Aujourd’hui, c’est l’anniversaire de mon ami l’Alsaco, un de mes petits camarades d’échanges musicaux.

(Hip) Hop la !

Les biscuits de mon enfance clamaient “si l’Alsacienne a de grandes oreilles, c’est pour mieux écouter les gourmands”. Et ben c’est pareil pour lui. De très grandes oreilles, une curiosité qui confine souvent à la psychopathie, et une gourmandise sonore insatiable.

L’alsaco (aka Ear Division) passe la plus grande partie de son temps libre (quand il ne fabrique pas des ballons de foot dans un sweatshop) à chercher du son, et à organiser ses découvertes en compilations thématiques.

La dernière en date, c’est “Years”, qui concentre a peu près tous les bons morceaux uniquement composés d’une date (ce qui exclut par exemple “en 1990” de Jean Leloup, ou heureusement “cette année là” de Cloclo). Il a fait une exception pour Sexcrime (1984) parce que bon, c’est lui qui décide, quoi.

L’individu ne s’étant pas encore décidé à devenir bloggiste-conseil, je vous droppe la playlist en question. La prochaine fois, il s’en chargera lui-même, j’ai pas que ça à foutre.

Ear Division – Years

1901 Phoenix
1941 Harry Nilsson
1957 Buck 65
1958 Skalpel
1963 New Order
1969 Boards Of Canada
1973 Tahiti Boy & The Palmtree Family
1974 Rubin Steiner
1976 RJD2
1979 Smashing Pumpkins
Sexcrime (1984) Eurythmics
1984 Uffie
1986 (Unreleased) Kavinsky
1989 The Rakes
1999 Prince
2012 Gossip
3000 Dr. Octagon
3030 Deltron

Je complète d’un petit Yeasayer-2080, c’est cadeau ça me fait plaisir.

Bon anniversaire Vrefi. Je t’offrirai ton gâteau préféré dès qu’on se croise.

oui, il boit de la Kro et habite dans une cabane dans un arbre (©DVLS)

Merry Thanksgiving Bonus.

The Orphanage – Hold Mine prod. by RJD2

…from “Sesame Street,” and it is a fun segment; but what’s really great about the skit is that the legendary Frank Oz plays the lead character, Mr. Draper.

What’s awesome about this is that it’s Frank’s first “Sesame Street” performance in nearly 15 years. Bert, Grover and Cookie Monster haven’t been the same since.

Check it out here:

Weird hearing a “Sesame Street” version of Rjd2’s opening song,

-Shady

I know I’m probably not authorized to post the entire Tin Foil Hat EP, the latest offering from producer extraordinaire & multi-instrumentalist RJD2, so I’ll hit my faithful readers up with a couple tracks that I like and let you holla at me if you need it hunt down the rest.

The ex-Def Jux musician returns on this EP to the instrumental soundscapes fusing hip-hop, experimental, and hints of dub, funk & trip-hop that highlighted his first two albums Deadringer and Since We Last Spoke but were missing almost entirely from ’07’s The Third Hand.

If you like the songs below, pick up your copy of the Tin Foil Hat EP as part of RJD2’s 2002-2010 collection on Amazon.

Big thanks to Jeff Weiss (whose writing I greatly admire and openly envy) for the heads up, Enjoy!

Download: RJD2 – Before or Since

                           RJD2 – Thine Platetarium

It’s almost Thanksgiving!!!  It’ll be good to head back to Philly and take a break…although something tells me I won’t.  In the meantime, check out these bands for the soundtrack to your holiday season.

Eluvium – I was totally in the headspace last week for monotonous slow building epic orchestral ambient music and Eluvium aka Matthew Cooper is the KING at this shit.  Check it out.

Philip Seymour Hoffman – Don’t let the name fool you.  It’s actually a band that has nothing to do with the actor of the same name.  Lo-fi experimental pop similar, but inferior to Dan Deacon.

Brit & The Calvary – St. Vincent meets Andrew Bird  (that’s funny since they just toured together) with Grace Potter female rocker twist.  Her studio tracks don’t do justice to her live show, which I got to see a few days ago.

Junior Boys – Electro rock with hint of hip-hop and corny, but cool 80’s vibe to it (aka heavy on the synths).  Look forward to seeing them do a DJ set on Saturday with RJD2 and Lotus at Terminal 5.

