One Song - The Concerts That Made Us

Episode Date: January 10, 2025

This week on One Song, join Diallo and LUXXURY as they look back on their formative concert experiences.  Listen in to find out what shows influenced their sounds as budding DJs and musicians, which Coachella headliner Diallo most regrets missing, and why LUXXURY has left shows a bloody mess not once - but twice! Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy New Year luxury. Happy New Year Diallo. How were your holidays this year? They were great, man. I'm rocking coats this year. That's going to be my new thing. That's in every single episode this year. Every single episode.

Rain or shine? New coat. By the summer, I've on like a cool red windbreaker, but until then, it's going like this. I like it. It's good look on you. How are your holidays? My holidays were great. They were simultaneously too long and too short.

I'm actually glad to have a little structure here to get back into the showmaking thing. Too much time is too much time. No, listen, I think we're both happy to be back at the show. It's the first episode of 2025. And as we did last year, we always like to start the new year off with something that allows us to just talk about the upcoming year in music,

get on the same page so that we can have so many great episodes to bring to you the One Song Nation. And I think today we're going to talk about some concerts. That's absolutely right, Diallo, because while we had a bit of a break, I started thinking about all the amazing concerts and shows that are coming up in 2025. Such a wide range of artists and genres.

We've got Kendrick and Siza. We've got Bill. really Irish, we've got Oasis. Oasis. The Duelap is coming. I still think we got to do that Oasis episode at some point. But you're absolutely right. You got Usher.

You got Tyler the Creator, Sabrina the Carpenter, Lionel the Richie. You've got so many. And this is after his Vegas residency last year. You've got so many lineups for huge festivals. We're talking about Coachella, Redding, all these concerts. I'm excited to see which rumored artists actually headline a bunch of other fest.

It's going to be a good year in music. I agree. I can't wait. You know what, though, all this concert talk got me, nostalgic about all the other shows from years ago that I used to sneak into in high school. I mean, I got into legitimately with a real ID, not a big one. There's no statute of limitations. I feel like there may or may not be.

So let's just keep it there. Here's the thing, those really early shows you go to, they have such an impact on your life. Totally. It's hard for me to get that same feeling these days. I got to admit, like, when I go to shows these days, it's not quite the same as when I was a teenager in my 20s. That's true. But you know, I will say this.

You know, somebody who recently bought a bunch of tickets to that Tyler, the Creator show coming to L.A., later this year. I am getting excited about shows in ways I haven't been in the past few years just because I'm seeing it through the eyes of my kids. That is a good point. And it is a reminder that at some point your eyes and your ears are so open to music. And I think that's why we're going to spend a lot of time talking on this episode about concerts and shows when our eyes in the ears are open. They help develop us as people, as artists, as musicians, ourselves, as DJs. It's part of what made us want to become, you know, consumers and eventually

experts in music. It's part of what makes us want to create music. That's right. There's something special about those shows when you're in your teens and in your 20s. So full disclosure, you're probably going to hear a lot about shows from the 90s and the 2000s, but you're also going to hear about some shows that are a little bit more recent

than that. And I also want to bring this up because we're going to be talking about shows before there was social media. You know, before we had those hardcore cell phones, I recently saw on Instagram some footage that somebody shot of Daft Punk performing on Nikki Beach at one. Music Conference in Miami in 2002.

And I was like, holy smokes, I was there. Like, there are those concerts and shows that we went to that only live in our memories because not everybody had phone footage. And speaking of which, this is going to happen a lot on this episode. We're both going to have these moments of like, oh, yeah, that one. I have another runner up, which didn't make the cut. You just reminded me that I saw Justice at Winter Music, one of their first ever shows at Winter Music in 2005, I think it was.

Well, Justice will come up several times this episode. Because we're talking about concerts, to those of you watching on YouTube, smartly, I am wearing a Justice Live at the Hollywood Bowl t-shirt one of my favorite current concert memories, maybe top five in my entire life but I only bring it up to say

that later in the show you will hear the role that I played in bringing justice over on their first U.S. state. No way. I can't wait to hear this story. That's my part of music history. It's time to break down the concerts and shows that made us

right now on one song. I'm actor-writer-director-director and sometimes DJ Diallo Riddell. And I'm producer, DJ, songwriter and musicologist luxury, K.A. The guy who whispers, Interpolacious. And this is one song. If you want to watch

one song, please go to our YouTube channel and watch this full episode. And while you're there, please like and subscribe. Let's get it going. Let's do it. So today on One Song, we're doing something a little bit different. We're talking about the concerts that shaped us into who we are

today. That's right, Diallo. We're going to share some stories from our most memorable live music experiences that also had a big impact on us personally and as musicians as music makers. We'll go back and forth sharing concert stories based on a few different things. We didn't tell each other the concerts we were going to mention ahead of time.

So I'm really curious about what you're going to talk about. Oh, no, listen. The same. Let's start with some memories from our teen years luxury. How about you? Actually, I have a quick question for you. Do you remember your first ever concert?

Yes, I do. What was it? I believe it was the Budweiser Super Fest, 1984 in Atlanta. I think I was eight. And yeah, my brother took me. And the one memory that sort of sticks out in my brain, in addition to just being,

I don't think I'd ever been in a space with that many people. It was in the Omnia, I'm pretty sure, and there were just a sea of people. And the memory I have is that the Fat Boys came out. And they did that song, Fat, Fat, Fat Boy. People were like, yeah. Like, the people lost it. Everybody got so excited. I was like, whoa, this is crazy.

But can I just say that's the first. Did they play Chubby Checker and the Fat Boys? No, you're talking about the twist, the Fat boys version of it. I don't remember that. remember them doing fat boys. But I think the first, one of my absolute earliest memories, period, and in my brain is being at a jazz concert, my father had this organization called the neighborhood arts center in Atlanta, and he and some other prominent painters and sculptors and artists set this thing up in Atlanta. And it was supposed to just be a place that you could go to create art,

to create music. To a certain extent, I feel like I've been chasing that. neighborhood arts center my entire creative career yeah you've talked about it a few times yeah yeah yeah having like a space or a night having a space that you could kind of whether you have 10 dollars or a salon wealthy i think romear bearden might have stopped by um but they put on a jazz concert a jazz festival and i just always remember the feel of those drums because there was not just a drum set there were congas there were every type of you know afrocentric drum that we've talked about in the history of the show every kind of percussive instrument in addition to the jazz traditional jazz instruments of like alto sax and trumpet and i just remember feeling that in my

chest and thinking like i want to play the drums and we're both drummers that is one of my earliest not just musical experiences but experiences that's so interesting you say that because i've been thinking as we've been preparing the show one thing that's different about live music versus listening to recordings yeah there is something a little bit ineffable like i can tell from down the street when it's like a band playing in someone's backyard part of it is because air is moving like it's not moving and i mean it depends on how giant your bass system is your subs are but for the most part what you're missing in any recorded music experience is something that happens in the live space where the music it's going through the air and it's dancing around and you feel drums there's like certain high frequencies that

you just can't literally get in a recording so that's a really powerful life experience to have those moments those early moments where you're experiencing live music it's very different than the radio and the record player that your parents maybe were listening to absolutely let me reverse it and say what is the first concert that you remember your very first concert the very first show i ever saw my parents, my dad took me to see the Manhattan transfer. So it was, ooh, uh, ooh, uh, cool, cool kitty.

