So… back to modern times, sort of. Here’s a tune I debuted at Bootie SF the other week, which screamed Bootie as soon as I put it together, and worked a treat I must say. So much so, that I’ve passed the download over to them as an exclusive, so if you want a copy, you’ll have to head over to the Bootie site. It’s worth it though, there’s a fine clutch of tracks there to be had for free!

What’s more, I’ll be playing at the next Bootie London alongside New York’s finest DJ Lobsterdust, and local heroes Instamatic and Payroll in support. Like last time, it’s at Electrowerkz, running later this time till 4am, so if you’re about, you really should come down! Full details at the Bootie London site!

More plans are afot for future London and elsewhere shows, and we’re starting to investigate Kickstarter ideas to see how we can make more shows happen – if you want us in your area, wherever that may be, and/or you think you can help us with some ground level wisdom from your own town or city, please drop me an email, it would be amazing to make it happen, and it’s a lot easier than you might think!

Well it certainly feels like it. So much has happened in the last couple of weeks, and there’s more on the way as always! I’m going to split everything I want to say into two posts, the “then” and the “now/future”, to make it a little easier to digest / skim, but first off, I must extend hugest of thanks to both Bootie SF and the team behind XOXOfest for being so many flavours of awesome and making my US trip such a joy.



I’ve always maintained that the San Francisco Bootie crowd are probably the most open-minded bootleg crowd in the whole world, and again they did not disappoint, lapping up everything that I threw, including the debut of a clutch of new tunes. A mighty fine time was had by all, big hello back to everyone that came up and said hi, and thanks to the cheerfully tolerant DNA Lounge crew and A+D as always for being excellent hosts. Again, soon, I hope!



From the rolling fog of San Francisco thence up the coast to Oregon, to find Portland gently fanning itself in what I was told was rather unseasonable, humidity-free, mid-late 20s heat (celsius, I am a euro ;). A glorious and welcoming start to what was, well, a glorious and welcoming long weekend.

A working start for me, though as I immediately zoomed up to Holocene to provide a five and a half hour DJ set as backing for the festival opening party. Not that I was complaining, it was a great relaxed opportunity to play right across the board, drink good beer and meet some folks, including a long-overdue first hello with co-organizer Andy Baio, a fan since early K-days, and whose mirroring of “Hip-Hopera” back in 2004 when my site went down led to a considerable amount of legal hi-jinks.

For most of Friday I was in a rather stressed state of mind, preparing for my first-ever solo AV Kleptones performance that night, and generally looking down my own body for more digits to cross. Yes! Previous AV shows, as you know, have been ably assisted by Butch Auntie, but budgetary restraints had always stopped us from taking this show any further than Europe. As XOXO was going to be rather special, and also I was a little unsure as to whether the crowd would be in a dancing mood or not, I thought the time was right to take the plunge and do it all myself. And I did… just. Needless to say, sharing the load onstage is a great thing, and not to be underestimated!

That said, I was delighted with how it went down. and doubly delighted to see many, many dancing people (including the aforementioned Mr.Baio ;). Thanks to you all and the ace crew at Holocene for making that a fun one, and also hail-fellow-well-met to both Julia Nunes and MC Frontalot and their respective musicians, who both played great sets before me, and did wonders in reducing my own pre-set nerves. A top night, if a little scary. Apologies to everyone that got the full blast of my adrenaline-fuelled relief afterwards – I was buzzing quite a bit, as you may have noticed…

Saturday morning found me with my responsibilities discharged (HT ‘The Young Ones’ ;), allowing me time to soak up the festival and conference itself.

Much has been already written online by finer hands than my own (see Wired, The Verge and Boing Boing), so all I need to add is that it was an absolute joy for myself to be part of the friendly tornado of ideas and wisdom that constituted XOXO.