Tristan Clopet – I wasn’t really sold on Tristan until I saw this video a few months ago, but for this and that, never added him until now.  Jason Mraz meets Jeff Buckley with a dash of funk (although this video is solo acoustic with a waltzy vibe to it).  Also, check out his cover of Bon Iver.  Note:  I would be lying to myself if I omitted that he’s a client, but I’m adding him for artistic reasons.

Der amerikanische Musiker Ramble Jon Krohn, bekannt als RJD2, hat 2007 ein sehr schönes Musikvideo zu seinem Song Work it Out veröffentlicht. Hauptattraktion des Videos – Bill Shannon, der eigentlich bürgerlich William Foster Shannon heißt. Jetzt aber genug der Namen und rein in die gute Laune:

Link zur Homepage von Bill Shannon

Link zur Homepage von RJD2

I’m sure I’ve mentioned it before in one of my other posts about the guy, but RJD2 inspired me to start producing.  His work on Deadringer convinced me that an MPC was the ultimate sequencing tool (and it’s still obvious to me).  But it’s been a long time since his debut album dropped on Def Jux (seven and a half years, to be exact), and his sound has progressed since then to the dismay of many fans and critics.  No longer meticulously chopping his samples on the MPC, he’s apparently taken to programming and building his own synths— fuckin gangster.  Those cheeky Brits over at Electric Independence managed to sit down with RJ in his crib and wade through his basement studio.

…which explains the name behind the label he just started, RJ’s Electrical Connections.  The first release from the label is a collection of his entire discography (at least, since Deadringer), along with the limited edition Tin Foil Hat EP which sees RJ getting back to his samplified roots.  It’s certainly not his greatest work, but there’re a couple nice ones for the RJD2 fans.  Enjoy.

Το 2007 ο RJD2 επέστρεψε με την τελευταία, ως τώρα, δουλειά του, σε νέα δισκογραφική εταιρεία, την XL Recordings. Έχοντας τον τίτλο του συνεχιστή του DJ Shadow, ο RJD2 αποφασίζει να δημιουργήσει το δικό του μουσικό υβρίδιο. Παράλληλα με την τεράστια γκάμα από samples και ηλεκτρονικά στοιχεία, προσθέτει ζωντανές ενορχηστρώσεις, δημιουργώντας ένα αρκετά πειραματικό και abstract αποτέλεσμα. Δύσκολο album, καθώς ξεφεύγει από τον κλασικό ήχο του RJD2 και ίσως ο πιο απροσδόκητος δίσκος του… 3/5.

myspace.com/rjd2

“From one john’s bed to the next,” and here we are, sitting in our hotel suite office ordering room service and naughty adult movies, ready to ruminate on this past Sunday’s episode of Mad Men, the season 3 finale entitled “Shut The Door. Have A Seat.” And what an episode it was…

Again, normally August Bravo would join me here, but that guy just can’t learn his lesson. Remember when he didn’t heed Peggy’s mom’s advice and moved to Manhattan and then was thoroughly raped? Well, now he’s moved to Portland and while there’s a bar on every corner and someone you can buy a hanjob or coke or both from every ten feet, apparently there’s not enough of a signal to watch Mad Men on youtube via your iphone.

A brief recap (if possible): We discover that Don has been sleeping in Grandpa Gene’s room because of the strife between Betty and himself. Conrad Hilton gives him the cold brush off and informs him that PPL is being sold, and with it goes Sterling Cooper. Don tells his would be father figure where he can stick it. Then he goes and wakes up Cooper and brings Roger Sterling back to life and gets them excited about taking back their lives and their company and starting over. Together, they begin picking out their dream team from Sterling Cooper and assembling what will be their new company as Don goes around with both his dick and his tail between his legs and learning to value relationships. And sometimes valuing relationships means knowing which ones to say goodbye to, and so off goes Betty and her new boyfriend to Reno for a “quickie” (six weeks) divorce and Don discovers that he has a whole other family. But this, you see, is just a brief recap, so, as we’re told in almost every scene in this episode, “Have a seat.”

Well, Kennedy is still dead. John John’s had to make his goodbyes, and America has not quite realized it, but everything is different now. The changes are no longer coming, they’re here.

