On this week’s episode of the R.O.A.D. Podcast, the crew spoke to Boogie Blind of the X-Ecutioners regarding the accusations made against Ted Smooth for stealing blends and remixes from other producers like Scram Jones, DJ Mell Starr, as well as Boogie Blind himself.
The Harlem native broke down the history of the “Love On Top X Keezo Kane Blend,” which was originally performed live by DJ Mell Starr at numerous parties and then released as a remix by Ted Smooth.
Watch an excerpt above and the full episode here.
Related Post: ‘R.O.A.D. Podcast’: Are DJs Prepared to Return to Work?
Legendary turntablists DJ Rob Swift and Mista Sinista, also known as Da Odd Couple, have dropped their latest single “Sinphony.” Produced by Eitan Noyze, the track from two of the X-Executioners also features cameos from an impressive legion of fellow iconic spinners — Kid Capri, DJ Q-Bert, DJ Ace, and DJ Total Eclipse. The track is from Da Odd Couple’s forthcoming album.
Executive produced by Sinista and Dr. Butcher, Swift notes that “whether you’re an O.G. Bronx DJ legend, skratcher from the west coast, ‘beat juggler’ from the east or a cop who DJs, we can share the same stage and all collaborate together with one intention, cuttin’ sh*t up!”
The track is heavily based around a sample from The Juice Crew’s legendary 1988-released single “The Symphony.” The idea of a heavy-hitting lineup of DJs on Swift’s posse cut is similar to the 32-year old track being produced by Marley Marl and featuring Juice Crew members Masta Ace, Kool G Rap, Craig G, and Big Daddy Kane.
Listen to Da Odd Couple’s “Sinphony” above and download or stream it on all major platforms.
Related Post: Watch Da Odd Couple’s ‘MikiDz Show’ Set
Boogie Blind, a member of the X-Ecuctioners and Heavy Hitters crews, sat down with the R.O.A.D. Podcast this week. The veteran turntablist and party rocker remembered his former crew member, the late and great Roc Raida.
Boogie also discussed his early DJs with the X-Men, how party rocking is his foundation, East Coast vs. West Coast scratching, and more.
Watch an excerpt above and the full episode here.
Legendary turntablist and former X-Ecutioners member DJ Rob Swift has launched a Kickstarter campaign to fund his next album.
His first full-length release in over five years, X-Files: Lost & Deleted is a collection of rare and remixed songs featuring artists such as Large Professor and J-Live.
“Unlike other best of albums, this LP just doesn’t contain an assortment of music of mine from various solo projects,” Swift’s Kickstarter page says. “What you’ll be listening to on X-Files: Lost & Deleted is a collection of fresh and new takes on my best work.”
The campaign offers a variety of rewards in exchange for pledges, ranging from a digital download with a personal thank you email to a live DJ performance.
As of right now, Swift has raised over $6,271 since launching the campaign last week. However, he still needs $3,729 to reach his $10,000 goal.
Watch his campaign video below and get more details on his Kickstarter page.
Related: Rob Swift Explains Why He Stopped Hating on Laptop DJs
From being a former member of The X-Ecutioners crew to releasing a handful of solo albums, DJ Rob Swift has been a prominent force in turntablism since the early ’90s.
And like many of his era, Swift was resistant to the idea of using a laptop to DJ when it first hit the scene. Having cut his teeth on two turntables, a mixer and vinyl, the notion of scratching with a piece of software annoyed him.
However, Swift eventually changed his mind and has been a dedicated Serato user ever since. Now, years later, the legendary turntablist has written an essay for Cuepoint on why he embraced the change and the benefits and potential pitfalls of digital DJing.
Below is what we learned from Swift’s candid piece.
He was offended when he first saw a DJ using a laptop.
“To me, it was an abomination! It looked all wrong. I felt offended that this student, someone learning how to DJ, was learning on a laptop and not records. I was so offended that I didn’t touch it. I remember thinking that I didn’t even want it near me. I went into another room feeling annoyed.”
Jazzy Jay helped open his mind.
“When I saw Jazzy Jay using a laptop and turntables, I don’t want to say that I embraced it, but I was more open-minded. If Jazzy Jay was gravitating toward this technology, I thought maybe there was a way to implement it into what I do and still keep the integrity of the craft intact. After all, Jazzy Jay was using Serato, but was playing the same kind of breaks and tunes that I remember him playing on cassette tapes as a kid.”
He realized that the laptop is merely a tool.
“If I have the right perspective on it, the laptop is a tool for me to play the music that I like; it doesn’t necessarily mean that I have to change the style of music that I play. Now I am not taking a piece of vinyl out of the sleeve, I’m accessing the song from a laptop. But at its core, I’m still on turntables and I’m still having to move a control record and lift the needle.”
He switched to Serato after having to haul his records around Europe.
“I’d lug my records with me on and off the plane, transferring, running to catch flights, running late, planes delayed. That was the most annoying tour, because it’s not like I had roadies carrying my records, it was just me doing it. On that tour I was like, ‘That’s it. I’m not touring with records anymore. I can’t do it.’ It was just too physically taxing. When I got home, I reached out to Rane and asked them to send me Serato Scratch Live.”
Using a laptop has enabled him to be more versatile.
“From a performance standpoint, it’s great to know that the majority of my record library lives on my laptop. There are times when I have no idea what the crowd or the venue is gonna be like or what kind of music people want to hear, but because I embrace all genres of music I make sure that my work laptop has different genres of music to choose from so I can cater to any crowd. I have Plan A, B, C, D and E all on my laptop. Back in the days when I was traveling with my vinyl, I was limited to however many records that I brought with me to that show.”
He believes features like “sync” can give DJs a false sense of security.
“However, although the software can sync up any two songs for you, it doesn’t necessarily mean that you now have a knack picking the right two songs to mix. Just because two songs mix together doesn’t necessarily mean that they go together. Things like that kind of give you the illusion that you’re prepared to go play out, when in fact, you still don’t know anything about timing or joining two different songs in a tasteful way.”
He thinks people focus too much on “fake DJs” these days.
“They think they’re helping the culture by talking about what’s wrong to someone who they feel may be ignorant, but what they’re doing is magnifying what’s wack without talking about what they like. Indirectly, they’re minimizing the dope sh#t. . . . When I was coming up we’d only focus on what was dope, and I feel like that’s why I became as good as I was — I channeled my energy into the heroes and pioneers of this craft. I knew of the guys who weren’t good, but you just don’t focus on that, you don’t pay attention to that and you soak up what is good.”
He believes that ultimately, it’s about the DJ, not the technology.
“Technology isn’t the problem, it’s how we use the technology. It’s the perspective that we have on the technology. When I started incorporate laptops into my DJing, it didn’t make me worse, it made me a better DJ because I have a certain perspective on technology which is I’m going to dictate how I use it. If you have that perspective and approach to anything, then the potential that you can tap into as an artist is unlimited. It’s about the mind behind the technology, not the technology itself.”
Legendary turntablist and former X-Ecutioners member DJ Rob Swift explains how to articulate scratches, in the latest video tutorial from Scratch DJ Academy.
“You don’t wanna keep repeating the same scratches over and over again,” Swift says. “You wanna stimulate the person that’s listening to you, that’s watching you scratch. You wanna keep them engaged.”
The veteran turntablist explains in detail how to make scratches more interesting by following the rhythm and sounds of the beat. He also encourages DJs to consider the vocals and not just the drums. “Follow the pattern and the nuances of vocals on a track,” Swift says.
“You have to go beyond just mastering the technique and perfecting it. Always figure out a way to inject who you are out of the turntable.”
Related: How to Drum with a Turntable
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