IT’S HERE! Mark your end of the year with the Chef Jeff mix of musical, danceable goodies. Enjoy 68 and a half minutes of pure bouncy jams lovingly curated by Chef Jeff.
Chef Jeff – 2020 End of The Year Mix
Mix includes the following tracks:
Deeper Love – Aretha Franklin
Fallin’ For You – Sidepiece
Vibration – Don’t Blink
It Is What It Is – Vintage Culture (feat. Elise LeGrow)
International Thief Thief – Fela Kuti
Cat Vibing To Levan Polka – Bilal Göregen
They Frontin – Catz n Dogz (feat. Monty Luke)
Lose Control – Darkmountaingroup
Jesus Creates Sound – Marlon D
The Sound Is Yours (Kerri Chandler Remix) – RiskSoundSystem
Panic Room – Au/Ra
Don’t Call Me Baby – Madison Avenue
I’m Coming Out (Integer Bootleg Mix) – Diana Ross
U Got My Love – Guz
The Heat – David Penn
Cloud Nine (Purple Disco Machine Remix) – Jamiroquai
Wow! So much time has passed since the 2015 release Hozpitality-To Go. There has been a lot of moving around and acquisition of new noise making devices and volunteering of new noise making people.
As you know, Hozpitality is a collective. Anyone who wants to make sound and record may do so. Since moving the “Hozpitality Home Studio” around a lot, more people have come on board. They will be listed in the Personnel List below.
Track List:
Beach Week (4:16) This was a drum pattern recorded by Bush, keys by CeMeGo, and vocals by Gloria Snatch (now known as Eriyyka BaDont). Please do not miss the Beach Week video (which is the first music video for a Hozpitality song). The lyrics/vocals for the song were created after watching Brett Kavanaugh hearings. He still likes beer. Yeah well so do we all, but we don’t get to be a life long supreme court justice (you dick).
D and C Drone for DC (5:43) This was extracted from a long jam session (May 2019) between Derek and CeMeGo. Derek plays bass. Not sure about the drums. Keys and noise by CeMeGo. Probably first recorded use of Korg Minilogue XD (closer to the end).
Don’t Know What To Say (3:45) Bitchin’ Bob souls up a hit. Drums and 2 chord melody by Bush. Extra keys and augmentation by CeMeGo. This is a touching song, about hats, impaired vision, and lots of grumbled Joe Cocker styled wailing.
Exceptional (5:33) A jam session created in April of 2017, chopped up, and repositioned by Bitchin’ Bob and CeMeGo. The Novation Launchpad was heavily abused for the drum pattern.
Epipen (2:33) A lounge statement calling out Big Pharma. The skyrocketing price of Epipens used to ward off an allergic reaction causes us to do a timely lounge piece. Gloria Snatch on vocals and Randy Glands on keys.
Guest Parking (with CHOB) (10:02) The voice sample is audio from an instructional video explaining how to park your car in a parking lot and remember where you parked (very ridiculous). There is also a dramatic reading of the guest parking rules for a certain overpriced apartment community in North Bethesda, MD.
The Tootsie Throwdown (4:34) Derek plays bass and croons about Tootsie (the cat). What else do we know? Right?
High Mystic Water Rhythms (5:27) This is not the first time CeMeGo has stolen drum sounds from the band Rush. This is a mash up of drum samples from Rush songs “High Water” and “Mystic Rhythms”. This was one of the first experiments with the Novation Launchpad.
Staying Up Late To Make Some Beats Tonight (But You’re Not Alone) (4:10) Instruments, vocoder, and junk by CeMeGo. Yet another stolen traffic report sample from WTOP radio.
Exceptional (Bangin Remix) (4:35) The heavy rocking mid section of the track Exceptional had us dancing around so hard, we had to jam on it. This is what happened.
Tools used: Ableton Live 9 Suite (too cheap to upgrade to 10!) A bunch of free .VST files from the Internet Adobe Audition (too useful unfortunately!) Fender Aerodyne Bass Korg Electribe Sampler 2 Korg Kaossilator Pro Korg Mini-KP (red box) Korg MicroKorg (lots of stuff and vocoder) Korg Minilogue XD (still new). Korg Volca(s) (Bass, Beats, and Keys) Novation Launchpad
This is my second solo album. This collects everything I’ve done throughout the “year of personal hell” known as 2017. This collection includes use of the Novation Launchpad. I really tried to work more with phrasing (probably too much) where everything is more structured and looped. This probably makes things more cold and clinical, but you have to learn sometime. There is one long track that was a jam session with little planning (Track 13-Air Head Full of Fluff). Everything else was looped, overdubbed, or (vaguely) planned with soloing on top. Some tracks were never posted on this blog (marked with an *). This, of course, is to gyp listeners into downloading an album of tracks to hear 3 for the first time. Here’s the run down/liner notes.
Waiting on Hold for Bob* (1:05) This was literally slapped together while waiting on hold with Bob who was talking with his mom on the other line (as usual). One piano loop and pointlessly pounding away in real time over top.
For Another Day (4:07) I am most proud of this sound for the big “Trevor Horn sounding” bridge in the middle. Yes, for you local folks, that is an audio sample of the WTOP traffic report for DC mixed in there. Further write up located here.