And Don starts the episode by waking in a tomb, the former bedroom of a dead man and the newborn baby who shares his name. He then goes to meet Connie, the odd kitten who’s treated Don like a ball of yarn half the season, and really wakes up when Connie cuts him loose and then gives Don a self righteous spiel about how he’s impervious to whiners who can’t earn things for themselves. But Don couldn’t give a shit. His company’s about to get sold and he doesn’t want to go work for some sausage factory.

From there on, the episode becomes just a powerhouse of awesome, giving us some truly satisfying and exciting moments dealing with Don Draper and the exiles of Sterling Cooper as they play the phoenix from the ashes of their company, but before we go there, let’s get to what we all knew was coming, especially after last week…

“The state of New York doesn’t want anyone to get divorced. That’s why people go to Reno.”

The thing is, after last week’s episode, this season finale was all set up in our minds to be the ultimate downer as the Draper castle was torn apart and washed away, and yet, back in the office, we saw excitement and joy, and more of a sense of family than we’ve seen in a long time in the cold walls of Don and Betty’s metaphorical bedroom. Just another way this show wonderfully plays with our expectations.

So, Benjamin Light hates Betty, and I can understand why, but I can still see where she’s coming from. And I’m glad she’s going. Don remains characteristically clueless about a lot of what she wants and needs, and really, she’s the same way about him. And now that she sees him, now that he’s no longer the “football hero who hates his father,” but the son of poor co-op farmers, he’s nothing to her. Everything that his double life has brought them is completely illegitimate to her, and she longs for the silver haired loser from the Rockefeller campaign instead.

In fact, I think Betty quite accurately throws it in Don’s face when he suggests that she may have to be sick to want out of their “perfect little world.” Well, actually, he just suggests that she’s had a bad year, which she has, and that she should probably find someone to talk, which she should. But her inference is also correct, I think, when it comes to Don’s real intentions there. I can defend Betty to a point, am curious to see who she’ll become as she now enters the real world that Don and her father have essentially protected her from up until this point, but she has been, and in this episode especially, a bit of a stone cold bitch.

“Why are we in the living room?” Bobby Draper asks, and he’s right. It’s the scene of Betty’s ultimate fantasy world and in it, the cathedral to which she can have those fantasies now ends as the family breaks up. This was easily one of the most heartbreaking scenes on TV, and so harsh, so cruel, so real. Don suggests this new status quo is only temporarily and Betty emphatically shakes her head no. And then there’s the kids, the real victims of the way people treat each other, and as Light suggested to me the other day, though it’s not said, you almost feel that for all the coldness they sometimes get from their father, they’d still prefer it to freezing to death with their mother.

As much of a fan of little Sally Draper as I am, the lasting image from that scene for me isn’t just Betty shaking her head no, but it’s Bobby’s ceaseless clinging to his father, clinging to his world that he barely understands as it all falls away. Oh, the fathers and sons this season. Don and Bobby, whom Don rarely shares moments with, honestly. Don getting kicked out by his pseudo-paternal figure, Hilton, which starts flashbacks of the loss of his real father (or real step father, whatever), Archie Whitman.

Which brings us to the night before the Draper family ended in their living room, when a drunken Don invades the master bedroom in the house, that his wife and their newborn baby now occupy alone, and he pulls Betty out of sleep and onto her feet, confronting her with what he’s only just learned about: Henry Francis. Don has the greatest line of the season when it comes to Betty: “Because you’re good… and everyone else is in the world is bad.” Don’s cruelty is usually cool, measured, but when he delivers these lines, it’s like he’s finally releasing some pent up venom. But it almost goes to far and we’re taken back to his imagined origins in the late night reverie from the season premiere, as he becomes his father, Betty becomes the whore, and then there’s the baby crying. It’s arguable in that scene that Don is confronted with a subtle choice as you half expect him to hit his wife: Does he want to be Don Draper or does he want to just another dick?

Which takes us back to the offices of Sterling Cooper, the kind of place that Don never expected to work at, but where he thrived, or, where he’s thrived for the last three years. With PPL being sold off and the SC along with it by their new British masters, Don is awake, and on his way to wake up Bert Cooper…

The dialogue in their scene is perfect, and I love that Cooper, who’s always kind to Don and his talents and his mysteries, and who purrs like a fat old wise and eccentric housecat with a bit of a Japanese fetish, lets Don know flat out that he doesn’t think he has the stomach for the reality of the future Don wants so brutally to regain control of…

Cooper: “Young men love risks because they can’t imagine consequences.”