As has been pointed out elsewhere, some in attendance were not what one would call “natural mixers”, but the collective down-to-earth mindset (established and encouraged in no small part by co-founders Andy McMillan & Andy Baio), the beautiful urban setting and the balmy weather (and of course, the fine Portland food and drink) encouraged everyone to dump their excess mental baggage and egos at the entrance and use the weekend as the creative playground it was intended to be. Big talk, you may say, but for once, it all fucking worked, and it was glorious. Coders, designers, makers, artists, musicians (hi!), organizers, do-ers, thinkers-one-and-all stepped into the ring simultaneously yet gave each other sufficient space. Yes, that is possible, and it was truly impressive.

A high standard of presentations and speeches (including a highly polarizing keynote from Dan Harman) provided plenty of kick-off brainwaves to keep the conversations buzzing throughout the day, and some great after-parties (and other concurrent local events – was surprised to end up at a Fade To Mind show on the Saturday night!) allowed folks to kick back and continue their conversations at a more leisurely pace. Everyone I met, without exception, was a true star in their own field, and many, many new friendships and creative partnerships will, I’m sure, be formed in the festival’s wake. Job well done, everyone!

I did feel rather sad to be returning, but fortified by the wave of energy described above, it doesn’t feel so bad to be home.

Onwards and upwards, as always…

Decided to have a crack at the new Major Lazer single, even though I think the original takes some beating… Tried a few styles but this knocked everything else out of the water by a country mile.

So here you go… hope you enjoy!

A couple of things to announce and a couple of new tunes for you! We’re going off on a little September sojourn… First stop will be Bootie SF on Saturday 8th September, with hosts A+D in town, Smash-Up Derby live, and the finest mashup crowd on the planet!

Following that it’s up to XOXO in Portland on Thursday 13th September (you need to be registered with XOXO to get into the Portland show, and it’s completely sold-out, but we’ll be around all weekend, so keep watching the Twitter feed, PDX-ers, you never know what might happen!)

And a couple of new tracks! Up top, “Love In The City” takes some Putney boys off to meet a Canadian Godfather uptown, or possibly round a campfire, and down below “Short And Round” gets rather silly and offensive indeed…

Hope to see you soon!

Just a quickie – A lot of people, myself included, have commented on the similarities between Blur’s “Under The Westway” and Procol Harum’s “A Whiter Shade Of Pale”, but until I tinkered, I hadn’t realised *exactly* how close they were – same tempo, same key (C major, I think)… although Blur cut the last bar of each verse three measures short to achieve a rolling, overlapping effect.

Didn’t need to do more than a minute for you to get the idea…

I do like “Westway” a lot, and, well, “Whiter Shade” was heavily influenced by Bach, so as usual, round and round the riffs we go…

Well, the sun came out here today in London for an hour, so to celebrate this momentous occasion, I felt inspired to do another “Reunited” remix, this time sending young Michael off to the Caribbean…

Image borrowed from Paul Simon’s Twitter feed.

Direct download links: MP3 or FLAC

WARNING: Long read ahead. I’d be delighted and honoured if you didn’t TL;DR me, simply hit play above and read on down the page – pretend it’s a Sunday paper or something… As always there’s an interesting story behind the mix.

The temptation to call this mix “Gumboots: Accordion Jive Hits, Volume 2” was huge, but it would be misleading.

By way of explanation, if you google “Gumboots: Accordion Jive Hits, Volume 2”, you may well be surprised at the number of results. A popular record, you might think; well known and discussed. But try to find a copy, and you’ll while away a day or more clicking from site to site around the world, maybe chancing upon “Greatest Accordian Jive Hits, Volume 3” or even “Sax & Accordion Jive Hits, Volume 1“. But Volume 2? Not a sniff.

The “Gumboots” album, should you be unaware, has been awarded it’s place in history due to a cassette copy which found its way into Paul Simon’s car stereo sometime in 1984-85 and providing him with the initial inspiration to seek out (and eventually travel to South Africa to record with) the musicians playing on the album. An occurence that has been documented virtually every time the story of “Graceland”s creation has been told, over the course of thousands of interviews, several documentaries, and now again with the release of a 25th anniversary edition and an accompanying tour with Simon reuniting on stage with many of the original album’s participants.

