#classic hip hop radio stations

[kemetic-dreams]

Minnie Julia Riperton Rudolph (November 8, 1947 – July 12, 1979) was an American singer-songwriter best known for her 1975 single "Lovin' You" and her four octave D3 to F♯7 coloratura soprano range. She is also widely known for her use of the whistle register and has been referred to by the media as the "Queen of the Whistle Register."

Minnie Riperton grew up in Chicago's Bronzeville neighborhood on the South Side. As a child, she studied music, drama and dance at Chicago's Lincoln Center. The youngest of eight children in a musical family, she embraced the arts early. Although she began with ballet and modern dance, her parents recognized her vocal and musical abilities and encouraged her to pursue music and voice. At Chicago's Abraham Lincoln Center, she received operatic vocal training from Marion Jeffery. She practiced breathing and phrasing, with particular emphasis on diction. Jeffery also trained Riperton to use her full range. While studying under Jeffery, she sang operettas and show tunes, in preparation for a career in opera. Jeffery was so convinced of her pupil's abilities that she strongly pushed her to further study the classics at Chicago's Junior Lyric Opera.

The young Riperton was, however, becoming interested in soul, rhythm and blues, and rock. In her teen years, she sang lead vocals for the Chicago-based girl group the Gems. Eventually the group became a session group known as Studio Three and it was during this period that they provided the backing vocals on the classic 1965 Fontella Bass hit "Rescue Me".

After graduating from Hyde Park High School (now Hyde Park Academy High School), she enrolled at Loop College and became a member of Zeta Phi Beta sorority. She dropped out of college to pursue her music career.

Her early affiliation with the legendary Chicago-based Chess Records afforded her the opportunity to sing backup for various established artists such as Etta James, Fontella Bass, Ramsey Lewis, Bo Diddley, Chuck Berry and Muddy Waters. While at Chess, Riperton also sang lead for the experimental rock/soul group Rotary Connection, from 1967 to 1971.

On April 5, 1975, Riperton reached the apex of her career with her No. 1 single "Lovin' You". The single was the last release from her 1974 gold album titled Perfect Angel. Riperton's third album, Adventures in Paradise was released in 1975. Despite the R&B hit "Inside My Love", some radio stations refused to play "Inside My Love" due to the lyrics.

Her fourth album for Epic Records, titled Stay in Love (1977), featured another collaboration with Stevie Wonder in the funky disco tune "Stick Together".

In 1978, Richard Rudolph and Riperton's attorney Mike Rosenfeld orchestrated a move to Capitol Records for Riperton and her CBS Records catalog. In April 1979, Riperton released her fifth and final album, Minnie. "Memory Lane" was a hit from the album.

Riperton provided backing vocals on Stevie Wonder's songs "Creepin'" from 1974's Fulfillingness' First Finale and "Ordinary Pain" from 1976's Songs in the Key of Life. In 1977, she lent her vocal abilities to a track named "Yesterday and Karma", on Osamu Kitajima's album, Osamu.

In January 1976, Riperton was diagnosed with breast cancer and, in April, she underwent a radical mastectomy. By the time of diagnosis, the cancer had metastasized and she was given about six months to live. Despite the grim prognosis, she continued recording and touring. She was one of the first celebrities to go public with her breast cancer diagnosis but did not disclose she was terminally ill.

In 1977, she became a spokesperson for the American Cancer Society. In 1978, she received the American Cancer Society's Courage Award, which was presented to her at the White House by President Jimmy Carter.

Riperton died of cancer on July 12, 1979 at the age 31.

During the 1990s, Riperton's music was sampled by many rap and hip-hop artists, including Tupac Shakur, Dr. Dre, A Tribe Called Quest, Blumentopf, The Orb

[actualalligator]

"I should really stop being a coward." for buddie if you are so inclined :)

Thank you so much for this! It ended up being much longer than I planned, but it was fun!!

"I should really stop being a coward," Buck sighed. He sat in the back of the ambulance, watching Eddie punch the bag across the room.

"Yes," Hen said from behind him. "And you should actually help me restock the ambulance or get out of my way."

"Sorry, sorry." Buck stood and did help. They were just finishing when the B-shift crew started to filter in.

"Buck!" Eddie shouted.

When Buck turned, Eddie was standing freshly showered and dressed in his jeans and a hoodie, bag over his shoulder about ten feet back from the ambulance.

"Happy hour ends in half an hour. Do you want wings or not? We gotta go!" Eddie asked, resting a hand on his hip.

Buck glanced toward Hen, who rolled her eyes. "Go," she said. "You should really stop being a coward."

Buck looked at her for a second, then nodded. "See you tomorrow, Hen." And he hopped out of the ambulance and sprinted to the locker room to change.

Eddie leaned against the jeep when he got out there. "If we miss happy hour, you're buying."

Buck laughed. He unlocked the jeep and tossed his bag in the back.

Eddie got in and immediately started to fiddle with the radio, settling on a classic rock station and humming along as they drove.

Buck parked the jeep near the back of CJ's lot and turned it off, but didn't get out. He unbuckled and turned to face Eddie. "Eddie, can we talk a sec?"

Eddie glanced at his watch. "Can we talk after we've been seated and ordered wings?"

"Yeah, yeah," Buck said, ducking his head.

Coward.

He climbed out of the jeep and followed Eddie into the restaurant. They were seated quickly.

"I'm thinking hot and the Thai curry ones we got last time," Eddie said, flipping over the happy hour menu to look at the wing flavors.

"So you want to melt my face off," Buck replied. "What about some of the Korean BBQ?"

"I'm trying to build your spice tolerance, Buck. I'm doing you a service here," Eddie said with a grin. He then flashed that grin at the waitress Sarah who was often their server on wing night.

"Getting in right under the wire, I see, gentlemen. What can I get you?" Sarah asked.

"We want two dozen. Ten buffalo hot, ten of the Thai curry, and four Korean BBQ. A basket of fries and," Eddie paused, glancing at the beer list. "Do you still have the black forest stout?"

"I'd have to check. They were on the last one. But Rosewood sent another stout to replace it with," Sarah said.

Eddie nodded and offered her the menu. "Whichever Rosewood stout you have is fine."

"Buck?" Sarah asked.

Buck offered her a smile. "Lots of ranch. And whatever pilsner is on tap."

Sarah tucked her pen on her apron. "I will go put that in and get those drinks."

Buck watched her go before he looked back at Eddie. "Kind of you to get four wings that are a little less spicy."

"You like spice. Even if it makes you cry a little," Eddie replied, smiling. "And last time you said the curry wings were the best you've ever had." He paused, tilting his head. "Do you want me to go grab her and change the hot to medium?"

Buck shook his head. "You're right. I do like spice." And then he took a second to just look at Eddie as he stared down at the drinks menu.