Don: “And you old men love building golden tombs and sealing the rest of us in with you.”

But something begins in this scene, the start of building something, a bridge out of their indentured servitude and Cooper hits Don with one of those harsh realities he’s going to have to face: He can’t do this on his own. He’s going to need Roger Sterling.

And let me just say: Fuck Yeah, Roger Sterling.

When the highpoints of this episode was literally everything that came out of his mouth. Don and Cooper both make their pitches to Sterling about taking the tough road and starting something new and Sterling breaks it to Don: You don’t care about people. And maybe that’s why you’re so bad at being real with them. And Cooper hits Sterling with some real talk too: You need the excitement and danger of this business to survive and feel alive like you’re used to. Retire now and you might as well move into a plot in the ground with your child bride. It’s funny how enduring Jane has somehow purified Roger in our eyes, made him possibly realize that Joan is the woman for him, not the girl for him like Jane is, and put him on a better path.

From there, they go to Pryce and put forth a plan: He’ll fire them, thereby releasing them from their contracts, in exchange for shared power in their new company, and over the weekend, they’ll assemble a dream team to take with them along with any clients and supplies they can swipe from the office. And the show literally explodes into life. It became the gathering of the dream team from something like Ocean’s 11 or the start of a mission from one of those crack team of guys going on a mission World War II or something. It was perfect and it was exhilarating.

And it was a great moment for the characters to confront their own failures and move past them, to be happy beyond them. Don especially, as he does the walk of shame, first treating Peggy like dirty in assuming that she’ll just follow him blindly so he can beat her about as he pleases and then getting told off by her as she finally stands up for herself to him.

And then Pete, whom Don actually has to compliment for his eye towards the future. He’s not just wanted, he’s needed in the new company, Don tells him. And thankfully, along with Pete, will come his perfect partner, Trudy.

Sorry, August, but I guess Ken Cosgrove doesn’t make the cut.

Sadly, they took Harry Crane along too, but maybe since they’re literally sifting through the ashes of Sterling Cooper, maybe they’ll blow a little of those embers into him and ignite some potential. Or maybe he came along just so Cooper could deliver my actual favorite line of the episode, telling Harry that if he turns him down, he’ll spend the rest of the weekend tied up in the closet.

And, of course Joan is back. They’re all brilliant actors and they’re staging what could be a fascinating play, but they need a director, they need someone to coordinate them and make their needs accessible. And of course Roger knows that Joan is the person to do that.

But alas, no Sal. But in a small way, that could be a good thing. Sal may not be able to come back to the new company and the show in his old capacity, but more on that soon. Cause there’s always this:

Fuck doors. Fuck yeah.

And then there’s Don’s return and appeal to Peggy. He stops treating her like his former secretary. He stops treating her like just an employee. He actually sees her as a person. Possibly through a mirror, but still, he’s awake now and really looking at her. He’s really to lay down his sword and shield in front of her and stop holding the fact that he’s a man over her as something superior. I think one of the most realistic and truthful things Don has ever said is when he told her that she’s just like him, she’s his anima, and together they both can conjure the words, the “asa nisi masa,” if you will.

“Because there are people out there who buy things, people like you and me, and something happened. Something terrible. And the way that they saw themselves is gone. And nobody understands that, but you do. And that’s very valuable.”

When he says that, it’s not just to her that he’s confessing things, it’s to himself as well. Peggy ventures a guess that if she turns him down, he’ll cut her off forever and, baring his soul to her, he says it’s the opposite: “No. I will spend the rest of my life trying to hire you.” It’s telling that the most touching scene of the episode isn’t between Don and his departing wife, Betty. It’s between Don and himself/Peggy.

But of course Peggy is her own creature as well, and I think everyone, not just Don and Pete, are going to see it. So classic was Roger asking her for a cup of coffee and her flat out saying, “No.”

But then the long night of the weekend comes to an end and the sun comes up on Monday morning and the all stars of Sterling Cooper are gone, spirited away to their new home, an office in a hotel suite. In fact, really, all of Sterling Cooper is gone, shredded to pieces in the night…

And now:

“Good morning! Hello Sterling/Cooper/Draper/Pryce. How may I help you?” It’s nice to meet you.

“Very good. Happy Christmas!”

“He didn’t even leave a note!”

