This mix Is The Freestylers‘ Upfront Mix Which Is A Half Hour Mix Showcasing Some Of Their New Material And Some Of The Current Tracks They’re Playing Out.
Tracklist:
The Freestylers – Breakaway
Krafty Kuts – Shake Your Hips
Subfocus – Rock It (Stanton Warriors Edit)
The Freestylers - Bounce To This
September - Until The Day I Die
Laidback Luke And Lee Mortimer – Blau (Breaks Mix)
To celebrate the release of the D Style remixes of ‘Warning’, they’re giving away the original track!
DJ Primecuts’ original has it all: a bass-ridden anthemic tune, made complete with Dynamite MC flowing freely on the mic. With churning bassline ready to rock the foundations and a rude ragga sample spliced in, its no wonder the D Style crew jumped at the opportunity to put their own distinct spins on ‘Warning’. Receiving support from Skream, Caspa, Andy C, Rusko and others…
Record Industry Faces Liability Over `Infringement’
By Michael Geist Internet Law Columnist Published On Mon Dec 07 2009
Chet Baker was a leading jazz musician in the 1950s, playing trumpet and providing vocals. Baker died in 1988, yet he is about to add a new claim to fame as the lead plaintiff in possibly the largest copyright infringement case in Canadian history. His estate, which still owns the copyright in more than 50 of his works, is part of a massive class-action lawsuit that has been underway for the past year.
The infringer has effectively already admitted owing at least $50 million and the full claim could exceed $60 billion. If the dollars don’t shock, the target of the lawsuit undoubtedly will: The defendants in the case are Warner Music Canada, Sony BMG Music Canada, EMI Music Canada, and Universal Music Canada, the four primary members of the Canadian Recording Industry Association.
The CRIA members were hit with the lawsuit in October 2008 after artists decided to turn to the courts following decades of frustration with the rampant infringement (I am adviser to the Canadian Internet Policy and Public Interest Clinic, which is co-counsel, but have had no involvement in the case).
The claims arise from a longstanding practice of the recording industry in Canada, described in the lawsuit as “exploit now, pay later if at all.” It involves the use of works that are often included in compilation CDs (ie. the top dance tracks of 2009) or live recordings. The record labels create, press, distribute and sell the CDs, but do not obtain the necessary copyright licences.
Instead, the names of the songs on the CDs are placed on a “pending list,” which signifies that approval and payment is pending. The pending list dates back to the late 1980s, when Canada changed its copyright law by replacing a compulsory licence with the need for specific authorization for each use. It is perhaps better characterized as a copyright infringement admission list, however, since for each use of the work, the record label openly admits that it has not obtained copyright permission and not paid any royalty or fee.
Over the years, the size of the pending list has grown dramatically, now containing more than 300,000 songs.
From Beyonce to Bruce Springsteen, the artists waiting for payment are far from obscure, as thousands of Canadian and foreign artists have seen their copyrights used without permission and payment.
It is difficult to understand why the industry has been so reluctant to pay its bills. Some works may be in the public domain or belong to a copyright owner difficult to ascertain or locate, yet the likes of Sarah McLachlan, Bruce Cockburn, Sloan, or the Watchmen are not hidden from view.
The more likely reason is that the record labels have had little motivation to pay up. As the balance has grown, David Basskin, the president and CEO of the Canadian Musical Reproduction Rights Agency Ltd., notes in his affidavit that “the record labels have devoted insufficient resources for identifying and paying the owners of musical works on the pending lists.” The CRIA members now face the prospect of far greater liability.
The class action seeks the option of statutory damages for each infringement. At $20,000 per infringement, potential liability exceeds $60 billion.
These numbers may sound outrageous, yet they are based on the same rules that led the recording industry to claim a single file sharer is liable for millions in damages.
After years of claiming Canadian consumers disrespect copyright, the irony of having the recording industry face a massive lawsuit will not be lost on anyone, least of all the artists still waiting to be paid. Indeed, they are also seeking punitive damages, arguing “the conduct of the defendant record companies is aggravated by their strict and unremitting approach to the enforcement of their copyright interests against consumers.”