"I will never understand paying fifteen dollars for fifty cents worth of liquor and some juice," Eddie said, shaking his head. "I can get a bottle of tequila and a carton of orange juice for fifteen bucks."

"Shitty tequila," Buck said.

Eddie grinned. "That's what the orange juice is for."

Buck laughed, shaking his head, but convinced he fell even more in love every time Eddie flashed him that grin. He thought weak at the knees was a made up think until the first time Eddie smiled at him.

Sarah returned. She set Buck's pilsner down in front of him and then about three-quarters of a pint in front of Eddie. "Keg kicked in the middle of the pour. I'll bring you another when they've got the new one in."

"Thanks." Eddie picked up his glass and held it out toward Buck. "Cheers."

"Cheers," Buck replied, clinking his glass against Eddie's and taking a drink. As Eddie's glass came away from his mouth, it'd left behind a little foam on his upper lip. Fondness spread through Buck and without thinking much about it, he said, "I love you."

He wished then that he was in one of those made-up worlds where love at first sight existed and love made one weak at the knees because time also seemed to stop there when things like this happened, when those words accidentally slipped put.

But Buck wasn't in one of those worlds. He was in the real world, and time kept ticking as Eddie registered exactly what it was Buck had said.

Eddie blinked. "What?"

"I'm sorry," Buck said.

"Fuck." Eddie shook his head. He laughed. "This is where you finally do it? In CJ's?"

Buck frowned. "Finally?" he repeated, then pointed his finger at Eddie. "I asked if we could talk in the jeep. You asked if we could do it after we ordered wings. It's after we ordered wings. What do you mean finally, Eddie?"

Eddie looked down at his drink. "I just wasn't sure when you were going to tell me."

Buck's face suddenly felt hot, and something burned hot inside his gut. Embarrassment, maybe. Shame, like he was the butt of a joke. Was it a joke? Had he been so obvious that Eddie had just known? Was it sad? Pathetic?

"I love you too," Eddie said. "I need you to hear that before you start to spiral about this. I love you."

"Why did you wait for me to say it," Buck asked.

Eddie reached out and gripped his shoulder. "Because when Taylor said it first, you weren't ready, and you felt bad about your response. I wanted you to get to say it first. And I wanted you to hear it back. I love you, Buck."

Buck wrapped his fingers around Eddie's wrist, just holding it there, grounding him for a moment. He let out a breath. "Will you kiss me before my mouth goes numb from all these stupid hot wings you ordered?"

Eddie moved each of their beers off to the side and leaned across the table. Buck's hand dropped as Eddie moved his to rest on the back of Buck's neck and pull him close.

The kiss was quick, but everything Buck wanted it to be. Eddie didn't pull away.

"I love you," Eddie said.

Buck laughed and surged forward to kiss him again.

[habaaa]

I don't know if it's a good time, but I wanna share some things I've found about Franklin, they're so interesting and overall chill like him.

Disclaimer: These are official! You can search more at gta.fandom.com, also in little missions, voice clips, and also in hangouts Franklin can have with different characters.

1. He sleeps 8 hours a day:

According to a little observation, when you save the game by putting the characters to sleep it also advances their time, for each character there is a certain sleep cycle. Michael sleeps 6 hours, which is little, Trevor being Trevor puts him to a 12-hour sleep, which sounds good, but it's too much, finally, Franklin sleeps 8 hours, which is necessary.

2. He (maybe) is musical:

There is not so much detail about this, but if we analyze his room (in both houses) he has a guitar, mixer, radio, speaker, and more (there's A LOT of music-related stuff in his room in his and Aunt Denise's house).

Here:

2. He has three favorite radio stations:

These are Radio Los Santos, West Coast Classics, and The Lab, each one ofc has their genre:

Radio LS:

Genre: Contemporary Hip-Hop.

Styles:

Alternative Hip-Hop

Cloud Rap

Conscious Hip-Hop

Contemporary Hip-Hop

Dirty Rap

Drill

Gangsta Rap

Mumble Rap

R&B

Trap

West Coast Classic:

Genre: Classic Hip-Hop

Styles:

Old School Hip-Hop

West Coast Hip-Hop

East Coast Hip-Hop

Southern Hip-Hop

Alternative Hip-Hop

Comedy Hip-Hop

Conscious Hip-Hop

Political Hip-Hop

Gangsta Rap

R&B

Horrorcore

G-Funk

Golden Age Hip-Hop

Hardcore Hip-Hop

The Lab:

Genre: Hip-Hop

Styles:

Electronica

Rock

Synth-Pop

Dancehall

R&B

Gangsta Rap

Pop Rap

3. He may be a Christian?

In the second mission, Franklin got with Michael, this one says sarcastically a vesicle from the Bible "It's a foolish man who builds his house in sand, baby" to which Franklin answers "I don't think my boy Matthew was thinking trucks when he wrote that shit."

4. He's the only one who uses lockpins:

When you take or steal cars with Trevor or Michael, it will always result in a broken window, but with Franklin, this doesn't happen since he uses lockpins.

5. He may like the sky view (Not official, just a thought):

This is just a speculation of different pictures you see in Franklin's page in gta.fandom.com, some of those are Franklin admiring the sky (especially at night) and the city in his Vinewood mansion, but honestly, who wouldn't?

Edit: He does, in one of his switch scenes you can see him using the telescope of his mansion.

6. (NSFW!) He (Probably) lost his virginity to Tonya at 13 years old:

Yeah, strong right? When you hear these two speaking to each other in little missions with Tonya, she revels that she and Franklin had, yk a moment, in the back of Burger Shot, however, Franklin denies it and says they didn't do anything serious.

7. He cannot play tennis:

You can play tennis with Michael, Trevor's a fan of it, and there's no reason behind of why Franklin can't play tennis (This can be used for like headcanon idk why).

8. Both him and Michael are know to smoke cigarettes:

At Franklin's mansion, you seem to find lots of ashtrays along with Redwood cigarettes scattered on tables.

9. His email address:

His e-mail address is Frankie@eyefind.info (I hc than he likes being called Frankie, idk why).

10. He exists:

Not irl, but the fandom (not all of them) tends to forget him, and it's very sad, he's so cool and precious.

11. He seems to be more compassionate towards animals:

For this one, I'll use the information straight from the gta.fandom.com page, since it's better and more detailed.

"Of the three protagonists, Franklin appears to have the most compassion for animals, possibly because he is the only main character to have a pet. When he runs over a wild animal, he usually responds with compassionate quotes, such as: "Sorry, little dude!" or "Watch out, little dude!" whereas Michael usually responds with sarcasm and Trevor with dark humor."

Anyway, that's all from my part, I'll try to post more content abt him and Lamar, I think they're such interesting characters, wish there was more content abt both of them.