Tell us about the boy from New York City. So four-part harmony, very white, but jazzy, like white and jazzy, white and jazzy. But the first show that I went to on my own volition that I, like, begged to see was, uh, I saw Frankie Goes to Hollywood in Oakland at the Henry J. Kaiser Convention Center, yeah.

And that show, they did relax? They had to do. That was, that band meant everything to me. Or maybe it was 1985. Yeah. They did relax. They did two tribes. Power of love. Two tribes is great. So memorable show. I had the t-shirts. Frankie say, relax.

Don't do it. Frankie say war, hide yourself. Third, underrated t-shirt, Frankie say, arm the unemployed. Not everyone knows about that one, but the t-shirts. Oh. Remember the Frankie-say relax t-shirts? There was a second one that said, Frankie say, war, hide yourself. That was for like the heads.

But I had a third one. It said Frankie say, arm the unemployed. Let me ask you, how old were you at that point? Oh, that was eighth grade. That was my first ever show, yeah. Oh, okay. Was there a concert maybe in your high school years that had a big impact on you? Well, listen, in my high school years, I was lucky enough to grow up in Bay Area and lucky enough to have a friend whose dad was a doctor and had access to the stamp that enabled you to stamp birth certificates. So I had access to a fake ID at a very young age.

Kids do not try this at home. No wonder you have generational wealth. You were printing up fake IDs. I mean, this kid was the most popular kid in school because at 16, I could go to these 18 or, are over places and I can see a lot of shows. Add to that the fact that senior year, I was working at the local cool radio station. I was working at KUSF. We talked about this a little bit on the Metallica episode last year.

But basically that meant I had free access to any show. With the ID meant I could go to the 18 and over shows. So I saw some great shows back in the day. And this is back when there was like Primus was coming up and there was this whole punk funk movement. So basically when I was in my teen years, I was going to a lot of punk funk shows, Limbo maniacs, fungo mongo,

early red hot chili pepper. I got to say, Faith No More was in there too. So that was all in the mix. So that was my earliest showgoing experiences. It was pretty often. And I can't believe my mom let me do it. I don't know that she knew all the time. I don't think she listens to the show, so it's still a secret.

Can I just say Faith No More? I don't know their whole catalog, but they were one of those groups that when their videos would play on MTV, I always enjoyed them. Oh, so good. Yeah. I still think Epic was the first time I ever heard a white rocker rap. Like, not like in the blondeie's sense. but like in like sort of more of the 1990s judgment days. Right, right.

Well, it might have been the second time you heard it because there is reason to believe that Faith No More and Red Hot Chili Peppers. They're rivalry. Yes. Their rivalry. And, you know, I know it's not popular to say now, but I was. I was into blood sugar, sex magic when it came out. But my absolute favorite high school aged experiencing a show.

And I got to give a shout out. My friend Mark Wasserman, I got to give him props because he was trading tapes. He was like a music obsessive. And he had all these like shows early on. Early on as a teenager. And he would like introduce me the cool new stuff. He gave me this mixtape. I'll never forget that.

The pixies on it. It had these rare Metallica seven inches on it. And he told me about this new band. He's like, come with me. Let's take our fake IDs. We're going to go to the Stone on Broadway. And we saw an early show by Jane's Addiction, which just absolutely changed my life. And here's the first song they started with.

And this is the first, this is the introduction to the band, is this note. Okay. That was Jane's Addiction. The song is Up the Beach. It's the first track on Nothing Shocking, which is basically a perfect album. So they started the concert with that brick wall of sound. And it hit me in the face and I fell in love. I cannot overestimate the impact Jane's Addiction made on my life. White Jewish dude with dreads fronting a band that brought metal and some funk and some punk and some Zeppelin and some this and some that. And it was such a beautiful mix. But this is a lot. This is the moment that come into my life because I'm seeing them live, kind of like with you and hip hop.

I'm introduced to this band because they're in front of me making this incredible sound that's blowing me away. I love that. One thing I have to thank the internet for because for many years I wasn't really sure what it was, but it stuck in my head. They did this interesting mashup that years later they released. And it was a combination of a Bauhaus song with Bob Dylan lyrics on top. And it's called Bob House. And it's a mix of burning from the inside by Bauhaus, one of my house. favorite bands and like a Rolling Stone by Bob Dylan.

Let's hear. So what's cool about that recording is that I think it's actually from the show that I saw, which again, God, bless the internet. So many years later, you can find something to be like, oh my God, I was there when that happened. That's amazing. And as we're listening to it now in the room, I'm realizing, oh, my God, another thing that stuck with me that I've only just now

realizing is that Perry Farrell on stage would sing and he had his own delay controller system, like a rack-mounted delay. So when he would sing, he would dub himself. out like Lee Scratch Perry style. And it was like the coolest thing I ever saw in my life. It's kind of similar to the fat boys thing where there's the delay on the fat boys. It is endlessly cool in a live setting to have delay on the vocals. It is never not cool.

So that inspired me and years later when I started making music, I'm now connecting the dots. I started doing that too with my live shows. Crave me if I'm wrong, he had dreadlocks at the time. He had dreadlocks, yeah. Didn't you later grow dreadlocks? Absolutely, because of his dreadlocks. This like white Jewish guy on stage. You're like, he's got it all figured out.

He's got it all figured out. From the look to the sound. I'm going to do him. I'm going to be just like him. I was a big porno for Pyros fan. It was later that I discovered, oh, that guy has another group. Sometimes it's just a matter when you come across the artist. But Pets did it for me.

And about the time that I got into alternative rock, then I was able to sort of really appreciate, you know, what Perry Farrell meant to the music at the time. I'm really happy you actually bring out. that performance because Perry Farrell factors into my answer. If you were to ask me, what was the concert from my teens that left

a big impact on me? Let's take it out of the hypothetical. Diallo, what was the concert from your teens that made the huge impact on you? Well, I want to talk about two really quickly. One, to related to Perry Farrell is Lollapalooza, a lot of Gen Z. Don't know this, but Lala Palluzza used to tour. It was a touring festival.

And I went the year, saved up my hard-earned six flags paychecks and went to see them the year that Ice Cube was performing. Was that the second one? I think it's Lollapalooza too. Yeah. I think I saw that one too. Yeah.

Yeah. And me and my first, we really wanted to go see Ice Cube because I think we were really into the death certificate album at that time. And we went there and we just wanted to see, oh man, Ice Cube's going to come. And it was also seen as this is crazy because that was at a time when music in general was very balkanized.