Michael Geist holds the Canada Research Chair in Internet and E-commerce Law at the University of Ottawa, Faculty of Law. He can reached at mgeist@uottawa.ca or at michaelgeist.ca
So, there’s this clothing label called Mishka that’s been putting out mixes. Seems to be the trend now…
I’ve never heard of them, but then again I’m very fashion-backwards. Shouts to ‘The Private Psychedelic Reel‘ for drawing my attention to it… not that I’ll ever wear their stuff, but I will listen to this mix!
Hard times hit Toronto club district Circa Nightclub Filing For Bankruptcy Protection Last Updated: Tuesday, December 8, 2009 | 2:41 PM ET
CBC News
Glitzy nightclubs in Toronto’s entertainment district say they have fallen upon hard times this year as low-key party-goers head west to smaller venues.
Circa, Toronto’s largest nightclub, has confirmed to CBC News that it is filing for bankruptcy protection. Ari Kulidjian, one of Circa’s owners, said the John Street club has had problems with debt since it opened two years ago.
Other spots in the entertainment district — bounded by Queen Street West to the north, University Avenue to the east, King Street West to the south and Spadina Avenue to the west — also appear to be struggling to attract business.
“From 2008 summertime all the way up to today, the traffic in clubland has been down approximately 20 per cent per year,” said Jan Wrobel, the owner of Cabana, a club on the corner of Richmond Street West and Peter Street. “So we’re down 40 per cent over the past two years.”
Janice Solomon, the executive director of the entertainment district’s business improvement area, said people are still partying, albeit elsewhere.
“Possibly some of our larger venues aren’t as attractive — people are starting to shift back into that small, more intimate lounge environment ,as you can see with some of our neighbourhoods directly to our west,” she said.
Smaller clubs doing better
A clutch of smaller bars, lounges and clubs have popped up around the Ossington and Queen West area in the last couple of years. Owners of those businesses don’t appear to be having the same problems as their counterparts in the entertainment district.
“Generally on Fridays and Saturdays, we’ll see a lineup form at 11o’clock. And it will stay that way for three hours,” said Adam Baguely, who owns Levack Block on Ossington, near Queen West.
Baguely said smaller bars in the neighbourhood are likely cheaper than larger clubs — his bar, for example, doesn’t charge an entrance fee or for checking coats.
He also agreed with Solomon’s theory that party-goers are looking for a more intimate experience — his bar has a maximum capacity of 200 people. Circa, by comparison, can accommodate up to 2,800.
Where were you in 1991, do you remember the old skool classic ‘Rhythm Section Comin’ On Strong‘? Did you ‘Listen to the Bass Line Tump‘?
The classic cut has been given the 2009 make over with Dubstep, Electro, 4/4, DnB, Funk, Breaks remixes.
‘Coming On Strong‘: This bona-fide old-school rave anthem sold so many copies on its release that it would have gone Top 20 if the band had known about the need for a Barcode. It stayed in the Kiss 100 Dance Charts for a massive 18 months. Original copies have been known to change hands for over £100. ‘Coming On Strong‘ perfectly captured the mood of the times. Melodic energy with hip-hop beats and dubby basslines.
RHYTHM SECTION ‘COMING ON STRONG (FEEL THE RHYTHM)‘ THE REMIXES
LABEL: RSR
BLACK NOISE MIX (Electro / House)
CAPER MIX (Dubstep)
SLUM DOGZ MIX (D N’ B)
ELLIS D MIX (Breaks)
GRIM_PIL MIX (4/4)
NICK NEWTON TRANSBREAK MIX (Breaks)
NICK NEWTON PIANO CHUGGER MIX (4/4)
RENNIE PILGREM’S FUTURE FUNK MIX (Funk)
ORIGINAL 1991 VERSION
LISTEN TO THE ORIGINAL TO REFRESH YOUR MEMORY:
Rhythm Section ‘Coming On Strong (Feel The Rhythm)(Original Mix)
Who Is RHYTHM SECTION?(Ellis D/ Nick Newton/ Rennie Pilgrem/Richie T)
ELLIS D: What can you say about Ellis D? Still DJing all-over after 20 years. The definitive rave DJ. By the time Coming On Strong was released, Rave ‘ran tings’ and Ellis D was the number one DJ in the scene. Indeed rumour had it he was so busy he even had a stand-in sometimes. This man played a massive part in the early formation of Breaks/D&B. Also, if anyone could claim to have discovered Rennie Pilgrem it’s this man who came across Rennie and Richie T in 1989 making house tracks in East London, where he introduced them to the all-important hip-hop beats that were starting a new movement in Electronic music.