Tysm for reading, bye :)

[alanbates]

Dropping my favourite radio stations from Radio Garden (no one asked, true! anyway):

100% Dragon Hits — Cardiff, Wales (Jazz)

Prog Frog — Toronto, Canada (Classic/Modern Progressive Rock)

Kosmos Jazz — Athens, Greece (Jazz)

Ambi Nature Radio — Zürich, Switzerland (Ambient)

Nonstop Casiopea — Niigata, Japan (All Casiopea + side/solo projects)

Pelo One FM — Berlin, Germany (Hip-Hop)

Houston Blues Radio — Texas, USA (Blues)

New Age Radio — Marousi, Greece (New Age)

Musica Jazz — Milan, Italy (Jazz)

4U Classic Rock — Paris, France (Classic/Soft Rock)

[th3-0bjectivist]

Dear listener, I turned on my car radio for about five hours on a long drive this week and found myself suffering and appalled through the advert-heavy and song-lite nature of it all. Seriously, this is what passes for radio programming these days? The ninety-nine and one-half trillionth T-Swift breakup ballad? Pop-country tunes that manage to all sound the EXACT same as the previous pop-country tune?? Radio rock stations featuring tunes with less balls than a castrati troupe!? Modern hip-hop/rap music that all sounds roughly equivalent to setting up a lawncare sprinkler system in my car only without the water!!? Nine-to-ten agonizing commercials in a row before you get to the commercial-free hour, only to be then reminded between each individual song that it’s the commercial free music hour!!??!?!!?? I flipped from station to station hoping for some form of alleviation, for SOME hope that music is still alive and well on the radio in 2023. Y’know what I found out? The absolute BEST music programming on modern radio is based on tunes created around two to three centuries ago. That’s right folks! The best radio station I came across was a classical one. The classical radio deejay was informative, his voice was soft and pleasant, there were minimal commercials and the musical interludes lasted forty-five minutes at a stretch until the next commercial break. Inspired by this, until the end of 2023, I’ll be posting 3 classical tune sets (Bach, Vivaldi, and Brahms) starting with my personal favorite German musician of all-time, Johann Sebastian Bach.

Generally regarded as one of the greatest composers in the history of Western culture, this man was truly fit for the title ‘Master of Composition’. Starting off as a mega-talented organ player and violinist, Bach had a distinct flair for blending widely varying instruments and regional musical styles, regularly synthesizing multifarious sound techniques to make a noise ain’t nobody on Earth had heard before. Having been employed by local churches early on, Bach began composing his own ‘sacred music’ (see also ‘church music’) and being something of a musical jack-of-all-trades engaged in his own ‘non-secular’ works which did not jive with very simply defined and rigid church traditions. Having a penchant for engineering complex and experimental arrangements, Bach developed a special talent for weaving melodic lines and immensely complex interdependent harmonies together to provide compositional structures that were simply second to NONE in the early 1700’s and even up to this very day. His concertos for orchestras, sonatas, suites, cantatas, keyboard works, choral works and organ works really are the stuff of legend which is why they are hailed up to the current day! I could go on endlessly about his accolades, but instead I’ll just leave you with the following final thought. Some of Bach’s individual works are like observing an incredibly detailed drawing or painting, except with audio. If you concentrate enough on a single piece, you’ll very clearly hear the overlapping elements, the solid lines accompanied by the abstract rudiments floating softly in the background and be moved emotionally by the very physics of the harmonic motions. It’s not just the melodic nature of the man’s tunes, but also the harmony that accompanies them. Smash play and enjoy a variation of Cantata BWV 147: Jesu, Joy of Man’s Desiring and experience for yourself why people like Bach were truly the rock stars of their era. And if you want more, like way more, click just below for The Best of Bach and enjoy!

He also married his own cousin, had 20 children through separate wives, and died after eye surgery in 1750. I like to separate the art from the artist on my blog. Nobody’s perfect, it was different times back then with vastly inferior social and medical standards at play. I don’t judge too harshly. I mean, he was so talented that Duke Wilhelm had him imprisoned after Bach simply tried to leave the Duke’s royal court to find a better gig. He did something that the vast majority of modern musicians just can’t seem to be bothered to do… innovate (to simplify that word for modern musicians, it means creating brand NEW stuff that no one has heard of or tried before, you’re welcome…)! And for that reason, he has more than earned his placed in the annals of human history as one, if not the greatest composer, and my personal favorite classical composer of all time. Image source: https://www.nationalgeographic.co.uk/history-and-civilisation/2019/07/how-bachs-anatomy-may-have-handed-him-greatness

[omegaremix]

Omega Radio’s 50 Years Of Hip-Hop. When the ‘Brentwood Era’ started, I had the dial on WBLS, one of New York City’s hip-hop / rap stations. It not only signified the first-ever genre I’d pay close attention to, but also signified the beginning of personal cassette dubbing.

For a few years, I’d record as much as possible off to the right of the dial, then later on Hot 97 and Kiss FM. I’d capture Kid Capri, Kool DJ Red Alert, Funkmaster Flex, and Ed Lover, Dr. Dre, and T-Money of Yo! MTV Raps. Running concurrently was In Living Color, a rap-centric die-laughing comedy show that introduced us to the Wayans Brothers, Homey The Clown, Fire Marshall Bill, The Homeboy Shopping Network, and more. My formative years listening to hip-hop / rap lasted as long from middle school to graduating senior year. There’s no shortage of mostly positive memories in Brentwood, in thanks to all of my cassette dubs from that era.

I returned to hip-hop / rap when I discovered WUSB a few years later and stumbled upon one of their shows, Ghetto Radio, who showed me a more underground side of things. Street FM, Eminent Audio, and The Basement practically changed my life because they introduced me to sampling culture, forever opening up a new world in getting to know more about myself. As soon as I became a Stony Brook student, I inquired about joining the station. Now, I became a dee-jay and gave back to our listeners the same way WUSB gave to me. It wasn’t until my second run at the station (Winter 2013) when I started Omega Radio and took my show more seriously.

For 11 years, we’ve taken every chance we get to play hip-hop / rap. Our shows started when we did a five-hour bonus broadcast to usher in a new year: classic Seventies’ vinyl classics on New Year’s Eve, then three hours of the rough stuff on New Year’s. Since then, we paid it forward by delivering all-time legends (The Notorious B.I.G., 2Pac), more golden-era cuts (EPMD, A Tribe Called Quest, Monie Love), the Eighties (Kool Moe D, MC Shan, Eric B & Rakim, classic old-school moments (Whodini, Sugar Hill Records, Afrika Bambaata), and even white-label underground releases (Lo-Down Click, Erule, Brother Arthur). Let’s not forget the ladies of the game, either (Queen Latifah, Monie Love, MC Lyte, and Yo-Yo to name a few).