So, considering the legacy of “Gumboots”, one would imagine any music-minded enterpreneurial soul, or even Gallo, the label that allegedly released the original album, would jump at the chance to re-issue such inspirational recordings and make a few bucks off the back of the multi-million selling “Graceland”. Standard form for the music industry, indeed, but in this case, nothing.

(I say Gallo allegedly released it, but as no-one I’m aware of has actually seen a copy of the album, and as repeated enquiries to the label from a multitude of Paul Simon fans have gone unanswered, no-one’s entirely sure.)

To further confound the investigation, from information given in interviews by Simon and other musicians, only one track on the original tape is actually identifiable. The “title” track, “Gumboots”, lent it’s music lock stock and barrel to become the backing track of Paul Simon’s song, also titled “Gumboots” on the finished album. Indeed it’s not difficult to imagine Simon driving around singing his prototype vocal melodies and lyrics over the bouncing mbaqanga groove.

But was the original tune actually called “Gumboots”? or did Simon just use the title scratched on the cassette as an identifier? You can see one side of the actual tape above – does it have “Gumboots” written on the other side? (It’s rather doubtful the tape came with a tracklist, as any car-driving cassette fan would understand.) There’s certainly no mention of Gumboots in the lyrics. Further Simon interview comments reveal the track originally involved The Boyoyo Boys, yet any online search for “Gumboots” by The Boyoyo Boys brings back, yup, you guessed it, thousands of results for the phantom “Gumboots Accordion Jive Hits Volume Two” album. Another dead end.

Furthermore, one would imagine somewhere along the assembly of the two very large scale re-issues of the album, someone involved might think to seek out at least this individual recording and add it to the album as a bonus track. But no, nothing.

Indeed, very little previously unheard music has been added to the original album by way of bonus material on these re-issues, despite co-producer Roy Halee’s assertion that there was more than enough material generated during the initial sessions at Ovation studios in Johannesburg: “You should hear some of the out-takes. Even today, there could be two instrumental albums consisting of those fabulous grooves.”

It’s also known, through “Graceland”s writing credits and investigation of the wealth of documentary evidence, that at least two more of the albums tracks are based on presumably pre-existing music – On “I Know What I Know” Simon shares the writing credit with M.D. Shrinda, and on “The Boy In The Bubble”, he shares it with accordion player Forere Motloheloa (part of Tau ea Matsekha, the Lesotho group responsible for the “Bubble” backing track). Although no original titles have surfaced for the music that formed part of these songs, I’ve located what I consider to be reasonably close matches, and included them on this mix.

I’ve also included at least a handful of tracks that have surprisingly close links with riffs and melodies used on Graceland, and many, many other excellent tracks that could (and should) be considered forebears of “The Big G”. Note that I’m not making any claims of plagiarism (like I would dare!), simply demonstrating the common trading and development of grooves, basslines, horn, guitar, accordion and vocal riffs that took place between musicians at the time in both South Africa and Lesotho, and still takes place today, I hope.

As for the mysterious “Gumboots” instrumental? With no confirmation of the orginal title, and very patchy availability of The Boyoyo Boys back catalogue, it’s proved impossible to locate. I’ve included a track on the mix that The Boys recorded with Lulu Masilela (co-writer of “Gumboots” as it appears on “Gracelands”) which I consider to be it’s closest locatable relative.

I refuse to delve deeper into the discussion about whether the writing credits on “Graceland” are fair – Indeed amongst Simon’s catalogue “Graceland” is rare in the number of songwriting credits shared – proof that, for once, he was certainly not shy of demonstrating, and remunerating, the collaborative effort involved in producing the finished work.

More importantly, I must thank Paul, who, alongside sterling work by broadcasters John Peel and Andy Kershaw, both promoting similar music at the same time, opened up a new musical world to the young me, giving South African music far more of a UK (and worldwide) audience than it had previously enjoyed, and paving the way for many artists to bring that music out into the world. Also, in my opinion, he made a truly great album that, by blending his New York lyricism with another continent’s grooves, gave my young ears a taste of what marvels can be accomplished when different styles of music collide.