Bright and Fast* (5:23) Every type of metallic percussion (that I liked) was used to make loops on this one including glockenspiels, xylophones, vibraphones, and marimbas. I had a lot of fun programming the drum patterns. I probably went a little overboard with most of it.
Air Head Full of Fluff (12:52) This is the long jam session. Write up located here.
The Warfare* (3:50) This is the last track to be made for this album. It started on Veterans Day 2017. I finished it today (Dec 23, 2017). The spoken samples are a half speed recording of Jim Bakker talking about how people are trying to kill him because he’s “preaching the word of God”. I think it’s because he’s a felon manipulating the minds of the poor and desperate people who tune into his show to be exposed to horrific fears of a false prophecy. Either way, he is fun to audibly abuse. He sounds drunk at half speed.
A new hit! Guest starring (or like the hip hop people say “feat.”) Chris Christie and drums by Rush’s Neil Peart!
You gotta love a hated politician that doesn’t give a shit about his constituents. And the funny part is, people are RAGING about him lately, but, if you aren’t completely politically myopic, you could see this in his behavior since he was first elected. I guess the republicans in New Jersey are completely idiotic, until crap like this is brazenly shoved down their throat in the media.
Either way, this song is HERE TO HELP YOU UNDERSTAND the man and the SELFISH EGO that is Chris Christie. Let us all hope after this, he just GOES AWAY!!!
Play
Stop
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Created this with:
Korg Volca bass
Korg Volca Keys
Korg MiniKP(red box)
Korg MicroKorg
Ableton Live
Adobe Audition
Audacity
Novation Launchpad
A sampled drum fill from Rush’s track “Red Lenses” (from the “Grace Under Pressure” album)
This took about 4 hours to do. This was tons of fun. Listen in headphones “cause they’re really gonna help you on this one…”
WHAT A MESS!!! Many people have said, to mix up the thing or things.
So they say, “OH NO! He’s mixing things up again!” Because, you know, thats what they say. And I mean that, believe me!
SAD!
But we DID mix it up anyways, because, ya know, I thought it was good and smart and talented and successful. Full of common sense. Strong, passionate, powerful, and with great verve. A TRUE PATRIOT !!
One of the few guitarists names that have dropped out of my mouth immediately when discussing guitar playing of any kind.
Allan Holdsworth passed away Saturday, April 15, 2017.
I’ve been having a time with it, as I really love his music. It’s not so much that he is a guitarist of unequaled skill and unique sound, but the way he structures chords and writes music is unlike anything I’ve ever heard. I have always thought it sounded pleasing to the ear, but not normal. It is complex but catchy. It was pleasant but warped. He managed to keep things upbeat and twisted at the same time. Whether with any random number of guest singers (all who are talented in their own right to even try singing Holdsworth’s music), or just instrumental, his music always seemed perfectly unique in quality.
YOU KNOW when you hear Holdsworth play, but when you hear him WRITE its a completely unique experience that just pulls on the ear.
This is possibly my favorite Holdsworth song (which is difficult to say) but its the one that stays in my head for reasons I cannot explain in ANY way.
Notice the way the chords and tune of the song slide along in a pleasant and almost sour tone with a stumbling but consistent rhythm. This is his style. It’s like a roller coaster that is happy it just found out how to go upside down. HA! Just amazing. His genius will be missed.
Here’s another all time favorite that he co-wrote with the band U.K. (with John Wetton on vocals/bass, Bill Bruford on drums, Eddie Jobson on keyboard/violin). This whole song from beginning to end is just polluted with Holdsworth writing style. Also, the late great John Wetton will be missed as well (cannot be stated enough, the Don Pardo of Prog Rock).
Even if you only listen to the last half of UK-Nevermore, you will be amazed. It is just THE SOUND of Progressive Rock, without question. Holdsworth was a key to this.
ALL CHANGE !!!
Now the fun part…
I stole a chord from a song off of his album Atavachron (the song is “Looking Glass”) and I contorted my inexperienced fingers on a MIDI keyboard and played the chord and messed with it rhythmically and loop’ily. I made this thing.
This is Holdsworthian2. I would never even THINK of saying it was a tribute, but I’ve been listening to him a lot and this happened. Think of it what you want, but I don’t think I’m done yet. I wanna tweak it more.
OK! I admit. This was rushed. It started before I got the Novation Launchpad Pro. This was all done (linear) in arrangement view and just banged out and improvised. There are 3 drum patterns here. The 2 most used are recorded at a completely different BPM and then FORCED painfully into a different BPM and it made this crunching glitchy affect which I thought was neat. This messing with the BPM caused the first drum pattern to have almost a breathing sound in it that I did not expect. The beauty of errors! The third drum pattern I just threw in at the end. The Conet Project samples are responsible for the counting radio voice. I butchered the crap out of those to make it a little more bizarre. Good in headphones though.
The track sort of falls apart at the end where I gave up. I just descended the stupid chord I was pounding on this arpeggio that was completely out of time and then shoved it through a grain filter to make is fall apart and end abruptly.
It was nice when it started. But I gave up. Giving up was never so much fun!