Later on, we introduced deluxe editions of our shows consisting of golden-era legends still doing their thing (KRS-One, Onyx, Dres of Black Sheep), backpack artists (Jedi Mind Tricks, R.A. The Rugged Man, the Griselda camp), beat tapes (Fuzzoscope, All These Fingers), and newer artists (clipping., Danny Brown, Obnox, Dabrye). We also made some legend specific tributes for Public Enemy, N.W.A. (edited for FCC quality-control), and The Wu-Tang Clan, which happened to be Omega’s most popular show to date. As long as it isn’t Kanye West or TekashiSixNine, we’re good.

The good news? There’s no sign of up stopping. We’ll continuously re-visit our golden-era finds until they’re depleted, and may even consider re-introducing our white-label bonus shows. And we’ll still play our new, current, and relevant hip-hop, rap, and backpacker finds on our deluxe shows.

Found below is each and every hip-hop / rap broadcast Omega WUSB has broadcast up until this point. We urge you to check them all out. Want to re-visit an era with the most creative freedom? Any artists you missed out on? Trying to find a one-hit wonder you want to make a legend out of? No worries. We have you covered.

Here’s to fifty more years of hip-hop - and you can all thank DJ Kool Herc for that.

December 31, 2012-January 1, 2013; #5. (Double bonus.)

February 25, 2013; #10.

June 30, 2014; #55.

July 19, 2014-July 20, 2014; #56.

August 17, 2014; #59.

November 22, 2014; #68.

July 13, 2015; #87.

August 24, 2015; #91.

June 27, 2016; #114.

August 15, 2016; #120.

February 11, 2017; #132.

July 29, 2017; #142. (Partial.)

July 28, 2018; #168.

September 3, 2018; #173.

October 15, 2018; #177.

December 10, 2018; #183. (Wu-Tang Clan.)

May 4, 2019; #194.

June 29, 2019; #199.

July 20, 2019; #201. (Public Enemy.)

August 19, 2019; #205. (N.W.A.)

August 24, 2019; #206. (Partial.)

March 16, 2020; #223.

August 3, 2020; #236.

August 15, 2020; #237.

October 26, 2020; #245.

January 30, 2021; #254.

April 21, 2021; #260.

May 19, 2021; #264.

June 16, 2021; #268.

July 3, 2021; #271. (Double deluxe.)

August 11, 2021; #278. (Hip-Hop’s 48th.)

January 3, 2022; #294.

January 12, 2022; #295.

April 25, 2022; #305.

May 21, 2022; #307.

June 20, 2022; #312.

August 22, 2022; #325. (Delayed.)

August 27, 2022; #326.

October 24, 2022; #333.

(Originally published on August 11, 2023.)

[sonicenvy]

so I found about this cool website that @annieversary3 created that displays a recommended album submitted by anyone each day, and i got a little excited about submitting some cool stuff from bandcamp that i like. i also thought i'd share them here, because, well, why not? what else is having a blog for anyways?? lol so, here are the albums that i (sorry) spammed annieversary3's website with that you all now also have to see.

From the top, left to right:

Puberty 2 Mitski (2016) ❀ Fav track: A Burning Hill

Carrie & Lowell Sufjan Stevens (2015) ❀ Fav Track: Should Have Known Better

Top 25 Austin Bands of 2012 [comp] Sonic Vault ❀ Fav Track: 7 Mile Creek Blues

You Had Me At Goodbye Samantha Crain (2017) ❀ Fav Track: Antiseptic Greeting

On Oni Pond Man Man (2013) ❀ Fav Track: Deep Cover

Narrow Stairs Death Cab For Cutie (2008) ❀ Fav Track: Talking Bird

stray ikea graveyard (2014) ❀ Fav Track: Parker

The Birds & The Beats M.anifest (2009) ❀ Fav Track: Ghana, 52

Easy Way The Cactus Blossoms (2019) ❀ Fav Track: Got a Lotta Love

sidenote, to find more cool tunes 🎵, in addition to annieversary3's awesome website, y'all should also check out:

❀ birp.fm (download and listen to a monthly 100+ track playlist of new, old, and emerging indie music)

❀ radio.garden (Find and listen to online streams of FM/AM radio stations from everywhere in the world on a cool 3d globe)

❀ radio paradise (ad free internet radio 24 hrs per day.)

❀ @despite-everything's radio station & spotify (just good stuff 😊)

❀ 90.9 FM WDCB (Jazz, Blues, and Classic Radio Shows)

❀ streamfinder (find internet radio stations)

❀ 8tracks.com (yes, it still exists)

❀ boilthefrog (generate a playist on spotify to get you from one random artist to another)

❀ lofi-fi hip hop beats to study to infinite stream on YT (all instrumental)

❀ NPR Tiny Desk Concerts

❀ Streema (find more internet radio stations)

❀ egoisticalgoat.de (clone of turntbl, pop in anyone's tumblr url to get a playlist of all of the songs they've shared on tumblr)

❀ musicmap (type in one artist to see artists that are related/similar to that artist)

❀ classical wfmt (for all your classical music needs)

[c-40]

A-T-4 147 Cut Ups & Megamixes

No posts for a while because I've not been well (plus I fell down a rabbit hole writing a long read, hopefully that'll be done by the end of the year!)

1984 was a great year for Cut Ups and Megamixes building on the work of pioneer DJs like Shep Pettibone and his radio show on Kiss FM, Chuck Chillout and Red Alert also on Kiss, the Latin Rascals on WKTU, Marley Marl on WBLS's Mr Magic's Rap Attack. Outside New York carving their own path Hot Mix 5 and Steve "Silk" Hurley are killing it on Chicago radio station WBMX. In Florida the crew Jam Pony Express have begun playing live shows

In the UK Sanny-X is DMC's megamixer and Street Sounds Electro series are being mixed by Herbie Laidley, better known as Mastermind Herbie, the man behind The Rapologists

This is post Double Dee & Steinski, Malcom McLaren And The World’s Famous Supreme Team, Art Of Noise, and Herbie Hancock's Rockit. You can clearly hear their influence in the cut ups and mega mixes from this year

Getting mixed is Hip Hop, Electro, Synth Pop, Disco, and Italo

(Orig.) Big Apple Production Vol.II - Genius At Work like many of these bootleg megamixes the people involved stay in the shadows. This one is of course the work of the Latin Rascals doing what they did on their radio show

DJ Chuck Chillout - Hip Hop On Wax Vol. I for Vincent Davis's Vintertainment. Chuck Chillout was in The B Boys who had released the cut up track Cuttin Herbie (literally cutting up Rockit) the year before. They also released two other classics in 1983 imo Rock The House and Two, Three, Break. Chillout would return to Two, Three, Break under the name DJ Born Supreme Allah in 1985 with the more explicit cut up Two, Three, Break (Part II - The Sequel)