01a Tau Ea Lesotho – Nyatsi Tloha Pela’ka
01b Tau Ea Lesotho – Puleng
01c Puseletso Seema & Tau Ea Linare – He O Oe Oe!
02 Mahotella Queens – Umculo Kawupheli
03 The Rainbows – Mashonisa
04 Soul Brothers – Bayeza
05 Dark City Sisters – Ezomculo
06 M.D. Shirinda & The Gaza Sisters – Pfuka N’wavolo
07 Abafana Baseqhudeni – Mubi Umakhelwane
08 Mgababa Queens – Maphuthi
09 Zorro Five – Barcarolle
10 Amazulu Queens – Sankatana
11 Marks Mankwane – Khupa Marama No. 2
12 Naledi Boys – Bump Again
13 Ebrahim Isaacs – Meadowlands
14 John Amutabi Nzenze – Angelike Twist
15 Queue Sisters – Ethembeni
16 Spokes Mashiyane – Kalla’s Special
17 Soul Of The City – Hustle Bump!
18 J.K. Mayengani & The ShingWedzi Sisters – Khubani
19 Mahlathini & Izintombi Zomgqashiyo – Okwamadoda Kuya Bhikwa
20 Izintombi Zodumo – Mississippi River
21 Sannah Mnguni Nesimanjemanje – Ukhulupheka
22 Lulu Masilela & The Boyoyo Boys – Small Time No.4
23 Tempo All Stars – Take Off
24 Paulus Masina – Umalusi
25 Intombi Zephepha – Ingoina Le Nyathi
26 Mgababa Queens – Akulaiwa Esoweto
27 Mahlathini & The Mahotella Queens – Bophumthwalo
28 Izintombi Zesi Manje Manje – Awufuni Ukulandela Na
29 African Symphonics – Zulu Roll
30 Kings Messengers Quartet – My Lord

Images of Ethiopian art, as used on Graceland artwork, borrowed from The Peabody Essex Museum.

Compiler’s note: One of the most appealing yet frustrating characteristics of this music is it’s timelessness, both in arrangement and recording quality. I say frustrating, as it’s tough to tell the difference between an archive 1950s recording, a rather expensive studio recording from 1968 and a lo-fi shed studio recording from 1980, especially considering sound quality alterations due to poor quality vinyl, cassette-to-cassette dubbing and yes, a modern layer of MP3 encoding.

Post-1980 the differences are easier to note, as the introduction of electronic drums and early FM synthesizers give the game away somewhat, but even then dating things is not that easy. According to Global Groove’s blog, the track “He O Oe Oe!” is from a 1985 UK album, but the blog claims the original recording dates from 1981. Also the Tao Ea Lesotho tracks date from an album released in the UK by Sterns in 1988, but “Puleng” was apparently a South African hit a few years before that. The truth is very, very difficult to find, so even if a couple of these actual recordings actually don’t pre-date “Graceland”, the songs and grooves most definitely do!

Apologies also for any spelling errors in the tracklisting, and the largest of thanks to all re-issuers of this music, particularly the “Indestructable Beat Of Soweto” and “Next Stop Soweto” series of albums, and the blogs Afro Slabs, Matsuli, Electric Jive, Global Groove and Soul Safari, who do an amazing job unearthing and digitizing tons of outstanding African music.

There’s plenty more I could add about the above artists, but I’ll save that for another time – Thanks for reading and listening – hope you enjoy the mix!

(Previous Hectic City mixes can be found by clicking here!)

(Image of “Paper Record Player” by Simon Elvins – details here)

A couple of months ago I spontaneously decided to set up an album listening club on Twitter, borne out of that good ol’ simple desire to spread and share interesting music. Admittedly, there have been a spate of similar things appearing in the last year, mainly either “listening together in a room”, or “listening online at an allotted time”, but they all either decided on their music by a vote, or stuck to pretty straightforward (although classic) choices.

That’s all very well and good luck to ’em, but what interests me more is that “personal choice” – those albums you discover that fit your needs of the time so perfectly you’re left wondering about the powers of synchronicity as your heart fills to the brim with joy, and those albums that boggle your mind so much that you dive online immediately to find out more about the people behind them, and what drove them to create such a thing and unleash it on the public.