Still miss you, Sal, but you’ll have to change or die, as is often the case with history. As the always explosively brilliant Karina Longworth suggests when talking about the end of the episode as the camera captures the joy on the faces of the new SCDP employees/refugees:

The glow in the room that’s reflected on Don’s face in that shot—that is only there because they are all there, because he needs all of them to do his job, and vice versa. It’s arguable (probable, for all the lines like “we don’t have art”) that Sal could be back in Season Four and SCDP (and the show) would be better for it. But his sham marriage may need to fully deteriorate before he belongs in that hotel room.

One can only hope that Sal embraces his sexuality and himself and comes back into the fold as a contracted big time commercial director. Wouldn’t that be wonderful. Also, Fuck Lee Garner, Jr.

This episode was everything I could ever want from Mad Men. Much like us here at Counter-force, sitting her in our hotel suite/bloggitorium, at least when I’m doing my song and dance, we’re obsessed with the future. But we see it through the multi-colored lenses of the past. The past was bombs, the present is rubble, and the future is fireworks and we’re looking up at the stars, to dangle as many silly pyrotechnic metaphors in your face as I can.

The Beatles are coming. Vietnam is coming. The world isn’t done being changed and the light from the future can’t be fully seen yet, but for now, in the world of Mad Men, the characters are happy. Excited. Don Draper has perhaps finally said goodbye to Dick Whitman and is ready to move on. Trudy is showing up with sandwiches. Joan’s husband can hopefully only be guaranteed a nasty ending. There’s Peggy/Pete stuff on the horizon. There’s Joan/Roger stuff on the horizon. And there’s always fucking Jai Alai. We may never seen Suzanne Farrell again (though she’ll live on in Twix commercials). Or Paul Kinsey or Duck Phillips or Ken Cosgrove, for all we know. But what happens in this world and in Don Draper’s life could be anything.

Especially when Don places that call to Betty. He won’t fight her. She can have whatever she wants. And he hopes that she finds out what that is. “Well, you’ll always be her father,” she pathetically replies with, but I think it was meant to be a kind statement, something Betty’s always been foreign too. She’s going to leave two older children with a vastly better mom, Carla (so classy, Betty), and take baby Eugene, her youngest child and ball and chain from the past, to Reno with her new boyfriend.

And Don’s going to crawl off into the city, heartbroken maybe, but feeling lighter and hopefully optimistic. We have a general idea of the future he’s going to see, but he doesn’t, and he’s excited for it. And we’re going to go with him.

And, wonderfully, Roy Orbison is going to sing a song about the whole thing. August and I had a great time talking about Mad Men and hopefully you enjoyed it too. And hopefully it’ll only get better since, after all, “the future is much better than the past.”

Well the season started slow but man it finished stroooong.  Like a big 2007 Napa Cab, like a 19 year old Lagavulin, like the guy always just behind Usain Bolt.

I know for a fact that I don’t understand all of the subtlety and subtext of Mad Men, but I feel I catch most of it and I enjoy it.  This interview with creator Matthew Weiner about this season was really great.  He divulged more about the characters than I thought he would, which helped clarify why he did what he did with the storyline.  Really liked this finale.

And 5 spacebucks says you love this song. You’ve totally bopped to this song.

RJD2 – A Beautiful Mine

Το 2006 ο RJD2 έκανε την παραγωγή για το album του Aceyalone, “Magnificent City”, ενώ παράλληλα κυκλοφόρησε η instrumental version του ίδιου δίσκου. Κλασικός ήχος RJD2, με urban attitude και έμπνευση που κατατρώει πολλά χιλιόμετρα. Ο τυπάς αποτελεί, πλέον, έναν από τους κυριώτερους εκφραστές της instrumental hip hop μουσικής σκηνής. Αααααα, και το track “All For U” είναι μακράν ένα από τα καλύτερα του… 4/5!

myspace.com/rjd2

Today, I’m in the mood for listening to some mellow background music. Minimal words, just uncomplicated tunes I can play while I do my thing. There’s no better backdrop than Mark Farina’s Mushroom Jazz series. There are 6 volumes and they’re all awesome but, Mushroom Jazz Volume III is my fave. The soulful, jazzy hip hop instrumentals are perfect for setting that ambient tone. Runner up would definitely be RJD2’s Deadringer, still one of my top albums full of funky instrumentation & interesting samples.

