australians cliaiming top shelf Kiwis and New Zealand acts. So we should.

Jeremy 2:42:43
yeah, right, they’re our cousins. Yeah. But yeah, some mad guys like Funk Ferret, Dice. If you haven’t had a listened to Dice’s stuff he’s just popped up in the past couple of years. I think he’s based out of Auckland. But then there’s yeah T-Rice so many guys. T-Rice did stuff with DJ Agent 86 in Melbourne. Yeah, so yeah, there’s some great guys. There’s definitely like a fairly, there’s a pool there but it’s not as deep so we you know, we want to just be able to get at least kind of sort of 12 tunes to have a proper comp happening.

*Groovescooter + D-Cow – U Got A Grip On Me

Anthony 2:46:01
Anthony Shepard here aka Blue Shoes, Boogie Nights and or Ferret One. Mitch and I got together as the Boogie Nights approximately about five years ago I think. And we hit it off straight away introduced through mutual friends, ha a huge love for the various same styles of music and decided to start working together we’ve been incredibly blessed to have I think over 150 remixes released in the last four or five years. So we’re pretty chuffed with that. The track that we did for That’s Not An Edit volume 15 was actually the brainchild of Mr. Medcalf. And it was Pointer Sister’s Love Will Save The Day with Whitney Houston. And it just worked a treat. So we decided to go into the studio, just tidy it up a bit and make it nice and sweet. And really happy with how it turned out. We’re incredibly chuffed to get it out on a platform through That’s Not An Edit, we were just incredibly happy that we got the chance to share it with people because the reactions that we had when we played it, and when other people heard it. They thought it was great. Let me see what else have we got what we got coming up in the next little while. Mitch and I have a remix of an old Mini Rippington song Loving You, which is done through Sobel Promotions in the States. And that’s the vocal re recorded by an artist called JC. So we submitted some mixes and got approved for that one. So that one’s happening soon. I have just in the last couple of days, released a re edit of Blaze’s Most Precious Love. And that’s just under my a solo alias called Ferret One. And I basically just done an Afro House retake on that one always loved the track and always thought that it suited that particular vibe. It worked out really well. So you know just been sharing it with friends and getting it out there and see if we get any traction with that. Mitch and I have also got a new release or new remix coming out on a new record label called Silicon Sunshine Music, which is run by some great friends of ours including the legend Mr. David Madden, Sparkles, and that’s of their new track. Original Thieves, Dance Into The Night. So we’ve got a funky house remix coming out very soon through that one.

*BoogieKnights – Music Will Save The Day

Galleon 2:52:54
You’re on Suite Grooves and right there we had something I’m pretty familiar with Boogie Nights who you may have heard of, Ant Shepherd an I. Sister Sledge versus Whitney Houston, two of the biggest guns in the game. Music will save the day. Really, really awesome Mash Up we’re pretty happy about how this one fell together. And even happier that it landed on an album as good as That’s Not An Edit 15. Right now we’re gonna hear from another cool cat from Brisbane who absolutely slays it live Darren Sommerville, playing at all the really cool rooftop bars. He’s played it Celo. I think he’s now playing Catalina from memory. I saw him about six months ago playing at Celo rooftop just coming into winter actually last year and man, his live setup is pretty cool, like he’s got, he’s on the decks playing all this funky, Funky cruisey House then he’s on the bongos and then he’s on the guitar playing some really cool licks and things over the music. And yeah, this one night he had it all had it all happening and we got to the end of his set, and he’s have a, get on the bongos. So while he was playing his last track I was having a bit of a thing on the bongos but we’re gonna hear from him about his process and the track that he’s chosen to edit for That’s Not An Edit volume 15.