DJ Red Alert - Hip Hop On Wax Vol. II Red Alert goes berserk on the follow-up to Chuck Chillout's effort - he even cuts in what sounds like The B Boys. Sorry this is the best Youtube clip I can find. Red Alert is a DJ for the disgraced hip hop architect Afrika Bambaataa's Universal Zulu Nation and in 1983 he joined Kiss FM's Master Mix Party, which was originally Shep Pettibone's spot on Kiss. Tony Humphries was the first to take the ropes from the increasingly busy Pettibone and in 1983 Red Alert would alternate with Humphries

D.ST - Megamix II: Why Is It Fresh? The Grand Mixer who provided the scratching on Herbie Hancock's Rockit. I thought I knew what Megamix II was a sequel of but now I'm not so sure. Anyway D.ST brings together his hits along with half a dozen other Celluloid tracks

Z Rock Records - Scratch Party #2 first of three mixes coming from the West Coast. Z Rock Records released three Scratch Party megamixes in 1984. Who knows who put these together

Ian Darby - Break City 7" edit bonkers record by Bobby Orlando who had been trying his hand at hip hop/electro/Art Of Noise style production. There's a longer 12" version but the 7" is tidier. Not really cut up, certainly not a megamix, but I felt it sat alright on this list because of it's nutball samples

Scratchmatic - Sound Of The Street by DJ Antron who Discogs tells me won the first DJ Battle held in Los Angeles at the famous Radiotron event. It shows a preference for the techno style

New York Scratch Masters - Scratchmasters Jam #1 the Italo the mix begins with is more like what Hot Mix 5 were doing in Chicago but not as good. Jam #1 would be followed by three more in 1984 and the final Jam #5 in 85. Jam # 4 (The Rap) is pretty great

Mix-Trix #3 The Break Mixer the first Mix-Trix 12" was released in 1983 with another three coming in 1984. Apart from it coming out of LA I have no info on these

Marley Marl on Mr Magic's Rap Attack in 1984

[bonesox]

OM! Brothers and What Genre of Music I Think They Listen To

a/n: This idea has been on my head for the past week! Feel free to share what songs/genre/artist they listen to :))

Lucifer:

Classical music

Rock music

Since most of the time when he is listening to music classical music would be for when he really needs to focus. He doesn't listens to songs with singing in them since it distracts him from what he is doing. He sticks to the plain instrumentals.

He listens to rock music when he needs to stay awake or just needs a brain break with a good stretch. Late into the night you can hear a faint rumble coming from his room.

Mammon:

Pop music

Rap music

R&B

He listens to about anything that comes on the radio. Since most of the songs, on some radio stations, is pop he is more drawn towards that. He may even be caught singing these songs.

When he changes the radio station its always to a rap or R&B station. He loves the vibes and lyrics that go into it. He may or may not have tried to right a few rap songs himself.

Leviathan:

K-Pop (All the pops)

Songs from animes

His music taste mainly comes from the media he consumes. Since he always has his headphones on he is always listening to music, which he has on full blast so you can sometimes hear what he's listening to.

What ever anime he is obsessed at the time most of his songs he listens to will be from that. He listens to direct songs from the anime to fan made songs about it.

Satan:

Classical music

Music the theme of the book he's reading.

Just like Lucifer he listens to classical music while he reads or works. Once he put on classical music it is easy for him to get lost in what he is doing. As the music plays in his room he finishes book after book.

To get into the world of the book he is reading he tends to listen to songs that resemble it. It could be anywhere from pop romance songs to folk songs. He has a broad taste in music.

Asmodeus:

Pop/any new hit songs

K-Pop

This mans job is to stay on the trends. He listens to any song thats trending on Devilgram. When a new son starts trending he immediately adds it to his playlist and has it on loop just so he can learn the lyrics.

He doesn't want to admit it but he does listen to K-pop, mainly because Leviathan would freak out. He mainly listens to girls groups and knows all the words to each song! He sometimes hums the tune while he's doing things around the house.

Beelzebub:

Hip hop

Rock

When he first started working out he needed a new work out playlist. Since most of the ones already made had hip hop and rock music in it it became what he listened to. He likes the way it gives him a boost while working out.

He has started listening to more hip hop outside of working out... it helps him not to think of food as much.

Belphegor:

Alternative

Heavy metal

To his surprise one day he woke up to heavy drumming and clanging happening. He wouldn't stop listening and so became his love for alternative music. He loves how when he falls asleep he doesn't know what he could wake up to.

Along with alternative music he enjoys heavy metal the same way. Just the rush of not knowing what you'd wake up to makes him keep going back to that genre.

[morrisharding]

" I don't see why I need a stylist, When I shop so much I can speak Italian" KaneYeWest's Graduation is a classic and timeless album that puts the whole world in a trance. This is definitely at the top of my list for favourite Kanye albums and possibly number 1. It is just such a fun, creative and exciting album for many reasons. Graduation is Kanye's third studio album released on September 11th of 2007. When it was released it gained 957,00 first-week sales and debuted at number one on the US Billboard 200 which resulted in his highest-grossing album at the time. It ended up winning 4 Grammys in 2008 which were Best Rap Album (Graduation), Best Rap Song (Cant Tell Me Nothing), Best Rap Performance by a duo or Group (Good Life) and Best Rap Solo Performance (Stronger).

When I was in grade school Songs like Stronger, Good Life, Champion, Can't Tell Me nothing, Flashing Lights ect were being played everywhere. When I say everywhere, I mean the mall, radio stations, grocery stores, TV shows, movies and so many more public places. The song that appealed the most to me was Stronger as it was just such a powerful song. " Now that-that-that-that that don't kill me can only make me stronger" was the one line I can remember always being sung and it Would make me feel focused and determined whenever I was playing a sport or working out. The drums and synthesizers are what really had me going as they were boomy and very upbeat. Also, the lyrics were all motivational and would put me in a GO mode mindset. My dad used to play this song all the time when he was at the gym so it got stuck in my head and I started loving that song. From then on I would hear Kanye's name from time to time as he was always being talked about. He was one of the biggest artists at the time and family and friends loved listening to his music.

Something about The cover art for this album is what makes me enjoy it even more. It looks like he used every colour in a rainbow to make the cover art as it is just so vibrant and beautiful. There aren't many albums these days where artists put a lot of effort into the cover art as the music industry is just seeming to get lazy as the years go by. The bear that is flying on the cover is supposed to be a representation of Kanye as he is graduating from school and leading towards a new life and a new chapter of music since this was the third and final album of the higher education trilogy. Graduation is definitely at the top of my list of favourite album covers and I have been trying to find a Graduation poster for so long to put up in my room but it seems like they are so rare to find.

