solarion

In various places, most prominently Kwikwidetrax.

It's unquestionably the Jetsons' doorbell. He also used the sample in Swet on Chicago, Detroit, Redruth. Maybe a Marxophone or related instrument was used in making the original sound effect - I hear the same repetition of notes (though the tone is very different) and it wouldn't have been a synthesizer at the time The Jetsons was made.

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.

Pretty sure he won't get sued for this one, though.

I'm in. Protip: Go to the biggest thrift store you can find. Go through their record section. It'll be crap but it's cheap.

14 tracks and none of them visible. IT'S probably not HAPPENING

I recall a bit of an interview with Jim Roche, and I don't believe he's racist himself. The vibe was like the use of Nazi imagery in early noise tapes, or cutting in performance art - to shock, with all the attendant problems that might go with it. The production of his record by an art gallery bears it out - I don't think the intersection of modern art and hardcore white supremacy is huge, though of course I might be wrong.

Incidentally, that is the least coherent thing. He could sue pretty much anybody in the rap world (they can't -all- have cleared Nautilus) and he goes after Madlib?

I imagine the ones that make up a bulk of a song are probably cleared. I'm less sure about the vocal samples, or the very tiny bit of Leonard Cohen in one song.

It's for that reason I don't really post samples anymore if it looks like the artist might sue (see: anybody on Salsoul; that's why we can't get KD3 repressed). The makers of radio station jingles and laughing samples are probably less aware. If you know of anything I've posted that might be the trigger for a lawsuit, I will take it down. I feel like the spoken word samples are interesting to hear in their old context but the funk ones I have more reservations on nowadays.

I swear I have heard this laugh sampled, but cannot place it (not even sure if it's Vibert). Any ideas?