Like the idea that ice cube was. Cube was touring on the same ticket as all these rock bands. Like that was kind of nuts. Especially in Atlanta where not only is the music balkanized on the radio, but like the neighborhoods are balkanized. I've said famously on the show, there were, there was very little racial integration in the early 90s in Atlanta. No, seriously, props to Lollapalooza and Perry Farrell for like doing that for like having a

festival bringing a lot of genres together. It was wild. It was wild. It was new at the time. I went to go see Ice Cube and I stuck around for the band that came after and I'm sitting all the way back, all the way back of the field. I didn't want to be down near that crazy moshing down towards the front. You know, there was a lot of marching during Ice Cube performance.

So me and my friends, we were sitting all the way back towards the fence, just so we could hear everything and sit calmly on the grass. Yeah. But I'll never forget, I like the band that came afterwards, and it was about the time that he started singing alive. I was like, I think I'm going to go out and buy the cassette by this group. The Pearl Jam. It was Pearl Jam.

And I went out and I bought 10. and that was my introduction, along with Nirvana, smells like Teen Spirit, to grunge. It came very organically because I wanted to go see Ice Cube live in concert. Again, it's already becoming a theme of this episode.

In many ways, being exposed to something by seeing it live is going to make a big difference compared to like hearing the recorded version of it. So Pearl Jam changed you because you were seeing Pearl Jam. My love of Ice Cube introduced me to Pearl Jam. And a more 90s sentence has never been spoken.

And let me just say one other concert. really left its impact on me was when I saved up those six flags dollars and went to go see the diggible planets play a masquerade. First envy moment of the episode. Let me just say this is the first envy moment. I'm sure there will be others, but I have envy for your diggable planet experience. Well, listen, we have talked on this show about how much we love that second album, but the first album is so good.

It's so good. It's such a great. I'm on the hunt, by the way, I'm on the hunt for the vinyl. I cannot find it anywhere for less than thousands of dollars. I might have that too, my friend. But you know, DJ was the only way I could make money. And I was never a CD. DJ. I always on the vinyl. I've got

reaching a new refutation of time and space on vinyl. And I just think what Butterfly and Doodle Bug and Ladybug and Miss Mecca did on that album is so special. It was like a tribe called Quest, but it had elements of speech and

a rest of development. To me, it is the album that we thought we would get from brand new heavies in US3 because it's so jazzy. It's so jazz influence. But it was such a great album. And I, I memorized it every single word of that album and I even went through the liner notes and it said for a copy of the lyrics send a self-addressed envelope to you did that to the to the to the record label I did that I never got my I never got my lyrics sent so I'm still bitter about that doodle

but I put that on the label I don't put that on lady mecca you're listening make it right with no no no it was never big plans fault there was somebody who dropped the ball at their record label but I remember when they came out and performed at the masquerade they performed the whole album. They performed the whole album. Even one of my personal favorites, Lafem Fido, it's, I'm not mispronouncing that. It was a pro-choice rap song at a time when rap was not really talking about the abortion debate. And sadly, nowadays, we have fewer abortions. I feel like I learned a lot from that song. That song felt like a TikTok to me now. Like, I feel like I learned a lot from someone's perspective. I never heard. Totally. It's such a good. How can I get comfortable with the

Supreme Court all up in my uterus? Great line. Genius. Great line. It was a great album. I remember and this says something about the hip-hop scene and the sort of like the intimacy of the Atlanta rap scene that was there that year. After the concert, the concert just ended. The music stopped, and then Dig Plans came up to the front of the stage and they just, like, talk to people and signed autographs for, like, 30 minutes to half hour.

We actually got to talk to them after the show. That's how cool that show was. Calduring of Envy. I'm bringing the Caldron of Envy back. The master's... I don't know if it was called to them. Masquerade or The Masquerade, but it was right by what we call the Killer Kroger, which, you know, just unfortunate name for that particular grocery store because there was a lot of violence in the parking lot.

Yeah, people in Atlanta know the Killer Kroger. It's on Ponce de Leon Avenue. But it was right by there. That building is gone. I think they reopened the masquerade in another location. But I just want to use this moment to give a shout out to those people who go into usually the unprofitable business of hosting live music. Like the masquerade, I'm sure the people. People who owned the Masquerade were not millionaires,

but they did give us a space to come together and hear music that was not always on the radio. And for that, you know, we just want to say thanks. So, luxury on this show, you've talked about the artists and songs that made a huge impact on you as far as starting to make music. I'm curious, what's a concert that shaped the young luxury sound? Well, my Sex Pistols moment, and I did have one, was when I took my younger sister, Camille, shout out to Camille,

to see no doubt in 2000 in San Jose, I think. And the opening band was from Omaha, Nebraska. They were called The Faint. They came out there wearing all black and jumping around. It was punk rock energy, but it was Depeche Mode, and it was Daincy. It was a little faster than dance music, but dancey. It was dance punk.

Dance punk was just starting. It's 2000, mind you. And the faint, again, I'm seeing them live. And I'm just, I'm having the seeds of being my first songs, and this shifts everything. Because up to that moment, I don't think I've mentioned this before, but I started out doing like sludge rock. I was doing like caius, desert rock, drop B. Like not just the low string is usually E.

Sometimes you drop it down to D. I was doing drop B. Like my man, Josh Hami from Queens of the Stone Age. That's where I was. But then I saw the faint. And I was like, no, I don't want slow, black Sabbath drudgery, you know, slabs of metal. I want dancey fun. I'm bringing back this New Order thing.

I'm bringing back this Depeche Mode thing. And I have to thank the faint because them opening for no doubt. I have to thank my sister, I suppose. Camille bringing me. Because I didn't necessarily want to go to see no doubt, no shade. But they were great and the faint really changed my life. That was the moment I was like, I can shift what I'm making into this. I literally went back and I took what I had been doing, the song's structure.

And I decrunched the guitars, sped up the beats, put some drum machines in. And I'm like, oh, damn, this sounds, this is what I want to be making. Can I just say? Yeah. You mentioned Queens of the Stone Age. One of my favorite moments from when I worked at the record label, Hollywood Records, in the mid-2000s, was I had an artist pass because I worked at the label. I knew how to get one at that time from Golden Boys. I had an artist pass.

And I remember being on the stage. Ooh, those are valuable. I remember being on the stage. First off, you got the part behind the stages, which saves you an hour of time. But I remember somehow I was on the stage when Queens of the Stone Age went on. like I was off in the wings, but basically on the stage. That's cool. And when they kicked into Feel Good.

Hit of the summer. Let me tell you. And there was like a really dry wind blowing hard out of the desert when they started it. That's so perfect. It's a desert rock band. It's a desert rock band. They started playing that song. I remember there was a girl on the side of the stage whose hair was blowing in the wind.