Looking back at this album 16 years later I can honestly say I have never seen an album more fun and kid-friendly but so well made lyrically and productively that any audience would have been astonished by how remarkable it was. I am still amazed to this day at how he created such an album only a couple of years into his career. It's an album that I have so much appreciation for as it really changed the music culture. Rap culture before the release of Graduation was very much still old-school rap as rappers like Jay Z, Eminem, Outkast, Nas and more were still releasing music but nothing more than just the regular old-school rap lyrics and beats. Graduation brought a mix of both Hip-Hop and Rap into one album and was blended with exquisite taste. Instead of Kanye's previous soul-based sound he progressed to more anthemic compositions and found a way to conjoint them together without failing to please his audience. As one I can say I was certainly not displeased with this album as it stuck to me as soon as I heard just a few songs off of it.

I could go on and talk about this album for hours on how good it is so I hope to those who read this blog that you go to spotify right now and put on some Kanye West and I promise you that you will be amazed by this man's creativity.

[whoredmode]

tbh I wonder what kinda music certain saints listen to. like what genres is dex listening to while driving around town, what are their favorite radio stations?

personally i hc dex listens to a lot of hip hop and R&B, partially inspired by his voice actor being primarily a rapper and composer. it’s also why i hc dex has a great singing voice. so many nites anteros and dex would just drive around singing along to the radio, pretending they’re the only ppl left in stilwater.

for other saints, off the top of my head, aside from johnny listening to aisha’s music ofc (i even hc when she was first starting out she filmed her own music video and he was in it hehe), i think he listens to a lot of trap. troy listens to a lot of classic rock. pierce always struck me as listening to a bit of everything but some of his faves being luxury rap, R&B, and classical. jazz too. shaundi i could see liking funk, house. hmmm

[thisaintascenereviews]

Poptropicaslutz! - Face For The Radio

Virality is an interesting tool in terms of a band’s popularity, because I’ve found a few bands and songs through social media, especially Tik Tok. Poptropicaslutz, a band with a very weird name that makes no sense, went a bit viral a few months ago with a song from their debut album, Face For The Radio. I kept seeing it on my for you page, and I was really curious about it, because a lot of the comments were about how they sound like Panic! At The Disco, and the mid-00s neon pop-punk sound that bands like Cobra Starship and Metro Station. I was really curious about this band, and this new record, especially where they’re signed to Epitaph, so there’s gotta be something here, right?

Well, Face For The Radio is here, and it’s been out a few weeks, but this is a record that I really enjoy. I’d go as far to say that this is one of the most unique albums of the year, namely for how it sounds. This has elements of hyper-pop, electronica, and pop-punk, as well as a dash of hip-hop, but not much. You can hear a lot of modern influence, but there is a lot of nostalgia here, especially with the 00s pop-punk and Warped Tour scene. This sounds like something that would have come from that, and if it came out in the late 00s or early 2010s, this would be considered a classic, I’m sure. This record is only a half hour, but it’s a memorable half hour.

There are two vocalists in this band, and they both have great chemistry, all the whole sounding different from each other. A lot of this record reminds me what would happen if Cobra Starship or Forever The Sickest Kids made a hyper-pop album in 2023, having this neon sound with the emo lyricism but this glitchy, poppy, and experimental sound. There’s a bit of a Panic influence, because a lot of their lyrics are very wordy, theatrical, and more elevated in terms of vocabulary, which I really like.

The only real issue I have is its length, as a lot of the songs feel incomplete, or at least very bare bones, but the hooks are really good, the lyrics are really good, and the overall sound is cool. I will say that a couple of songs aren’t that great, such as “Sierra Echo X-Ray.” I don’t care for that song much, mainly its lyrics, but its hook is fine. The album is short, only a half hour, so it’s not like it takes much time going forward, but it does feel like it ends without any real conclusion, or that it goes by without realizing that it is the end, because of how short the songs are. This is a huge step above their debut EP, which I’ve listened to a few times and didn’t like much, as that felt much more disjointed and amateurish, so this is a huge step above that, but hopefully they get a bit better with song structure. I guess it’s good when the biggest problem you have with an album is that it’s too short.

[excelsior9173]

thanks for the tag @foxgloveinspace !!

okay. on repeat playlist, shuffle, first 10 songs

this is going to be the same three artists over and over basically lmao

yeah to no one’s surprise we’re starting with sleep token. i adore this album, i’ve listened to it almost every day since it released

this song is so fuckin good and one of the best to scream along to in the car at midnight. it’s also an emo classic and as an emo it is like an anthem it must be listened to

hahaha i fully expected this one to be here, i listen to it a minimum of three times in a row every time it comes on. i have to get my tat soon or i’m going to lose my mind

omg i’ve been obsessed with this song since last june. i had never really listened to ghost until this song came on my local radio station. i was obsessed from my very first listen

this song makes me wanna shake ass every time it comes on and it’s one of my favourite car karaoke song

pretty sure this entire album is in my on repeat. i cannot get enough of it, and this song is such a vibe

i am going to preface this with saying i did not find this song through tiktok!!! bad omens randomly started showing up on my twitter feed, idk why, so i figured ‘why not?’ and this was the first song i checked out. beautiful vocals, noah’s voice is haunting and so lovely to listen to

lo and behold they’re back lmao. idek what to add here. album rips, i listen to it all the time

i kind of cheated, i didn’t want this whole thing to be sleep token so i did skip one lol. but i looooove this song, it’s so fun. i wish my local clubs would play it when i go out dancing

this band is so fucking amazing. as my sibling would say, they’re the most “in the pocket” band out there. the mix of metal, funk, indie, and hip hop is amazing and the vocals are always so good

not tagging anyone, but again very grateful to have been tagged! this was fun! i love getting to dive into my music taste and see where it’s at.

[gerogerigaogaigar]

Janet Jackson - The Velvet Rope

Fuck this 500 album thing imma have to deep dive on Janet Jackson for a bit cause I've now heard three albums by her and they are all fucking amazing. This album is the logical progression from Rhythm Nation in the best possible way. It's still dedicated to the R&B and hip hop fusion but Jackson's conception of both genres has been fully updated for the 90s. Miss Jackson is still politically conscious, but instead of a militant anger there's a focus on queer liberation and generally just a softer edge to the whole album. Well softer when she isn't talking about domestic violence, losing friends to AIDS, or BDSM play. You could be forgiven for thinking she was coming out as bi in this one considering the way she sings about both men and women, but apparently she just had a lot of gay friends and wanted to rep them on this album. And that's why Janet Jackson is a queer icon!

Billie Holiday - Lady In Satin

Raspy and fragile, while also tonally rich and vibrant. The voice of Billie Holiday in her later career is so emotionally powerful. She's wrapped in the lush arrangements of a symphony orchestra and it's fitting, but I don't think I prefer it to her usual backing bands. Still, I'm A Fool To Want You and Glad To Be Unhappy are two of my favorites. It kinda doesn't matter right? Like she could be singing the phone book and it would sound amazing and sincere.