NICK NEWTON: Nick ‘Newton’ Scott and Rennie were at school together and a roving horn section in a number of funk bands. He then went to Art College. After that, a job in advertising but also reuniting with Rennie he joined Rhythm Section. Following its demise. Nick switched to Garage and House as ‘Diesel & Ether’, ran his own label, produced for EMI, remixed for Incognito, Ministry of Sound and many more. Still in advertising as an Art Director he also occasionally writes music for TV commercials.
RICHIE T: Ah, the mysterious Richie T. Very little is known of this LA-based artist/producer. As well as being very talented guitarist, for the last few years he has been producing and directing his own indie feature films.
RENNIE PILGREM: Co-responsible for the genre Nu Skool Breaks, and multi-award winning DJ and Artist, Rennie is currently hard at work composing music for his first Feature Film. He has also re-discovered his funk roots and is hard at work producing music in a new genre called ‘Ghetto-Funk’
REMIXERS:
BLACK NOISE: After the success of their fresh sounding genre bashing ‘EP1′ they have been constantly in demand for their audio skills. Their remix catalogue is like a who’s who of the scenes top players: Diplo & Laidback Luke, Trevor Loveys & Sinden, The Young Punx, Crookers, Tommie Sunshine, Rhythm Section & Tonka. An LP is in the pipeline via Southern Fried.
CAPER: Caper is 25-year-old Joe Lambert, a dubstep producer based in Southampton who has been producing for the last 10 years, remixing for the likes of Ministry Of Sound and Universal, and featuring on a number of compilations alongside some of the biggest names in underground music. More recently, he released the acclaimed single ‘Hybrid’ on Botchit & Scarper’s sister label Studio Rockers, and then followed it up with the genre spanning hit ‘Jump Up’ on new imprint 10 Against 1
SLUM DOGZ: This Drum & Bass collective are already receiving massive support on Radio 1 from Fabio & Grooverider with their remix of ‘Mexican Voodoo chick’ released on USA Records, along with Annie Mack, Zane Low, Mr Jam, Jaguar Skills and Nick Grimshaw supporting their remake of the Zed Bias track ‘Neighborhood’. They already have a healthy back catalogue of tracks including ‘Annihilator’, ‘Give Me More’ and the more recent floor-filler ‘Bad’, all of which are supported by the likes of DJ Hazard, Original Sin, Nicky Blackmarket, Grooverider and Bryan Gee to name but a few.
Boom! Toronto superstar DJ Tasc is keeping up with the latest! Prior to his big trip down to the States, he locked himself in the studio and hammered out this clever jab at Tiger Woods‘ “Transgression“, strictly for Da Clubs!
The Return of the Crazy Dreams! I dreamed I was sent to a prison camp where we had to farm pigs and chickens... and learn the Circus Arts! 1 day ago
Hey Tweeps! Looking for a spot for my bday on Jan9th... Nothing catching my eye. City seems dead. Hit me with ideas! 2 days ago
You know when you're at the club and you're feeling fine... then you leave the club and all of a sudden you're WAY drunker then you thought? 3 days ago
About to fall over at the local mcdonalds... Late night big mac, son!!!! 3 days ago
NICK NEWTON: Nick ‘Newton’ Scott and Rennie were at school together and a roving horn section in a number of funk bands. He then went to Art College. After that, a job in advertising but also reuniting with Rennie he joined Rhythm Section. Following its demise. Nick switched to Garage and House as ‘Diesel & Ether’, ran his own label, produced for EMI, remixed for Incognito, Ministry of Sound and many more. Still in advertising as an Art Director he also occasionally writes music for TV commercials.