Like it's just like I could feel every nostril in my nose. It was just one of those weird moments where you're like, oh, I'm going to remember for the rest of life, and I do. For the rest of my life, and I do. We'll talk more about Coachella in a moment, but I just had to bring that up because Queens of the Stone Age really did have a moment in my life too.

Queens of the Stone Age, just to be clear, by the way, it's Josh Hamey who used to be in this band, Caius, and Caius are this desert rock band who I love, I have every record, and they just influenced me so much with their, like, desert rock, Black Sabbath modernization. And that's what I was doing at first.

I saw them play Queens of the Stone Age. I saw them live at Coney Island High, on St. Mark's Place in New York. and that was doing that all the way up into the faint. And that's when everything shifted. So those bands really influenced me a lot. What defines desert rock for the record? I want you to go on the record and tell me,

because I hear this term thrown out, I've even used the term, but in your eyes, what is the official definition? Well, because Caius literally would put shows on in the desert. They would have these giant generators. They would throw generator parties. Huge amplifiers in the middle of nowhere. They'd all drive out there and make a huge noise

with no one around to hear them. Wow. And the sound itself tends to be very Black Sabbath influence, which is slow, riff-oriented. Again, the drop, dropping the lowest string on the instrument makes it lower. And the slow, low, loud, big, crunchiness of it all is an onslaught of sound, which really evokes 70sness, a lot of 70s black Sabbathiness. But there's a little bit of a punk rock injection because it happened later in life

when after punk rock existed. So there's always that thing where like if you're taking an old style and revitalizing it, it's going to take into account styles that have come into place since the original. So Queens of the Stone Age came out of Caius, came out of that sludge rock or desert rock movement, stoner rock. That's what I used to call it actually Sona Rock. I was never a stoner myself, but I loved stoner rock. That's useful. And y'all, I bet there are some shows that shaped you as a betting DJ. Is anything that stands out, any show that stands out in your earlier days?

Let's talk about it because I think the term concert implies that there's a band on stage somewhere. And I will say, or maybe a rapper backed up by a band or a DJ. But being a DJ, a lot of what I would consider concert and live appearances, they happen inside of clubs. And they happen around scenes and nightclubs. I will say, you know, my experience as a DJ obviously shaped a lot by the fact that I started DJing at Harvard when I was DJing for like campus parties. But, you know, there I know most of the people I'm DJing for, you know, I DJed at a bar that's still there. The Hong Kong is right there in Harvard Square. The first sort of like non-campus gig that I ever DJed.

And these are records. You're bringing the crates. Oh, yeah, man. You're lugging my back. Oh. You know, the milk crates cutting into my hand as I lifted them, you know, off of a buddy's truck bed. You know, like it's just. Kids today will never know.

They'll never know what it's like. It's like, I got 300 records. If you don't like these, I got nothing else. No request. I can't download. at the gig. When I made it out to L.A., though, by this point, it's like 98-99, and I got to give

a shout out to the DJs at SakiBomb. I'm talking about Adam 12, J-Logic. These were the guys who either invited me out or were DJing there. And Saki-Bomb was just Sunday nights at a place called Indochene. And the reason it left a huge impact

on me was because they were doing open-format DJ, which was kind of unheard of. I had only... If I came with Mob Deep, you know, LPs and 12 inches, you better believe it was a hip hop night. But these guys were doing something different. And you got to remember where we're at by 98-99. Puffy has taken over hip-hop.

You know what I mean? Like the puffification of the East Coast. Do you have those records? Oh, I still have them. Yeah. I still have them. But I'm saying that like hip-hop had changed. So I was not as interested in hip-hop per se by 98-99

because it just felt like the culture was moving away from tribe. and De La, and even like Nizamab Deep are changing in this period. Literally in the aftermath of the death of the notorious BIG, everything is puffy and a shiny suit. Granted, there's Missy Elliott. There's stuff that I like in this period, too. But in the party scene, people are wanting the puff stuff. The sampling has gone in a different direction.

So now they're, you know, Mace has feels so good. I'm not dissing the sampling of this period, but it's not DJ Premier anymore. It's not P-Rock. It's literally, we're going to sample Hollywood swinging, and that's going to be the whole song. So I'm a little bit fed up with the commercialization of hip hop at this time, which into this dude comes sake bomb. And they're not only spinning like the hip hop I like.

I'm talking about stuff off the raucous label, like most death, Talib Qa Li. You know, like that's the hip hop that they're spinning. But on top of that, they're spinning stuff. I'm going to give a weird shout out to MTV, believe it or not, because they had a compilation. What is a compilation, but a corporate, a corporate approved playlist, right? Right. But somebody at that corporation had a really good taste, and they come out with these AMP compilations.

And on these AMP compilations, you have Ronnie Size. And you have Fat Boy Slim and the Chemical Brothers. And you have what now gets called Electronica, but people forget. Electronica was really like hip-hop beats made by white artists without a black rapper. And sometimes it was a black rapper. It's sample-based, sample-based electronic music. Sometimes fast, sometimes slowly. Right. Definitely hip-hop influence. It's the

first time that they are basically using hip-hop technology to sample a wide variety of music. And so you've got artists like propeller heads and the Chemical Brothers. Big beat. That was called Big Beat. There was Adam F. who was doing

drum and bass, and I've played circles on this show before. That was a great song. You know, this club played everything. No, you're making me realize how many genres are sort of coming up. Jungle, D&B, Big Beat. Yeah, Jungle have been there before, but I feel like drum and bass sort of smooth out jungle in a good way. We're getting all these micro genres coming out. And all these artists were coming together to make music that was actually exciting and interesting in ways that, you know, just to Mace and everybody who's making the Puffy songs, that was more pop and this was more underground.

And I want to play a song that I hadn't thought about probably in 20 years until we were prepping this episode. One of the songs out of that era that's really interesting to me is low fidelity all-stars. their song Battle Flag. I totally know this song. I totally forgot about this. This is it forgotten era of music. I think I bought this CD and only listened to this song. And now the CD is long gone.

And the thing that gets me so excited about this now that I'm looking back on it is that I guess there was like a need for me to like find out what the underground was up to at this time. Yeah. Because there was actually. You weren't hearing in hip-hop, it sounds like. Oh, for sure. Yeah.

There was actually another club, underground club called Firecracker in downtown L.A., like Chinatown, and we used to go there once a week, too. And that was on Friday nights. And that was all hip-hop, granted, but it was all underground hip-hop. So you had the most deaths and an artist named Socrates, A.C. Alone, like, you had that sort of underground West Coast sound. But you'd also get things like Pepe Brodocks burnt, which is looking back, a seminal, seminal deep house cut.