Also it should come as no great shock to you that we here at Kleptones Inc. are very much big fans of the “long-play”. Albums, mixes, whatever… the ability to take a listener off on a satisfying journey is rarely something that can be accomplished in three or four minutes, as has been proven time and time again over, ohh, the last few hundred years or so.

So to empower the participants, and to increase that random “personal choice” factor, the only rule established has been that whoever selected an album for listening would pick their favourite tweeter from the playback, and the baton would then be passed to that tweeter to make the next selection. Simple as.

And it’s worked rather well – a fine troop of listeners has emerged, and the selections so far have ranged from lesser known albums by established bands, a raft of new (or “new to us”) artists from far and wide, and obscurities from the flip-side of previous decades. Not everything has been to everyone’s taste obviously, and there have already been several WTF moments, but that’s that way it should be, really. However, it’s only just getting started we think, and the boundaries are only just beginning to be pushed, which is why the time has come to let you all know about it, and invite you to come join in the fun. We need your input!

Timezone corroboration obviously is a bit tricky, but the agreed time of 8pm BST (GMT+1) each Sunday is working well (although apologies to the Aussies, can’t stretch that far sadly), however the albums generally stay up for a little while after, and there always seems to be a few folks tweeting their catch-up listen in the following days. We realise there’s no way that everyone is going to be around every week, but, like your favourite radio show, Listening Club will be there, should you be in the mood.

So yea verily, get your tweet on and come join us by following @listeningclub on twitter, where all the info is passed out and questions answered (album info gets posted on a separate blog here). It’ll be great to have you along, and find out what album you’re going to pick…

Yowsah! Been wanting to do this for a while, and it seemed like it would be a daunting undertaking, but seeing as Ableton & Soundcloud have donated some extra free storage space for a few months, I thought we’d better use it, and it all seems to have turned out rather splendid indeed. Three one-hour-or-so mixes and a compendium of some of our favourite mashups, remixes, edits and general insanity, or at least the ones that we could string together in some sort of coherant order. If you’ve heard us DJ at any point over the Kleptones lifetime, there will be more than a few familiar things here, for sure…

So here you go, nearly three and a half hours – 72 “tracks” and a few uncredited inserts and nibbles. And there still wasn’t room for any drum’n’bass, or any mellow stuff… and we tried to limit each producer and artist to one appearance only (Tried and failed as a couple are in there twice…) – guess we’ll have to pick all that slack up in future mixes, won’t I?

Hope you enjoy – We certainly had a ball mixing it!

If you’re in a hurry, download all three mixes and a tracklist in one zip file here:
MP3 (450MB) or FLAC (1.5GB)!

Part One: “A Massage From The Swedish Prime Minister”

Download: MP3 or FLAC

01 Grant Green – Let The Music Take Your Mind (Muro Mix)
02 Muddy Waters – Mannish Boy (Baxter Park Sunbather’s Korova Edit)
03 Aretha Franklin – Rock Steady (Sure Is Pure Mix – Danny Krivet Edit)
04 Hot Chocolate – Cadillac (The Revenge Rework)
05 Beat Conductor – Only A Thrill
06 DJ Melo – Grown Man Shit pt.2
07 Aaron Neville – Hercules (Groovement Inc Remix)
08 Sect – Man Of Wisdom
09 Claptone – Good To You
10 Chic – I Want Your Love (Todd Terje Edit)
11 Bottin – Eagle
12 Barry De Vorzon – Warriors (Cristoff Remix)
13 Frank Sinatra – This Town (Morgan Page Unreleased Remix)
14 Animal Collective – My Girls (El Remolon Cumbia Mix)
15 Andy Ash – Timmy
16 Kraftwerk – It’s More Fun To Compute (Busy P Edit)
17 Tanita Tikeram – Twist In My Sobriety (Alf Tumble Re-Dress)
18 Claptone – Cream
19 Dimitri From Stoke-On-Trent – I Wanna Be Your Lobster
20 Nina Simone – Ain’t Got No, I Got Life (Groovefinder Remix)
21 Radiohead – Nude (Jarrad K Remix)

