This is it, y’all…
Really excited to let you hear this one, but melancholy at the same time because after 12 Weeks at 33jones.com, the last stop on the Remix Train is approaching. Thankfully, my good friends 2ew Gunna and Mally hopped on it and we vastly upgraded the original “Good Girls” from the mixtape.
I really want to thank everyone who checked out any of the remixes the past 3 months. The comments were honest, insightful, and enthusiastic for the most part. Some of the joints I thought would be too far left, people liked the most. And some of the joints I thought would be surefire winners…people liked the most haha! The whole purpose of the remix campaign was to add more invisible digital shelf life to Bring Me the Head of Zilla Rocca and to work with folks I’ve been a longtime fan of. So thank you Fresh at 33jones for coming up with the ill graphics every week and for making this a big deal. And thank you to my producer friends who were kind enough to take time away from concoting the ill bangage to lace my acapellas with some head banger boogie!
I was going to wait until tomorrow but as they say, a plan is a list of things that don’t happen.
From the superb new album “Third,” here is my remix of Portishead’s single “Machine Gun.” It’s very similar to my Amy Winehouse and Jamie Lidell remixes, but when a beat calls out to you, you better pick up that damn phone and get busy on it!!!
*Edit–Just read an outstanding interview with Geoff Barrow, 1/3 of Portishead, at Remix Mag. Here’s the best part: he completely tears Timbaland, Mark Ronson and DJ Spooky new assholes. If someone in the hip hop community would’ve made these comments, there’d already be 13 diss songs and YouTube videos made. Love those Brits! Here’s the choice excerpt:
“[America’s music] is shit, isn’t it?” he continues. “The hip-hop artists are just rubbish. Jay-Z’s records always sound good, but he got the sack from Universal. If you end up with a country Britney, it doesn’t matter ’cause they’re all twats anyway. Timbaland came to England trying to find a Coldplay to produce. Everyone told him to fuck off. He went to America and got his own band and they are gi-normous, the most revolting people you have ever seen in your life. They are called Timbaland. We all like it underground but no one is buying it. Even Moby is struggling.”
The members of Portishead — Beth Gibbons, Adrian Utley and Barrow — haven’t made a proper studio record since 1997’s Portishead (Go! Discs/London), the follow-up to their own gi-normous debut, Dummy (Go! Discs/London, 1994), but they have been listening. Barrow didn’t like what he heard.
“Mark Ronson’s record is shit,” Barrow exclaims, referring to the celebrated Amy Winehouse-associated producer’s release Version (Allido, 2007). “He is a massive superstar in the UK. He considers himself as Quincy Jones. I’ll tell you who else is really bad: DJ Spooky. He is so full of shit. At least Mark Ronson is talented. I saw DJ Spooky at the Knitting Factory, and I tried to buy a beer to throw at him. There are black people in England, so you don’t have to come here and make out that there aren’t any black people in England’s art community. You have someone like Madlib who is a fucking genius — a genius! [He’s] a real true artist in what he does, when he takes American TV soundtracks and turns them into hip-hop. Then Spooky turns up and plays a couple shit European drum ‘n’ bass records.”