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MIX NOTES

Tristan Und Isolde Prelude to Act I – I keep coming across this epic piece of Wagner subtleties because directors I work with keep referencing Lars Von Trier’s dreamy opening scene to “Meloncholia”, a movie that I didn’t love, but the intro is out of this world gorgeous.

Ezra Was Right – the fact that house music can and has evolved in to something as unique and broad as this really makes me smile. It’s the brainchild of two music students from Dusseldorf, one of whom plays a grand piano and another who invented a new instrument whetre his laptop controls a series of hammers that strike piano chords.

Satellite of Love – from one of the great Lou Reed solo works, 1973’s “Transformer”. Produced by Bowie, of course, who sings backup towards the end of the track in a voice only he could muster. I recently found out this was originally a Velvet Underground song that was a staple of their live shows but never made it onto a record until years later. In a related story, Lou Reed developed the habit of destroying any and all out-takes of his latter recordings, specifically to prevent people from digging up unwanted and unfinished tracks after his death. RIP.

Maps – I’ve never spent much time listening to the Yeah Yeah Yeahs, but their live shows are fucking SOLID, and this is always the stand out head-banging number for me.

Cave – Yosi is an Osaka-based electronic musician who makes weird sonic tapestries that are best experienced in bulk.

Esquindindin – the deep drums of the previous track seemed to evoke Brasil, so this neo-samba track seemed appropriate.

Drop It Like It’s Hot – once this Brasilian drummer train was in motion, a cover of Snoop Dogg seemed like the next logical step.

Gold Dust Woman – The greatness of Stevie’s work with Fleetwood Mac was very much eclipsed for me by her solo work in the 80s, that saturated MTV and made me really dislike her and her stupid twirling dresses. In recent years I stopped drinking the haterade and realized that I loved her all along and we must forgive everybody for their 80s transgressions.

Death Letter Blues – the man who (to a degree) begat both Robert Johnson and Muddy Waters. It doesn’t get any rawer than this shit. A 1941 piece of rosetta stone for every sad song written since. Respect.

Wade In The Water – More foundation dopeness from the early 40s. What is it with me and these old gospel songs? Clearly I need Jesus.

Starlet Road Filling Station Romance (instr) – I’m still confused and rather uninformed about how a gospel singer from Ghana makes roots reggae records but there you have it. This is the instrumental B-side to a 45.

Dear Mr Fantasy – classic early jam from one of the greatest bands to master the fine line between rock and fusion and blues. If they ever invent a time machine, fuck killing Hitler. One of Traffic’s 1971 gigs is on my priority to-do list.

Live Jazz Moods – some jazzy bass music that takes me back to Giant Step parties with DJ Smash in 1990.

The Wiggly World – the desert is the ideal place for philosophical reflection, and Alan Watts delivers in his own special English professor way.

Dissolving Clouds (outro) – That’s all she wrote.