And I know that other hip-hop artists were listening to that song, because that song was actually eventually sampled by a tribe called Quest on their song, The Love. We're about to put it inside of a love perspective like, love, we do it all for love, y'all. It's so interesting hearing you talk about all this stuff, because I'm hearing the bridge, first of all, this is the era, like I've been talking about, all of these new kind of electronic genres are coming into play, chemical brothers that you mentioned, don't forget about Prodigy, the Prodigy, are coming into play at this time, too, massive attack. So there's all of this stuff which comes.

comes from technology-wise and reuse of material and sampling-wise is borrowing from hip-hop techniques, doing it with new tempos and with, you know, British white dudes rapping and singing on top. And different tempos, because my one beef with house at this time, even with old school Chicago house, was that I was like, well, why does it always have to be four on the floor? Why does it always have to, right? The drummer in me always had a problem at that time with the four on the floor. It was a couple of years later that I really just grew to accept that as like a feature,

not a bug. But yeah, I think that one thing that I liked about big beat, drum and bass, jungle, electronic and general, all these things. There were no rules. There were no die-in-the-in-the-wall rules. And I do think that that's something that we have to get back to to keep music interesting. Like, I think that we have to free the drum so that we can do as many and more things as possible. Because I think that the hard and fast rules of, well, if it's this genre, it has to be this and it has to sound like this. I think that it's time to step away from that because I will say in the late 90s, the early 2000s, people were doing everything. Yeah. And that's why I like to hear hip hop artists experiment with dance and dance artists experiment

with slower tempos because that sort of makes people step out of their comfort zone. Yeah, full credit to hip hop, though, because the tools and techniques that came out of hip hop and came out of the producers like the Q-tips of the world are at the core of what is happening with a lot of these, mostly British, not all, but a lot of these genres are coming out of England. and the use of the tools for dance music. Coming out of, I suppose, the new order tradition, but using that kind of punk ethos with new tools and tech, using samples and breakbeats.

And now this is the direction of many different forms of dance music at many tempos with many splintered subgenres of electronic music. Out of the break, we'll share more formative concert moments, and maybe you can find out who punched luxury in the face. Stop. We'll be back after this. Man, I think I need a doctor. Oh, like Dr. Dre, the famous hip-hop producer?

Or do you mean, like, the co-host of UMTV wraps? Not, like, I need like a doctor, doctor. Doctor, doctor, I love the Thompson twins. You know, it's funny you mention that because that's always, interestingly enough, produced by the same guy who produced Durand, Drain, and Grace Jones. So that's not what I'm talking about, though, I need an actual physician in this case. Finding the right doctor shouldn't be a total crapshoot. And with Zock Doc, it's not because you've got more options than you know.

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Zockdoc.com slash one song. Lecture, you look better, man. What exactly did you have? It's funny. It turns out I had a bad case of. loving you? Hell, the Robert Palmer song. Also produced by Alex Sadkin.

I didn't realize that. You a Sadkin soldier? Sadkin soldier my whole life. I was Sacken soldiers for life. Hell yeah. Welcome back to one song. All right, let's keep talking concerts. I love this conversation.

All right, let's get into it. So Coachella is, this is the Coachella section of this episode. Such an important festival, and we have so many great memories. We have so many great memories that we're going to talk about our favorite Coachella moments. Before I get to my number one Coachella moment, if you can believe it, some runners-up include one of my favorite shows, but not the number one, was when I saw Gang of Four, I think, in 2005, Gang of Four. So good.

One of the best post-punk bands ever. Outside the trains don't run on time. At home. I love a man in uniform. Dude, the titles alone are worthy of nine out of ten. If you don't already have it, go get entertainment. Their first record is their best one. Great album.

So good. If you can believe it, Bauhaus, another runner-up. I saw them live. That was big when they came back together. When they came back together, it was a reunion. and I was showing up at the gate racing to the stage because they had already gone on and I got there just as Peter Murphy emerged like a bat like

from the rafters to come down upside down to start the first song. I will never forget chills just thinking about it. Couple more runners up, massive attack. Yeah, yeah, yeah's. Kind of a surprise. I saw yeah, yeah, yeah, yeah, as there. They were so good.

They were great. They were so good. My number two, I'm not going to lie to you, Madonna. Really? So good. Madonna was the second best Coachella of 2000. What year was that? It was 2006. So my beef with 2006, the reason I didn't go was because I felt like Coachella was getting away from its electronic and underground roots.

No, they were not. Well, we didn't know. Wait until we get to number one, my friend. I have a phone. I know where we're going. So 2006 was actually the first year I didn't go. I went 99 and I went every year through 2005. I did not go in 2006.

I'm not going to speak because I don't want to make you feel bad. I wish you had been there. I wish we hadn't. So Madonna was good. Madonna was amazing. Massive Attack was amazing. This is a great year. Actually, yeah, yeah, yeah.

It was the same year that I saw them. They played, I think, three, maybe four times now. But number one, and yes, I was there at the Sahara Tent in 2006 to see the pyramid of daft punk. I was there. Oh, that's great. That's good for you. Human robots. Human.

I mean, whatever, man. Like, you know, I was supposed to go. Yeah. I told people, ah, that, you know, human after all, I like the album. But I've seen that punk before. You know, I've seen them with the mask. I've seen them without the mask. I'm not going this year.

And then, of course, as they're performing my, I'm sure I either had the iPhone 1 or maybe I still had my Star Trek flip. But the text messages started coming fast and furious that I was missing out on something that might be historic. Go ahead. Yeah, no, this is early days of luxury being a band. I think I went with my buddy Devon, who is my baseball player at the time. We were huge daft punk fans.

Somewhere there's like, you know how like old phones get like thrown into a drawer somewhere and you never use them again? There is video footage on an old flip phone somewhere. So it's like eight pixels. It's like it's like three, yeah, 240 or 120 or something. Looks like a game of pong. But I was there to see that show and it was mind blowing. There is documentation out there on YouTube. You can actually see the whole thing.

You can hear the entire thing. They released the show as an album. But it was pretty mesmerizing to see that pyramid. and to see the lights and to hear these songs that I knew, but in an unfamiliar way. Because the thing that was innovative at the time was the way they were mashing up different songs and bringing vocals from one with instrumentals from the other.

They were playing with a tempo, so things would be slow and they get fast. And it just blew everyone's mind. And that's the last piece of it is the communal vibe. It was like we all were like, oh my God, we're seeing this, strangers. Isn't this amazing? I think what's interesting about it is the fact that you couldn't see their faces, right? And they'd been doing the robots. They've been doing the robots for a while,

but the idea that you would go to an electronic slash DJ show and you would make it so much more about the visuals. There's actually a really interesting clip of Tomas Bangalter talking about this on Instagram that I think is worth mentioning because he said from his experience, what made it special, that performance and everything going forward was that he actually felt a certain amount of fright going in front of large audiences.