The Who - The Who Sell Out

This is such a genuinely funny concept. As a tribute to the pirate radio stations that were the driving force behind the UKs mod scene The Who decided to write a concept album that was supposed to represent a pirate radio broadcast, commercials and all. There's a track that's just a jingle for Heinz baked beans, there's an entire song that just ends up having been a deodorant ad the whole time, there's a reminder from radio London to 'go to the church of your choice'. And between all the goofs The Who are genuinely striding the line between being mods, hard rockers, and psychedelic musicians as if they weren't also engaging in the stupidest joke of their career.

Rosalía - El Mal Querer

Oh man I'm once again stuck admitting that Latin pop music is one of my weakest subjects. Like I can tell that this is experimental flamenco, but what that means in any larger context is lost in me. I like the way it sounds. Rosalía has a voice that would be as at home on an avant garde experimental recording as any modern pop album and the music follows that lead. Somewhere between classical flamenco, pop star, and expressionist yet the album still manages to be accessible to someone who has no idea what she is supposed to be listening for.

[omegaplus]

# 4,459

Omega Radio's 50 Years Of Hip-Hop. When the 'Brentwood Era' started, I had the dial on WBLS, one of New York City's hip-hop / rap stations. It not only signified the first-ever genre I'd pay close attention to, but also signified the beginning of personal cassette dubbing.

For a few years, I'd record as much as possible off to the right of the dial, then later on Hot 97 and Kiss FM. I'd capture Kid Capri, Kool DJ Red Alert, Funkmaster Flex, and Ed Lover, Dr. Dre, and T-Money of Yo! MTV Raps. Running concurrently was In Living Color, a rap-centric die-laughing comedy show that introduced us to the Wayans Brothers, Homey The Clown, Fire Marshall Bill, The Homeboy Shopping Network, and more. My formative years listening to hip-hop / rap lasted as long from middle school to graduating senior year. There's no shortage of mostly positive memories in Brentwood, in thanks to all of my cassette dubs from that era.

I returned to hip-hop / rap when I discovered WUSB a few years later and stumbled upon one of their shows, Ghetto Radio, who showed me a more underground side of things. Street FM, Eminent Audio, and The Basement practically changed my life because they introduced me to sampling culture, forever opening up a new world in getting to know more about myself. As soon as I became a Stony Brook student, I inquired about joining the station. Now, I became a dee-jay and gave back to our listeners the same way WUSB gave to me. It wasn't until my second run at the station (Winter 2013) when I started Omega Radio and took my show more seriously.

For 11 years, we've taken every chance we get to play hip-hop / rap. Our shows started when we did a five-hour bonus broadcast to usher in a new year: classic Seventies' vinyl classics on New Year’s Eve, then three hours of the rough stuff on New Year’s. Since then, we paid it forward by delivering all-time legends (The Notorious B.I.G., 2Pac), more golden-era cuts (EPMD, A Tribe Called Quest, Monie Love), the Eighties (Kool Moe D, MC Shan, Eric B & Rakim, classic old-school moments (Whodini, Sugar Hill Records, Afrika Bambaata), and even white-label underground releases (Lo-Down Click, Erule, Brother Arthur). Let's not forget the ladies of the game, either (Queen Latifah, Monie Love, MC Lyte, and Yo-Yo to name a few).

Later on, we introduced deluxe editions of our shows consisting of golden-era legends still doing their thing (KRS-One, Onyx, Dres of Black Sheep), backpack artists (Jedi Mind Tricks, R.A. The Rugged Man, the Griselda camp), beat tapes (Fuzzoscope, All These Fingers), and newer artists (clipping., Danny Brown, Obnox, Dabrye). We also made some legend specific tributes for Public Enemy, N.W.A. (edited for FCC quality-control), and The Wu-Tang Clan, which happened to be Omega’s most popular show to date. As long as it isn't Kanye West or TekashiSixNine, we're good.

The good news? There’s no sign of up stopping. We'll continuously re-visit our golden-era finds until they’re depleted, and may even consider re-introducing our white-label bonus shows. And we’ll still play our new, current, and relevant hip-hop, rap, and backpacker finds on our deluxe shows.

Found below is each and every hip-hop / rap broadcast Omega WUSB has broadcast up until this point. We urge you to check them all out. Want to re-visit an era with the most creative freedom? Any artists you missed out on? Trying to find a one-hit wonder you want to make a legend out of? No worries. We have you covered.

Here's to fifty more years of hip-hop - and you can all thank DJ Kool Herc for that.

December 31, 2012-January 1, 2013; #5. (Double bonus.)

February 25, 2013; #10.

June 30, 2014; #55.

July 19, 2014-July 20, 2014; #56.

August 17, 2014; #59.

November 22, 2014; #68.

July 13, 2015; #87.

August 24, 2015; #91.

June 27, 2016; #114.

August 15, 2016; #120.

February 11, 2017; #132.

July 29, 2017; #142. (Partial.)

July 28, 2018; #168.

September 3, 2018; #173.

October 15, 2018; #177.

December 10, 2018; #183. (Wu-Tang Clan)

May 4, 2019; #194.

June 29, 2019; #199.

July 20, 2019; #201. (Public Enemy)

August 19, 2019; #205. (N.W.A.)

August 24, 2019; #206. (Partial.)

March 16, 2020; #223.

August 3, 2020; #236.

August 15, 2020; #237.

October 26, 2020; #245.

January 30, 2021; #254.

April 21, 2021; #260.

May 19, 2021; #264.

June 16, 2021; #268.

July 3, 2021; #271. (Double deluxe.)

August 11, 2021; #278. (Hip-Hop’s 48th)

January 3, 2022; #294.

January 12, 2022; #295.

April 25, 2022; #305.

May 21, 2022; #307.

June 20, 2022; #312.

August 22, 2022; #325. (Delayed.)

August 27, 2022; #326.

October 24, 2022; #333.

[omegaremix]

Sunday Records, 2022.

It’s early June and I’m in the middle of eleven days off from work. I cannot tell you how stunning these last few weeks have been for me. For the first time in a long time I’ve been feeling great about many things. I have been at the top of my game. Relaxed, tranquil, and level like never before. I went to Sacred Bones’ 15th Anniversary and experienced a feeling like no other. I’ve met a few friends from the alternative-music circle whom I haven’t seen in years. I’ve been tasked to do an amazing amount of summer radio shows at WUSB. The Roman goth girl who’ve I’ve been in contact with since February taught me to face my fears, to not be afraid of bad news, and see the greatest, truest value in people. It’s not even halfway to June and I feel something great is yet to happen.

I’ve been spending money on music without worry. It’s a winner-take-all tour of Long Island’s record stores and at this point I’ve hit up three so far with astonishing results. Sunday Records would be my fourth on the list to visit and it had to be. It’s my only Sunday off in the foreseeable future and, still true to its name, only opens on that one day. I didn’t have a choice, did I? It took me only 30 minutes to get there and closing time was 5PM. It’s 2PM as I walked through those doors so I had three hours to Autobahn it through the entire store. No shelf or rack was left unsifted by me.