Darren 2:54:12
I guess I got into production at a relatively early age, I was learning classical piano and at the time and I was kind of getting a bit over the those pieces and I was really listening to a lot of Prodigy and things like that and heavy heavily influenced by Liam Howlett stuff. And so how are they doing that? How, how do I do that? I gotta I gotta get me something that can do that. So I got a hold of a, like a Yamaha Dom 30 Which was like this old Disk Drivey thingy. It could only hold so many so many sounds and things like that. It’s very, very basic. But it allowed me to sort of layer a couple of sounds together and very, very basic drum beats. Then I got a 707 got started on that and link the two via midi like wow this is is amazing I can make some new songs and you know something that had a bit of a bit of a cool beat to it I don’t really know what I was doing I was messing around just just trying to make stuff work. Yeah that that was it I got I got the bug pretty much from from then on. Things that are in the works at the moment is I’ve got a new original called Mio. That one’s scheduled for release at the end of this month, if not next month, out on Plastic People Digital. It’s got that kind of like early 90s guidance records kind of vibe. There’s a few more, more colabs coming up Vocalists. I need, I need some more vocalists, I’ve got a got a few disco numbers that just need some cool vocals. So hopefully I can shop those out and get the right, right person for the job. The track I chose for That’s Not An Edit 15 is Big Blow by Manu Dibango. I love the original. So I didn’t want to take it too far from from its original form, you know, back in 1972 that one first released so, you know obviously a lot of stuff that we play these days. It’s very, very digital. The mastering everything’s a lot louder. So I really just wanted something that I could play in my bigger sets. So yeah, that’s kind of how it all came about. That’s it from me guys. Thank you so much for having me on the show. Massive shout out also to That’s Not An Edit crew for getting me involved with the compilation. Such a cool bunch of cats, everybody’s just having a good time making edits for us all to play and enjoy.

*Darren Somerville – Big Blowout

Galleon 3:00:28
Right there we had Manu Dibango. Sadly, no longer with us. Because of COVID. Big Blow that’s the Darren Sommerville edit from That’s Not An Edit 15. Hope you enjoyed that feature we had on TNE 15. It’s a great compilation, go get behind it. You’ll love every minute of it. And I hope you enjoyed the selections we had for you tonight.

Sharif 3:00:50
Well, up next is one of our guests from the last podcast, Morganics. After we did the interview with him, I actually thought I’d ask him and see if he’d like to do a segment, a regular segment for us here on the Suite Grooves, new releases podcast, I told him it doesn’t have to be new releases. But his knowledge of hip hop and indigenous world music is second to none. So I, I asked him if he would like to do a segment for us, every podcast where he chooses a few tracks to play for us. And they don’t have to be new releases. And he agreed. So we’re very lucky to have more Morganics, do a segment for us. And he’s decided to call it The Global Hip Hop Show. I think it’s the working title for now. He might want to change it in the future. We’ll see. But yeah, we’ll leave you with Morganics.

The Global Hip Hop Show

Morganics 3:01:54
Good afternoon. Good evening. Good morning. whatever time it may be in your current part of the universe. My name is Morganics, Morganics. How are you? I’m an MC B-boy, beat boxer, producer and community arts worker based here in Queensland, Far North Queensland, Cairns, otherwise known as Gimuy on the land of the Yidinji people beautiful country broadcasting to you on Suite Grooves. Many thanks to Sharif for having me on the show. And this little section is well I call it The Global Hip Hop Show. So I’d like to start the show with a livication for 2 fine MCS and individuals, people who have passed in recent time. Ty, UK MC. Ty he’s an inspiration still is but was sadly lost to COVID and this song is a song called Oh, it’s off his album Closer from 2006 came out on Big Dada and it features an MC by the name of Zumbi from Zion I RIP rest in power. Zumbi too has left the planet and Zumbi’s a father of three young boys, is one half with AMP Live the mighty producer of the crew Zion I, one of my favorite West Coast underground hip hop crews. He’s an inspiration a great man been fortunate enough to watch him perform to share stages with him to cipher with him to play Capoeira, Brazilian martial arts with him. He’s just a great dude. And it’s so sad to think that they’re both not with us, but I hope they’re jamming together. This is a track that Ty did called Oh and it features not only Zumbi but also the mighty Bahamadia, who you would know from the Diggable Planets. Much love going out to Thy, Zumbi and Bahamadia. This is T’s song Oh.