Yeah, yeah. And he felt like with this performance. Yeah, they can't see much. So he said in a weird way, it made it like intensely like private and intimate for him, even as people around them are going crazy. And it is worth noting, by the way, this related to my, you know, young luxury. The band is a new entity. And I'm making music and touring and playing with people behind me on stage,

playing drums, bass, and synthesizer. So in this moment, there is still a divide that people don't remember anymore. But in this moment, there is still a bit of a divide between the electronic music world and the rock band world. So the fact that at Coachella, you had this band, in quotes, these two French dudes who were playing, there was some clearly playback was happening. But something was happening live. That was, we're kind of used to it now, 20 years later. But that was really innovative and kind of risky at the time. Absolutely. Because it would have been sort of considered like Millie Vanilli-ish, you know, to unfairly malign them. I love Millie-Vinnelly. I think they've been unfairly treated. But the idea and the culture at the time would have been, this isn't really a live performance. This is happening on tape. And I think that attitude was starting to. to change in a healthy way. And Daft Punk, I think, helped make that change culturally.

Absolutely. And by the way, we did a super deep dive, not just on that performance, but on Daft Punk in general. If you want to check it out, we did a two-part episode on Daft Punk last year. Please go through our archives and find that. And many other episodes you might like.

But I will say that, look, you've brought up some classic moments at Cochella. Interpol's performance one year stands out to me. MGMT, when they were like brand new. And I thought this is the kind of rock that's going to save rock. When they performed in 2008, I was there. I were there for it. I kind of made that.

I freaking loved it. So, yeah, there are some great Coachella moments in my past two. But my ultimate Cochella moment is easily when I went to the first Cochella. I didn't know what to expect. There had been Woodstock 99, which had been a travesty. And so people thought that music festival. You went to the first ever Coachella? I went to the first ever Coachella on a whim.

I met my friend Danny in a parking lot and I said hey Danny you want to go Danny Passman eventually the lawyer for death bunk we didn't know that at the time he was like no you know like times are weird music festivals are weird they burned down with Stock 99

oh yeah I was like I can understand his retic because I love this play I love this lineup I definitely want to see back the Chemical Brothers I actually really like Underworld I just made a decision in the Tower Records parking lot on sunset I was going to just drive out there that afternoon so I drove I drive out to Indio, Coachella, and I saw Underworld.

And I saw them perform mostly songs from their album, Buku Fish, which had come out that year. Listen, they started off with Cups, which is the first song on that album. They segwayed into Push Upstairs, which is a great song. They played Push Downstairs, which is the sister track, which is completely slowed down and beautiful. They played older songs like Born Slippy. They played Cherry Pie, which brought me to tears because I was. There was a much more sensitive young man back in those days. And something about seeing Carl up there with the guys, it really made me think,

wow, I think electronic music might be my favorite. And I could be wrong. But I do believe that they started off a portion of their concert with this famous bit that I just, I'll play for you now. Junkies, criminals, fugitives. Junkies, criminals, mutatives. You are fucking lovely. Oh, England.

Like that's how you start a concert. That's great. The people went insane. We danced. I was like literally like on no drugs, but I was like, because I had driven out there. I was like, I drove out there alone. Nobody's going to drive me back with me and I'm definitely not spending the night in Indio. So I was like, I got to get home.

That was how you did Coichella back then. That concert starts off. My mind was absolutely blown. I was like, wow, that was like John Cage, you know, over like housebeats. That was insane. I walk over to see Beck. I see like a few songs. But then over to the right,

because there were only two stages back then at the first one. I look over to the right and the Chemical Brothers are performing. And I liked the Chemical Brothers, but this is what made me a Chemical Brothers fan. I go over there and they had a big monitor, they had a big screen behind them, which was not done back then. Like now, you know,

I just came from Justice at the Hollywood Bowl. The visuals are next level now. You just thought about the pyramid. But just for them to have a big screen behind them with something, I'll never forget. They have banks and banks of keyboards and computers and big clunky equipment that you would never need to take on stage now.

But they were like mixing their songs live, running unplugging stuff, plugging stuff in. They're doing it very live, so to speak. And on this big screen, they had a bunch of black and white robots. And right when they reached the crescendo of the song, music response off of their album,

Surrender, uh, music that triggers some type of response. the robots went to color. And I remember the crowd went nuts. And I just started jumping up and down screaming, Color robots! Color robots!

I got chills when you said that. Yeah. Dude, it was so good. And by the way, Surrender completely slept on an album. Like, I just think that album is so good. They love the Kamuk Brothers. I know people love Exit Planet Dust and dig your own hole. But, you know, it's just when you discover it,

surrender will ever forever be the album that made me fall in love with them. And so as a response, I will play, not music response or any of the other wonderful songs. I love Let Forever Be. Reminds me of a certain time of my life. One of the best music videos that has ever been made. That video, I believe, is directed by Spike Jones. It's an amazing video. But no, I'm going to pick a total album cut because it reminds me of the connection between the Chemical Brothers and early Chicago House.

I'm talking like, Mr. Fingers, can you feel it early Chicago House? This is their song, Got Glint. That's the Mr. Fingers right there. I'll never forget it. D'allel, this episode, this is the perfect way to start the year because we have already in the course of talking about all these bands made me want to have episodes about almost every single one of them because I'm so fired up every time you play something.

I'm like, let's do it. I don't know you're going to talk about 2006 because while you were celebrating with Daepunk with the Pyramid, you know, I saw, I've only seen Justice Live twice. I saw them obviously recently when they were swinging through the hospital, Hollywood Bowl, that's 2024 late last year. But the very first time I saw them was the first time, really, they'd ever come to the United States.

And it was when I partnered with a party promoter named Steve Aoki. That's right. He was a party promoter with Frankie Chan. We got together, the three of us, and we were like, we got to bring this new group justice over to the United States. So we partnered. They were going to play his club on Sunday night. They played my spot, the standard hotel downtown, where I was booking the DJs on

the rooftop. you know, we brought them through. It was January, I want to say, 2006. As far as I know, and let the Internet correct me, it was their first trip to the United States, and they played the rooftop, and it was insane, and everybody was going crazy. It was so much, there was so much energy on that rooftop that day.

I thought someone was going to jump off the roof. Like, it was crazy energy that day. Like, everybody was just jumping up and down about the time they got to D-A-N-C-E, and I'll never forget, they didn't even play their version. I want to say they played the Mastercraft remix, which not everybody had heard at that point. And it just felt like, yes, I am there. I am at CBGB's.

I am at First Avenue in Minneapolis when Prince is performing. You just felt like you were there to see the beginning of something. Yes. And that was how we kicked off 2006. You know, I went to Miami Music Conference two or three years in a row. So I saw Justice at, I think it was Beauty Bar, because that was like the after party in Miami for all of these events. And so I just remember amongst my friends, I was like,

oh, that's Pedro, the manager of death. Right, it was busy P, Pedro Winter, Ed Banger Records. Ed Banger Records. And there was a new band that he had playing at this club, and they were called Justice. And we had never heard them before. But, man, it was loud, distorted music. It sounded nothing like what had come before. And it was so powerful and so good.

