J. Scott G. - Dirtier Little Slut (2006-09-14)

/--------------------------------------------------------------------------
| hybridized.org presents:
|
| J. Scott G. - Dirtier Little Slut (2006-09-14)
|
| Venue: Summer Channel
| Venue Link: http://www.summerchannel.com/
| Source: Encoded by J. Scott G.
|
| File(s):
| 01 - J. Scott G. - Dirtier Little Slut (2006-09-14) Part 1.mp3
| length: 77:39, bitrate: 320k
| md5: 9229f6dd01c013c27e3fe2efad514fd2
| 02 - J. Scott G. - Dirtier Little Slut (2006-09-14) Part 2.mp3
| length: 60:34, bitrate: 320k
| md5: 0a2cc858d14bc8d60b8c074ac578311f
|
| More info: http://www.hybridized.org/sets/?id=373
| Discussion: http://www.hybridized.org/forum/showthread.php?t=3480
|--------------------------------------------------------------------------
| Wiki tracklist last modified 2007-02-01 00:23:26 by buckmorello
\--------------------------------------------------------------------------

Blue Rubber - Dirtier Little Slut [2CD]

CD 1: Mixed by Buck Morello

01. D2 feat. Dan Diamond - Bad Habits
02. Suicide Sports Club - I Don't Know (King Unique Mix)
03. Duoteque - Drug Queen
04. Starkillers - Discoteka
05. Meat Katie & Elite Force - Divine (Infusion Mix)
06. Wollion - Monster
07. David Amo & Julio Navas vs. Xavi Beat - Push
08. Tim Le El - Electric
09. Johan Afterglow - Me On (Alex Grani Mix)
10. Brisker & Magitman - Eden (Shiloh Mix)
11. Tonight Only - Where The Party's At
12. Summer Channel - Soulmate In Every City

CD 2: Mixed by Rusty Wood

01. Malente - You Know Who You Are
02. Joseph Armani & Jan Fransisco - Infatuation (Dub Mix)
03. Mads Arp feat. Julie Harrington - Slow It Down (Luke Chable Pushin' Too Hard Mix)
04. Quivver - Not Givin' Up (Nox & Beckers Mix)
05. Beckers - Colour Me Blind (Phatjak Mix)
06. N'dea Davenport - One Day My Love (D. Ramirez Dub Mix)
07. Back Door Hussies - I Wanna Feel Ya
08. Switch - A Bit Patchy (Eric Prydz Mix)
09. No Love - Disconnection (Bassbin Twins Edit)
10. General Midi - Good to Go (Extended Mix)
11. Prodigy - Girls (Rogue Element Mix)
12. Pharmacy of Sound - Beastie Beat
13. Vandal - Obey (Dylan Rhymes Mix)
14. Jem Stone & JC - Disco Daze (Daze Mix)
15. Freeland - Heel 'N' Toe (Adam Freeland Mix)
16. Freeland - Heel 'N' Toe (Daniel Taylor Mix)
17. Sarah McLeod - He Doesn't Love You (Hook 'n' Sling Vocal Mix)
18. Stretch Sylvester & Ben Macklin - Fireworks

Advisory: Explicit Lyrics


DOWNLOAD CD LABEL ARTWORK HERE

http://www.summerchannel.com/CDart

For Booking, please contact Elena Vernagelli @ EV Management
Elena@evmanagement.com


Blue Rubber Biography:

Every so often a band comes along that crosses the boundary between the real and the sublime. A band that creates a sound so pure, so inspiring, so thoroughly wrought with love and hope, that one cannot help but stand in awe of the majesty of existence.

Blue Rubber is not one of those bands.

"I wanna see people fucking on the dancefloor," insists Buck Morello, one half of the brash new duo. "Our music is sexy, it's glam, it's distorted, and it gives me a giant boner from the second I hit 'play.'"

Blue Rubber are what would happen if Frank Zappa reprogrammed the Kraftwerk robots. At the core, Blue Rubber are deconstructionalists, but they sound more like demolition experts. Their tools are not sheet music and theory lessons, but rather used condom wrappers and TNT. Raised on a steady diet of Bach, Nitzer Ebb, Voivod, John Denver, Jodeci, Al Joulson, Eydie Gorme, The Blinds, Echo and the Bunnymen, Crystal Gayle, Gravity Kills, Bob Seger, Dodie Stevens, Lena Horne, Bung Factory, 808 State, Dan Reed Network, Robert Palmer, Dave Brubeck, Tweezer Armada, Sunny Day Real Estate, Falco, Duran (before Simon joined the band and the narcissistic bastard made them add another Duran just for him), post-punk glitch electro-bass-era Hasselhoff, and Engelbert Humperdink, one can only wonder why Blue Rubber sounds so wonderfully much like a blissfully dystopian future.

"We're constantly surrounded by free booze, good drugs, and clean, tight women," explains Morello. "We could fart hit songs with inspiration like that."

Blue Rubber's ascent to greatness hasn't exactly been a smooth road, though. Rusty Wood, the band's other half, has spent time in a rehab center for his continuing addictions to tentacle porn and horse tranquilizers. His take on the songwriting process is somewhat less wholesome. "I just think of all the synthesizers I've loved over the years," says Wood, wistfully. "All the girls I've shaved, all the lubricants and Acepromazine, late nights in Calcutta with my 303..." The dreamy look in his eyes as he drifts off into a memory is unsettling, to say the least.

Meeting Wood and Morello for the first time is, to put it mildly, fucking batshit insane. As I sit down on a dusty milk crate in Wood's living room, Morello cracks open a bottle of Grey Goose and casually drops in a curly straw. He sips thoughtfully while Wood enters the room and perches atop a bar stool made of what appear to be an assortment of broken children's toys and animal bones. Out back, a herd of about forty rabbits hops about on the lawn. Their presence is never explained.

"We got together as a band about three years ago," says Morello. "Rusty is the half-brother of one of the girls I was taking home from the club that night, so I gave him a ride home. On the way, he rewired the navigation system in my McLaren SLR with a toothpick and some Astroglide. Now all the buttons play drum loops and porno sounds. We wrote our first song together that night in the car."

Morello spends most of the interview on the phone engaged in various conversations that seem to revolve around either women named Karen or something he refers to only as "Project Fantasy." During this time, Wood treats me to listenings of Blue Rubber's latest tracks. The as-yet untitled songs display a universe of class and style while still remaining, as Morello once put it, "music to cum by." Throbbing basslines tease sythesized drums into an orgy of squelchy electro acid funk, only to dive headfirst moments later into an ocean of undulating Eno-esque analog hypnosis. The technique is so effective that when the song ends, I realize that at some point Morello has left the room undetected. His seat on the couch is literally aflame. Wood douses it deftly, as if he has performed this operation countless times.

A sound from behind me gives me a start. I ask if I had just heard a muffled woman's voice begging for "another time with the pink one." Turning towards the sound's origin, Wood casually explains "that's how we get all our basslines," and exits down the hallway. I take that as my cue to leave.

- Taylor Pakula