*Ty – Oh! (Feat. Bahamadia & Zumbi from Zion I)

Morganics 3:08:18
I hope you dug that track as much as I did, I was bopping around digging it. That was Oh by Ty featuring Zumbi from Zion-I and Bahamadia. Next Track, I’d like to bring it back to Australia. Now I’ve always been a fan and have a deep interest in indigenous hip hop. And one artist who’s been very, very busy down in Sydney Town is an MC by the name of Dobby Dobby, he’s Filipino Aboriginal. He’s not only an MC, he’s actually a great kick drummer, a really good drummer, and then he’s teamed up with MC by the name of Barkaa. She’s a Malyangaapa and Barkindji rapper. So her name Barkaa actually comes from the Barka which is the river in Barkindji language down there in round Wilcannia, which is far western New South Wales. A group that I’ve worked with called the Wilcannia mob did their stuff. But I’d like to play this track. It’s from 2020 called I Can’t Breathe. And it relates the Black Lives Matter movement, specifically back to an Aboriginal Australian perspective, which for me as an outsider, as non Indigenous Australian, I listen to. And that’s one thing I’ve always loved about hip hop and I hope you do too, is that I can listen to and be privy to conversations, concerns, ideas, challenges that are being faced by different communities by different people so I can learn more. And yeah, I just love this track. I think it’s banging, I think it’s great. This is Dobby featuring Barkaa it’s a track called I Can’t Breathe

*Dobbi feat Barkaa – I Can’t Breathe

Morganics 3:13:19
That was Dobby featuring Barkaa with I Can’t Breathe. You’re on Suite Grooves The Global Hip Hop Show with myself from Morganics, coming to you here from Yidinji land Cairns in far north Queensland. Have you ever dug the two tracks or played so far, and to round off episode one of The Global Hip Hop Show I’d like to play a track by a guy by the name of Superman is the First Nations MC I know he does a lot of work going out to communities all around the states and probably Canada too. He does pow wows, traditional dancing a bit like a corroboree. He plays traditional instruments like the flute and the frame hand drum, but he’s also a dope producer. So he makes his own beats, you know, scratches up records he can scratch as well. He’s just a really inspiring guy. I’d put him in similar basket to people like King Tubby and Che Fu. People who’ve been able to take hip hop culture and tell their own story with it. Supaman is great to check out on YouTube su p a m a n because not only do you get the sonic but you get the visual with his amazing dancing. So to finish off The Global Hip Hop show this first episode. I’d like to thank Sharif for having me here on Suite Grooves. I hope you’re enjoying your time on Suite Grooves and I hope you dig this track. It’s called Know Better Do Better. It’s off Supaman’s new album called Medicine Bundle, which is on the Good Medicine label. And this is it. Check it out.

*Supaman – Know better Do Better

Sharif 3:17:43
That was The Global Hip Hop Show. A new segment here on Suite Grooves New Releases. I’m looking forward to this now every month. What did you think Mitch?

Galleon 3:17:52
I enjoyed it. I like hearing different stuff and different perspectives and you know sounds from other countries and different cultures and yeah, that that that indigenous track with Barkaa in it was was wicked.

Sharif 3:18:08
Yeah, yeah. Awesome track. Awesome track. Now it’s time to well almost finish off. We’ve got another mix from this guy called Galleon.

Galleon 3:18:18
We do. I don’t know who he is. I hope you enjoy. Yeah, yeah, he’s the early morning tough guy. Not not not the Late Night Tough Guy. He was a cool guy to support Late Night Tough Guy about a year ago, coming up to Mardi Gras. That’s crazy to think that that was a year ago. Yeah, yeah, it was a that was an awesome night actually. But this mix is definitely on the funky tip. It’s not too energetic. It’s just early night kind of stuff. Hope you enjoy it. We’ll come back and I’ll tell you what was in it right after this on Suite Grooves.