I feel lucky. That's another maybe Sex Pistols moment, especially with its convergence of rock. They really were. Even more than Dad Punk. They were a convergence of rock and dance music for sure. Okay, it's time for one last concert memory. luxury. You mentioned to me that on more than one occasion, you've gone home a bloody mess, like literally a bloody mess. You've been in physical altercations. Expand on that. We couldn't do

an episode about shows without me talking about how I've been punched in the nose. Not once, but twice. The first time I remember was, actually, I'll save the first time because that was like the number one time. The runner up for the best time I've been punched in the nose would be around 2000, I think 2000, 2001. I was at Slims in San Francisco. And out of nowhere, I was, I was watching this band L7. It's four amazing women rocking really hard. I don't know if they want to be called grunge or hard rock, but they're amazing. You might know them from this song. This is pretend that we're dead. So L7 we're playing. I'm there. And out of nowhere, there's a fist coming at my nose. I don't duck in time. And I, to the stay, I have no idea how or why it could happen.

Someone might have been punching the person in front of me. That person might have ducked. All I know is that I came to. People were looking at me. It's like a classic movie. You actually get loose consciousness? I got a bloody nose. I had a bloody nose. I lost for like a millisecond. I was like, what the fuck happened? And I had to leave. Luckily, my good friend from my KUSF days,

Terrible Ted was there. Big dude who like kind of nursed me, you know, sheltered me, brought me outside and took care of me. But that was the runner up. He helped you up. He helped me up. Do we know it wasn't terrible Ted's fist

that punched dude? Like maybe he was going to get out of regret. Terrible Ted is such a sweetheart. He would never do that. Sweet guy. But yeah, that was the runner up, if you can believe it.

The number one time, however, that I got socked in the nose, I kind of deserved it. I'll set the stage. It's 1989. I'm seeing Danzig and Soundgarten. Great double-bill.

Yeah, that's enough reason right there. They're at the Warfield in San Francisco. And you have to understand Danzig. This is Glenn Danzig. He's formerly of the misfits in Salain, which is how the cool kids pronounce Sam Hane. It's Saoane. You make the M into a W.

And he's kind of, you know, in this era, especially he's like kind of tough. Like he's a short, built dude. And there's a lot of toughness. on stage and his guitar player is named John Christ and his drummer is Chuck Biscuit. And his band is Danzig. And the band is Danzig. That is a hard name. It's a hard name. They've got a big, the drum set is on skull on the risers. There's a big skull. And I noticed that John Christ's mic stand has a bunch of picks on it, guitar picks. And I'm like, I really want

one of those guitar picks. And I'm in the front. So I jump up on stage and I'm immediately, and I'm small. I'm like 18. I'm immediately grabbed by someone. by one of the like, you know, security. Not only am I dragged off of the stage, but my face is put into the grooves of this like kind of thing that keeps you from slipping on the ground, this like plastic mat

that has these grooves in it. So I have this, this welt with like lines in it on my head for the next couple of days. The company logo that made it's like a Bugs Bunny cartoon, Acme, backwards. And yeah, you know, first of all, what I learned from that experience

is that you probably should... Don't take the pick off the stage. You should leave the picks on the stage where they belong so the guitar player can do it, especially when the band is Danzig or anything of that sort of black metal, hard rock, ilk. And I learned the hard way, but it's a public service announcement

to the One Song Nation. Don't do what I did. Wow, well, that was a little more bloody than I expected it to be. I will say the only time that I was at something that truly I was worried about my life was when I went to go see Old Dary Bastard at the World Club in Atlanta.

I've talked about this on the fantasy episode, Mariah Carey featuring Old Dirty Bastard. But yeah, it starts with Old Dirty Bastard coming out and him forgetting the words and the audience turning on him. It ends with him firing a starter pistol into the air, everybody ducking and hiding under Jesus Christ, terrifying. He struck a pose and then he walked out of the club's front door. But I will say this, DJ life always had an element of violence to it when you're DJing.

And inevitably, anybody who's DJed more than a couple of people. a night you'll see people fighting in the corner and then at some point you i don't know if it's just me i always feel a little bit guilty i'm like was my set a little too aggressive like i feel like you do have the power to calm and soothe or hype and rile sometimes i was like yeah i was just getting the party hype i didn't know people were going to literally start punching poor luxury in the face um i always i always remember if a fight broke out i usually threw on something like shouty as a tin by the dream because nobody can fight what is can you rock to the beat with your boy shoddy ooh oh like that was always a nice calming song to calm people down um i will say one of

my favorite clubs to go to was often marred by violence but it was a pretty good one was called chocolate bar and uh it was one of the first places that i went to hear open format music from around the world but through a hip hop lens and so that's why it sticks out to me when I think about it because, yes, you might weather a fight here or there, but ultimately we went there because you could hear, like, the best of hip hop. I'm talking about, you know, underground stuff like Tried by 12 by these Flatbush Project. Don't say sticks and stones, they might break your bones, but the nine millimeter it will bore your dome.

I'm talking about the toe tagging. And you would hear songs like that, which is one of my favorites of all time, mixed with, like, Water Get No Enemy by Felacuti, you know, whatever the current backpack hip hop was. Plus, you would hear things that were popular across the pond, whether they was made by Brits or Americans. I'm remembering the song Manhood by Victor DuPlay would get a lot of spins. Shout out to Victor. And also, just an absolute classic, and I wouldn't even know it if I had not gone to chocolate bar at that time, because I think we were just a little bit ahead of the curb.

There's the UK Garage classic that we were dancing to. It's Pevin Everett and Roy Davis Jr.'s song, Gabrielle. As we look forward to 2025 on all these great concerts and DJ appearances and shows that are coming up, what do you think you can take away from just people going out and experiencing music live? I think that I am telling myself what I'm telling you and telling our listeners, like, in real time. I haven't really been to as many shows in recent years because I've been, we've been making the show. I've been doing other things, but I'm like, I'm remembering how important these experiences are. As much as I love listening to music on my couch, which is what I've been doing since the pandemic.

It's, I haven't really gotten out there unless I've been the DJ myself. And I want to start doing, I want to see more shows. I want to hear the bass coming through the speakers and like affecting my body, you know? That feeling is so special. What's interesting is I feel the same way. And yet I feel like as a DJ, part of my jobs, part of my role should be that I need to start a night with you. Yeah. with some of our friends and actually play the music

so that we can be the 2025 version of what Saki Bomb was to me in 1998. I wouldn't have heard half of those songs unless Sagi Bomb had built up a reputation for being the kind of place where I would hear the kind of music that I wouldn't hear anywhere else. So in other words, I wasn't going out because I thought I was going to hear anything in particular. I just knew that those guys were going to play things that weren't on the radio. And similarly, I think that whether it was Saki Bomb or the standard hotel

when I was booking the DJs, I think the mission of somebody should be in almost every town, hey, do you want to hear, not the stuff on the radio, not the big club jams, you know, but like literally, do you want to hear the Tyler, the creator album cuts? Do you want to hear that childish Gambino song that you love, that you don't think everybody else may love? Oh my gosh, other people like it too. We're hearing it played loud in a communal space.