People Under The Stairs – Schooled in the Trade (from Mushroom Jazz Vol. III)

King Kooba – California Suite (from Mushroom Jazz Vol. III)

RJD2 – Let The Good Times Roll (Part 2)

Το 2004, παράλληλα με το “Since We Last Spoke”, κυκλοφόρησε από τον RJD2 και ο δίσκος “In Rare From: Unreleased Instrumentals”. 18 instrumental κομμάτια, ακυκλοφόρητα μέχρι πρότινος, από τις πρώιμες δουλειές του RJD2. Αρκετά ενδιαφέρον album και αρκετά σπάνιο να το βρεις, με beats που ντοπάρουν. Τσέκαρε το… 4/5!

myspace.com/rjd2

Κάθε χρόνο ο RJD2 κυκλοφορεί και νέα δουλειά. Έτσι και το 2004 επανέρχεται με νέο δίσκο, με τίτλο “Since We Last Spoke”. Εδώ τα πράγματα αρχίζουν και ξεφεύγουν λιγάκι. Αυτό ή ο RJD2 ωριμάζει με πολύ γρήγορους ρυθμούς. Σε αυτό το album ο πειραματισμός χτυπάει κόκκινο, καθώς χάνεσαι στη ποικιλότητα της μουσικής και από την εναλλαγή των ειδών με ταχύτητα πολυβόλου. Μη βιαστείς να ξεγράψεις το “Since We Last Spoke”! Χρειάζεται χρόνο και άκουσμα. Μια είναι η λέξη κύριοι: A-B-S-T-R-A-C-T!!! 3,5/5.

myspace.com/rjd2

heres a new beat from hip-hop producer rjd2. the tracks called ‘when it wobbles’ and is off his new ep, the tin foil hat.

its slightly growing on me and sounds a lot better than his third album, the third hand (wasnt his best work).

heres the track anyway, make your own mind up about it:

rjd2 – when it wobbles

…rowan

Αμέσως μετά το Deadringer και συγκεκριμένα το 2003, ο RJD2 κυκλοφόρησε το “The Horror EP”. Το ομώνυμο κομμάτι περιλαμβάνεται στον πρώτο του δίσκο, ενώ το EP περιέχει instrumental εκδόσεις κάποιων tracks του Deadringer, remixes αλλά και κάποια ακυκλοφόρητα κομμάτια. Layout βγαλμένο από ταινία του Rob Zombie και όλα τα άλλα πάνε περίπατο… 4/5!

myspace.com/rjd2

Το 2002 στιγματίστηκε από το εξαιρετικό ντεμπούτο του κυρίου με το ψευδώνυμο Rjd2. Το album με τίτλο “Deadringer” έκανε πολύ μεγάλη αίσθηση, τόσο για την έμπνευση όσο και για τις ικανότητες του νεαρού dj και παραγωγού. Funky samples, hip hop beats, scratches και jazzy πινελιές, ολοκληρώνουν μια επιτυχημένη συνταγή, στέλνουν τον DJ Shadow για ψάρεμα και καθιερώνουν ένα νέο μουσικό μεγαθήριο στην underground μουσική σκηνή. Δίσκος για φίλημα… 4,5/5!

myspace.com/rjd2

Last week’s show went out at 10:30pm due to live performers dropping into Raymond Christie’s show. It was a pre-record so no big deal!

Tracks played tonight were:

A Boy From School (Hot Chip); Same Old Thing (Black Keys); Heads Will Roll (Yeah Yeah Yeahs); When It Wobbles (RJD2); You Got The Love (Florence and The Machine [XX remix]); Pursuit of Happiness (Kid Cudi & MGMT & Ratatat); Animal (Miike Snow [Blastercase Dub]); Watching the Planets (The Flaming Lips); Floating Vibes (Surfer Blood).

I also recommended using Google dashboard as a songwriting resource as it collates your mail, web searches, RSS feeds and documents in one page – video will come soon showing this in action!)

I finally got around to picking up and really giving …Endtroducing a listen after I found it Black Friday’d at Best Buy for $6.99. I finally had time to just plow through it on my drive back to school today. My highlight of the album is still the same one jamesob used to get me into DJ Shadow in the first place, Midnight in a Perfect World, which if you haven’t gathered at this point is posted above.

-jakeyp