Part Two: “Stop That, It’s Silly…”

Download: MP3 or FLAC

01 Kool & The Gang – Jungle Boogie (Kovary Nu Jump Up Booty)
02 Josh Wink – Higher State Of Consciousness (DJ Apt One Remix)
03 Sabo – Patchy Moombahton
04 Trick Turner – Sirens Comin’
05 2pac vs Feed Me – Hell To The Stars (Funkanomics Blend)
06 Featurecast – Rock Ya Body
07 Legion Of Doom – Crazy As She Goes
08 The Beatles – The Word (The Captain Remix)
09 Moondog – Lament I (“Bird’s Lament”)
10 Obvious Productions – Standing In The Way Of Your Friends
11 DJ Faroff – Ray No Speak Americano
12 G3rst – We No Speak Cantina
13 Mashup-Germany – Everybody No Speak Americano (Chaos Club Edit)
14 Mad Mix Mustang – Let’s Dance ‘n Stuff
15 Duck Sauce vs Fatboy Slim – The Barbra Skank (DJ Myagi Awesomesauce Mashup)
16 DJ Schmolli – Barbra & Gerry
17 Basement Jaxx – Red Alert (HeavyFeet vs Nick Thayer Bootleg)
18 Rye Rye ft. M.I.A – Sunshine (Smalltown DJs Remix)
19 DJ Topcat – Bust A Flawless Move
20 Big Boi – Shutterbug (Jack Beats Remix – Krafty Kuts Re-Rub)
21 Adele vs Robin S – Show Me In The Deep (DJs From Mars Mashup)
22 Tom Jones vs Lipps Inc – Funkytown Kiss (DMC Mashup – Kleptones Remake)
23 Nate Dogg – All The Girls Get Up (Mr Andersonic Remix)
24 Nero – Crush On You (Sound Remedy Remix)
25 Bell Biv Devoe – Poison (Risk One Bigger Room Bootleg)
26 Rick James vs Salt’n’Pepa – Superfreak Push (Gary G Mashup)
27 DJ Zebra – Happy Friends

Part Three: “I’m Sorry, I’m Going To Have To Shoot You”

Download: MP3 or FLAC

01 Ramones – Blitzkreig Bop (Tea Time Remix Ft. GSUS)
02 Dem Slackers – Swagger (Evil Nine Remix)
03 Nicky Romero – Generation 303
04 Bingo Players – L’Amour
05 Megadeth – Sleepwalker (Kaze V Croma Remix)
06 Fatboy Slim – Ya Mama (Moguai Remix)
07 Faith No More – Epic (Utah Saints Bootleg Mix)
08 Poet – Disco Statuz (JD Live Edit)
09 Daft Punk – Around The World (Kid Dub Remix)
10 Hedflux & Neurodriver – Energy Vibration (Kill Dyl Bootleg Remix)
11 Breach – Fatherless (Doc Daneeka’s MRR remix)
12 Queens Of The Stone Age – Better Living Through Chemistry (Streetlife DJs Remix)
13 Plump DJs – The Volcano Coalition
14 Human Resource – Dominator (DJ Hell Remix)
15 Wolfgang Gartner – Funk Nasty V3 (Krafty Kuts Re-Rub)
16 Exactshit – Crazy Humanoids
17 KRS-One – Sound Of Da Police (heapy’s Brooklyn Fire Bootleg)
18 Led Zeppelin – Immigrant Song (Mr Peaches Remix)
19 AC/DC – Thunderstruck (Tittsworth Remix)
20 The Rolling Stones – Satisfaction (Discotech Remix)
21 Benni Benassi – Satisfaction (J. Rabbit Remix)
22 Metallica – Seek And Destroy (Bassnectar Remix)
23 DJ Parker – Iron Mandem
24 The Kinks – You Really Got Me (Diffusion Remix)

(Oh and the “M3B” title? It’s another Monty Python reference which fitted the concept, but proved a bit too long for the titles, so got abbreviated – sure you can figure it out if you’re a fan… ;)

New trailer for our live show from the chaps at Butch Auntie, and a tribute to the ace crowds we get to play with!