*Galleon’s Mix:

The Alergies and Lyrics Born – Going to the Party
Watermelon Boy – OSD (Obama Spirit Disco)
Osibisa – Yo Luv Is Betta (Louie Vega and Josh Milan Celebration Mix)
The Main Ingredient feat Cuba Gooding – Party People
Galleon – The Funky Nubian
Young Pulse – If It Hurts Just A Little
JKriv ft Norman Vladimir – All The Way
Roni Breaker – Elevate

Sharif 3:54:13
You’re listening to Suite Grooves and that was a sweet mix put together by Galleon.

Galleon 3:54:21
Thank you glad you enjoyed it. I love putting these mixes together and I tend to do them on a Sunday morning. So it’s probably a really good time for me to do them because the last have been winners for you and hopefully for everyone listening. So what did we play? We started with The Allergies Going To The Party. We played this earlier, so I’m not gonna spend too much time on that other than that it’s a sweet groove. Then we went into Watermelon Boy who is Arlo Enemark used to be running Zelon Records and he’s just started his own promo company called Boss Fight PR. But his production name is Watermelon Boy, and he’s just released a new EP and that was OSD Obama Spirit Disco from that bit of an Afro vibe on there. Continuing with the Afro vibe is Osibisa legendary group from the 70s and up right up until now they’re back. They’re on Vega records run by Louie Vega. That is Your Love Is Better and it’s the Louie Vega and Josh Milan Celebration Mix which we’re playlisting the dub and I think it’s a 11 minute long mix but the Celebration Mix is an edit of the long version. So right now after that we go into the Main Ingredient and Party People featuring Cuba Gooding. This one came out in 1981 but the reason I’ve played it is because there’s a track going around at the moment called Dancing Cliche by LF System and it’s really blowing up in the UK it’s been out for a couple of months but it samples this track and I couldn’t find anywhere where what the sample was and I ended up having to get on Facebook and ask if someone could tell me what it was and it’s this track by the Main Ingredient and I prefer this ever since I found it it’s the only one I play I’ve stopped playing of track and I play this one so yeah, the Main Ingredient 1981. Now this is one you haven’t heard and it’s not out and I don’t know when it will be out it’s a personal edit that I’ve put together called the Funky Nubian it’s Brand Nubian from the U.S. mashed with C&C Music Factory also from the U.S. Do You Want To Get Funky acappella. I heard the instrumental and I was like yeah, I can I can hear this working and I went through that same edits process at six o’clock on a Monday morning because I had nothing better to do at six o’clock on a Monday morning just after getting out of bed I was fresh and ready to go and that was the end result. So that will probably see the light of day at some point hopefully sooner rather than later. Then we move on to Young Pulse from France. Edit DJ from France. It’s called If It Hurts Just A Little and that is a big Donna Summer sample Cassius ripped it off very notoriously for Cassius 1999 That’s the original Donna Summer just beefed up very nicely for today’s bars and disco dance floors. And then we had JKriv from the UK called All The Way that is on Glitterbox Records. No introduction needed for Glitterbox really, really really dig that track. And we finished off with Roni Breaker. I don’t quite know I think Roni Breaker might be German, but may also be British. This is called Elevate on Salted Music comes with a Miguel Migs Dub and his Dubs and pretty much anything he makes is always good that went with the original here. Really Moose-T sort of vibe on this one. Nice finish to the mix. I hope you enjoyed.

Sharif 3:58:15
Great mix. Awesome. Loved it.

Galleon 3:58:18
Thank you.

Sharif 3:58:21
And I think it’s we’ve come to that time. We’re gonna have to say goodbye. But thank you for all the music and, and sneaking another edit into your mix. I thought that was clever.

Galleon 3:58:34
Yes.

Sharif 3:58:38
And I look forward to next month. Yeah, we apologise for the delay but we’ll leave you with one last track. It’s Hermitude a track called St Claire. So it looks like they might have some new music coming out.

Galleon 3:58:53
Thanks everybody for listening and I look forward to being back on air next month with some more sweet grooves.

*Hermitude – St Claire