Like one of the goals that I had at the standard was I was like, I didn't know any place where I could go and hear the AAAS played out loud next to artists like Daabunk. And I think that we need places where now you can go out and you can hear a Tame Impala song right next to a Thundercat song, right next to a Catranata song. Like we need more of that. Yeah. Because I think that what's missing from the landscape in almost every city I go to is like people have diverse taste in music. You don't always know that there's a place that's going to play all these kinds of artists. It's usually like it's going to be big floor dance music, you know, popular radio rap.

And I just want to know that people are building these spaces for a scene. Because we're going to inadvertently come together and inspire new music by doing that. Right. And I think the place where you and I converge, like it's so wonderfully on the show, we already do it. And when we DJ, it's a similar thing. What are our interests musically kind of have this wonderful alignment, the Venn diagram of the two circles of yellow and luxury. There's this huge amount of overlap in between. And what a lot of that has in common is it's a little bit coming from electronic music, coming from hip-hop production and beats as we've been discussing and sampling,

but also kind of a rock and roll mentality or attitude or sound. This is the space that we love. We love danceable kind of rock and electronic. A lot of the stuff we've been talking about today occupies that overlap. And a merge of all these different things. I want to hear an electronic group that sounds like the Fontaine's D. I want to hear a rock group that sounds like justice with. without the electronic.

I want to hear hip hop across any other genre. Like, I think that that's what we're longing for is to push the music forward. Okay, Luxury, it's time for one more song. This is the segment where we share a deep cut or a hidden gym with you, The One Song Nation and with each other. Luxury, why don't you go first?

All right, well, as we were preparing the episode, I flashed as we were talking about all these shows. I was reminded of a time that I was at my friend's house and this song was playing like next door and I cannot figure many years have gone by. I've still never been able to identify it other than than it is in some way related to what I'm about to play. In other words, my question to you, the one-sognation,

I'm about to play a song, and somebody has transformed it through the years, and I cannot find it. What is the house remix, housey or electronic remix of this? This is Mr. Magic by Grover Washington Jr. By the way, often said to be one of the seminal, if not the seminal,

pre-chuk-Bron and the Soul Searchers go-go tunes. And by the way, speaking of Go-Go, if you haven't listened, we did a deep dive about Go-Go on our Grace Jones episodes, Slate to the Rhythm. Go back and check that one out. And here is one of the seminal tracks from that genre. You're saying someone did a house version of this? I swear to God, I have such a vivid memory of being at my friend's house. And somebody was playing this in a garage next door, but it wasn't this. It had like 90s beats.

Yeah, it had something a little faster and 90s-easy. This part right here. That's what I've remembered. Sometimes I'll be in the shower. It would be hard to find. You've definitely tried Googling. I've looked at who's sampled. I've tried Googling it.

I've tried singing it into Shazam. Yeah. Someone has done a remake with 90s. I bet you was a white label remix, you know? Could have been a white label. But if you out there in one song Nationland, know what I'm talking to, please. Help this man out.

Please. That happens a lot. You know, there are songs that didn't make the transition from the vinyl, or especially like the white label vinyl period, into the digital age. You're right. It might have just been a white label. Because I was hanging out with a lot of DJs in DC at the time. It would absolutely make sense if it was somebody's just like set from the previous night that they made themselves. They did some white label. There is a remix like that. Maxwell has a song called No One. I love that song. There was a

house music version that was fantastic. And I just don't think it ever made the transition to digital. I think you can maybe find it on YouTube. So you can't find it either. That's like, I might have ripped it off of YouTube. It doesn't sound that great, but it takes me back to a time when Marcus Wyatt and other house DJs absolutely rocked places like King King. Nice. What about you, Diall Riddle? Do you have a one song that you're going to give to me today?

I do. My song this week is Earthbeats by an artist named Kuni Yuki, but I'm talking specifically about the Heinrich Schwartz remix. I first heard this song at Ciello. I was one of the songs that Francois K., Francois K. Civorkovirkien, yep. opened his set with at CLO, RIP to CEL. I can't believe that club is gone.

And this is Earthbeats by Kuniuki, the Henrik Schwartz remix. I 100% love that. It's so good. That's so crazy. I just did a DJ thing where I skipped a little bit of the intro and just threw us into the mix. But like when you are in a nightclub like Cello was,

where you've got those wonderful function one speakers and it's all like sort of, like anybody who knows their speakers, function one speakers used to make the sound just different in clubs. It wasn't so loud. actually carry on conversations and the music was still loud. Francois C opened up his set with that and another song which was lost to history. I lost to the vinyl to digital transition.

He also played a song called by an artist named Trolley Rout and the song was the sleeper. It was the Robert Hood mix. Again, I think I might have found that one also on YouTube. But these are wonderful spacey, space techno, whatever you want to call them. like they really sound like intelligence and maybe how our brains work. I don't know if you were listening to that. But like I always think like, man, this is how the brain is supposed to sound. It's like complex and yet it all makes sense.

There's something really deceptively simple and weird and obviously crazily complex with where some of those chords and melodies were going. But the combination together made it was so satisfying because it was the same beat. It was a loop predictable and a very satisfying one. But it's looped in a weird way. In that way, I feel like Henry Schwartz. and somebody like Adela, or like my favorite hip hop, I should just say, there's always like an element of like, oh, I didn't know that the music was going to go there.

Yeah. And that's what makes it really special and cool. But there's something also rooted. So if it was all chaotic, right, the beat roots it in. And then you've got almost what was happening on top was crazy and I couldn't find the pattern in that little brief amount of time. But I loved it. I was enjoying it.

In that sense, the four on the floor beat was a feature, not a bug. Yes. As always, if you have an idea for one more song, you can find us on Instagram and to TikTok. You can find me on Instagram at Diallo, D-A-A-A-L-O, and on TikTok at Diallo Riddle. And you can find me on Instagram at L-U-X-X-U-R-Y luxury and on TikTok at LuxuryX. You can also watch full episodes of One Song on YouTube right now. Just search for One Song Podcast. We'd love it if you'd like and subscribe. And if you've made it this far, I think that means you like this podcast. So please don't

forget to give us five stars, leave a review, and share it with someone you think might like it. It really helps keep this show going. Luxury, help us in this thing. I'm producer, DJ, songwriter, and musicologist Luxury. And I'm actor, writer, director, and sometimes DJ Diallo Riddle. And this is one song. We'll see you next time. This episode is produced by John Asante and Casey Simonson with engineering from Marcus

Ham and Eric Hicks, additional production support from Razak Waken. The show is executive produced by Kevin Hart, Mike Stein, Brian Smiley, Eric Eddings, Eric Wiles, and Leslie Wamp.