solarion

BIG ups to Blackcurrant, who messaged me about this one today. No spoilers - listen through and you'll hear it about three minutes in.

So, whadda ya know...the flute at 0:15 in De-Pimp Act is also Wonka's flute (slowed down to about 60% speed).

"Is this machine recording?" from Same Ol', Same Ol' Recording at 0:57: The flute at the beginning of Special Designer Song: (Sorry about the triple posting...)

"And memories aren't where it's at.", from the start of Lunderneath, at 0:20:

I apparently can't edit my posts anymore (ok) but the version of La Saule I linked above is the wrong tempo (45rpm issues?). Since it's the leading track off this album, have the whole thing.

Amen Andrews - Guilty (I went through half the Plug discography before it clicked).

I really couldn't get into these and I struggle to tell any of the tracks apart. But my first impressions of Recepticon are much more positive; so I've been thinking about it and decided the problem was these are Play-Out Tracks. They're super polished EQ-wise and probably sound excellent on a big system, but are too homogenous to interest my ears for extended home listening. Possibly this is why he didn't release Rave Hop as Wagon Christ - despite being downtempo, it's still meant for the club.

Sorry I Make You Lush and My Lonely Scene at 12:28 - "How'd I ever get into this mess? I do my job. I mind my own business..."

1:12 in this video: "I want to fit the rhythm of the sound and the vision to the pattern of his brainwaves."

I think this is the case too, maybe excluding his releases on Virgin or other major or big indie labels? I remember KD3 couldn't be pressed up more than an X amount of copies because otherwise they could get sued? Which is also why it's not repressed yet? Also what I heard for this (hello a year later) is essentially that Salsoul got a little grumpy about the sample on Needy Feelin' and said basically "yeah okay but you're not repressing that or we'll sue".

disagreed, Rodulate is shit other than that though yes

Another track seemingly to help out a tiny label on a vinyl release. Said label appears mainly based around a massive archive of African field recordings, so I'm not surprised Luke wanted to sink his teeth into that. Certainly has Africa vibes.

It hasn't. Thank you; I'd always wondered about this one. Given the bass sound, I wouldn't be surprised if the main slap riff is lurking on the same album somewhere.

It's not this?

The end of this (1:25) and the beginning of the next track on the album (they go into each other seamlessly but were cut up on CD) is sampled in A Hot One.