Radio Soundhog Volume 2 - The XFM Superchunk

Link: Listen on Mixcloud
Link: Download (ge.tt) << new link, thanks to ridiculous Mediafire content filters...

Created: October 2003. Released: November 2003

Tracklisting: 
Kenny Everett - sound FX
Monty Python - The World Of Sound
Jet - Are You Gonna Be My Girl?
Christina Aguilera - Dirrty
Finitribe - 101
Obie Trice - Got Some Teeth
Area Code 615 - Stone Fox Chase
Destiny's Child - Bootylicious
Primal Scream - Loaded
Liberty X - Got To Have Your Love
Donovan - Barabajagl
Elizabeth Knight - excerpt from 'How To Give Yourself A Stereo Checkout'
John Baker (BBC Radiophonic Workshop) - New Worlds
Martin Rushent - excerpt from 1985 'Micro File' interview
Renegade Soundwave - Biting My Nails
Freeland - We Want Your Soul
Q-Tip - Breathe & Stop
Soundhog - Untitled Piece #2
Missy Elliot - Pass That Dutch
Soundhog - Double Ditch
Tronik House - Uptempo (Reese Mix)
Stars On 45 - Stars On 45
SL2 - DJs Take Control (DJ Seduction Remix)
Graffiti - What Is The Problem
Patrick Allen - 'All My Loving' voiceover
The Pink Floyd - Interstellar Overdrive
Ini Kamoze - Here Comes The Hotstepper
The White Noise - An Electric Storm In Hell
Peter Howell (BBC Radiophonic Workshop) - Dr Who Theme
Chicago - 25 or 6 to 4
Basement Jaxx - Romeo
Peaches - F**k The Pain Away
Human Resource - Dominator
The Human League - Sound Of The Crowd
The Trammps - Disco Inferno
Lene Lovich - Lucky Number
Dave and Ansil Collins - Double Barrel
Adina Howard - Freak Like Me

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November 2003. Done for Eddy Temple-Morris' XFM London show "The Remix". The sound of me throwing everything into the pot. Half an hour of full-on editing madness with The Pink Floyd, Chicago, Primal Scream, Finitribe, Dave & Ansel Collins, Area Code 615 and more. Of course, it went straight over everyone's heads... 

"The Remix" was (and maybe still is, I'm not sure) the main port of call for anyone who was into the bootleg/bastard pop scene in those early days from 2000 to 2003-ish. Today, every 'superstar m*sh*p maker' has their own website, MySpace or whatever where they upload their wares for anyone who cares enough to download their 'art'. Back at the start of the 21st century, it was all very different. Bootlegs in general existed on white label vinyl or short runs of CD-Rs, hiding away in the racks of the Rough Trade shop or being passed to up and coming DJs like Kurtis Rush or The Fucking DeWaele Brothers. To hear them, you either had to go to Cartel Communique's "King Of The Boots" night in London, grab the odd shakily encoded mp3 from Daniel Sheldon's 'Boom Selection' blog, or listen to "The Remix".

By mid 2003, I'd already got sick of the whole affair and decided to pack it in (not for the first time, eh?) as already I sensed that I was either doing something totally wrong or I was wasn't pandering to the idiot public enough - everything I heard that was meant to be brilliant turned out to be shit. Nothing changes, really. Anyway, James Hyman (who was at the time co-presenting The Remix with show originator Eddy Temple-Morris) suggested I do a 'Superchunk' mix for them. Well, it would have been rude not to.  Most of the properly famous DJs/producers of the era had done one.  I'd considered most of them to be fairly rubbish.

I really went to town on this, even more so than on the BBC mix of the previous year. And again, maybe I was being too clever-clever by constructing a mix that ducked and dived all over the place, with elements that only about seventeen people in the country would recognise. But it got a pretty good reaction from the people I wanted it to appeal to, and I still like to listen to it occasionally. By the time it went out, James and Eddy's working relationship was in shreds and as a result Eddy had no idea who I was or why I was there when I turned up at the radio station, with CD in hand! Still, the worn sofa was very comfy and I had a pleasant evening "hanging out" like a  pop star... well, sort of...

The version here isn't the exact one that went out on air - it's an earlier edit that was a bit too long for the strict 30 minute radio slot - but I prefer it, as it gives the Liberty X section more room (which happens to be one of my favourite parts) as well as a few other differences. Again, my love of audio buffoonery was put to use, with sections from a Monty Python album (note the fart noise used to cover a tricky edit in 'Bootylicious'), a 1960s Decca stereo demonstration record (not the usual 'Journey Into Stereo Sound' though), an almost ironic sample of legendary Human League/Buzzcocks/Raybeats/Then Jericho producer Martin Rushent, and a genuine cassette tape 'disaster' as a way out of the increasing disco inferno.