The layout of Sunday Records hasn’t changed one bit. Nothing’s re-arranged. Upper wall racks of 7” singles and 45’s hovered above the 12” vinyl bins. There was a maze of LP’s front to back, side to side, and in the middle. What also hasn’t changed was the owner’s system of classifying records unique to the store. If not a genre, it’s chart position, week, and radio station. Brian (the owner) was obsessive to detail and nostalgic like that. Then again, so am I.

There’s a section on the front left side of the entrance. It’s where the electronic, dusty classics, and un-priced arrivals sections were. Less than .01% of its stock was electronic and I sure wasn’t going to waste time sifting through Fifties and Sixties jazz greats. I just knew. I turn to my right and there were plenty of funk, groove, and R&B LP’s and 12” singled there. I looked under the bins and there were boxes of records not priced out. That’s where I found various hip-hop and rap singles, uncharacteristic for a store that specialized in vintage jazz, Seventies radio rock, and everything Eighties. It was all fair game and I took what I could. Unstickered singles by Black Moon, Big Daddy Kane, Kurtis Blow, Jeru The Damaja, Fu-Schnickens, Double XX Posse, and an early pre-fame DMX e.p. (“Born Loser”). I knew Brian wasn’t the type who was into West Coast jams or boombox anthems and made me think why he took them in the first place. No matter. It was a lucky out for someone like me to easily stock up on hip-hop and rap vinyl.

Now the 45’s. Sunday Records was always good with pricing them on the cheap. What I purchased in 7” singles from West Babylon’s Looney Tunes, I tripled that here. These 7” singles of Eighties hits from my Atari / Nintendo childhood meant not having to purchase full albums for one or two songs. Why not acquire them? Plenty of synth-pop, new wave, and pop rock. One 7” I might have passed up the last time around was Re-Flex’ “The Politics Of Dancing”. The single that gave me these Sunday vibes was finally in my hands. This visit’s surprises? Gary Numan’s “I Die: You Die” b/w “Down In The Park” and Killing Joke’s “Adorations” for $4.00. Then I came across The Normal’s “T.V. OD” b/w “Warm Leatherette” The good news was that I discovered it. The bad news? It was a $14.00 hit…and without an original artwork sleeve. The price you pay to take home synthpop history.

When that was over, I took a deep breathe and dove into all the vinyl inventory. The great thing about Brian was that almost nothing was out of place. He’s incredibly meticulous in that everything was in alphabetical order and with almost nothing in the wrong bin. Also with Looney Tunes, a good amount of records were alphabetized or sorted by artist, allowing me to fly right over large chunks of sections and straight to the others. What wasn’t hip-hop / rap and categorized by chart position, week, and radio station ended up on the lesser expensive side. Like the 45’s, I sped through furiously through the LP bins and acquired a lot of hits from my childhood. A recent discovery now in my hands? Captain Sensible’s “Wot” for $5.00.

And what I made up in value, I would lose later with some essential finds. That’s even avoiding the new vinyl section. Towards the end of searching was where it started to hurt. The least of my worries? The Cars’ Panorama for $8.00. The Shirts’ debut and Anti-Nowhere League’s The Perfect Crime for $9.00 each. But that’s not all. I found essentials in The Young Gods and Pere Ubu where it stopped at the $10.00.

Now the heavy stuff. No one remembers or know who The Innocent was. The Roman goth girl I mentioned earlier? She’s insanely obsessed with Tent Reznor. While doing a Nine Inch Nails run, I learned he was part of said band right after leaving Option 30. The Innocent’s only album was found in one of the bins and I grabbed it for $14.00. Had I not known about them, I would’ve zipped past it without even knowing. One album I passed up during my last record-store tour was Cabaret Voltaire’s The Crackdown. I found it twice in unopened condition for $20.00 at several stores and gave it up at least twice, thinking I could l buy it for less. Well, four years later I was right on that one. I finally found it again and for $14.00 opened I wasn’t going to pass it up a second time. While there, Sunday Records still maintained a good selection of other industrial and related releases. They had more Cabaret Voltaire records including The Pressure Company (!) and even the new ones (Shadow Of Fear and Dekadrone) which I was impressed that Brian carried. Front 242 e.p.’s were also in the bins and several Ministry records starting with Work For Love (the overseas pressing of With Sympathy), some Twitch-era singles, and all the way up to Psalm 69.

Here comes another unexpected hit in the kneecaps: Kraftwerk’s The Man-Machine for $20.00. Any time I buy Kraftwerk on vinyl I pay that price; nothing less. That’s how much I paid for a used copy of Radio-Aktivitat at a record fair held in Amityville’s veteran hall. Again, take no chances. Finally, a record that I hoped to find in the wild because it was so good: The Raveonettes’ Pe’ahi; $20.00 asking price. Decisions had to be made but not necessarily now. I held on to it for the time being, having to decide to take it now or pass it up and find it again somewhere else for less. Looks like I will take my chances.

It’s not an understatement when I say this, but 99.99% of Sunday’s stock was all vinyl. The other .01% were used cassettes and CDs placed right near its listening station at the front-right of the entrance. I passed it all up as nothing there interested me. So far, Sunday- is the only store where it was all vinyl.

Ten minutes to closing. It’s about time to make some decisions. Brian greeted me and started counting everything up. Of the 75 I had in my arms, I gave five back to him including the Raveonettes album. He was amazed. He tried selling it back to me because he also knew it was a great album. Oh, I agreed. But as I told each and every one of you, I held off just in case. His laptop lost its’ juice so there was no easy way for him to add it all up and keep track of what he sold me. He ended up taking photos of everything I bought and took him about a good fifteen minutes to calculate it all. Then I gave in. I’d take the Raveonettes’ album after all. Take no chances, right?

“You should come here more often!” he told me in an exasperated manner. “Really?” I laughed. It’s not every year that I do this, Brian. I’d try real hard to keep up if I did. Now I knew why he said that.

“That’ll come to $348.00”. Yikes. That was at least triple of what I spent at my last visit here. I was sweating like Rodney Dangerfield on his worst night. (Plot twist: he never had one.) Despite Brian giving me all the hip-hop records for $20.00, the other records made up for it. No coupons, either. But, I had all the confidence in the suburbs to spend with no worry. The stack was so hefty that Brian got me a box from the back to hold all the 12” records in and bagged all of my 45’s so that they wouldn’t slip out of position. I was relieved in the end to nail that Sunday like I wanted to. But the day wasn’t over yet.

After I thanked Brian for everything, I loaded my purchase in the trunk. I had plans on seeing Candy, a Jewish ginger whom I haven’t seen since we left Brentwood. She has a family-owned restaurant out in Calverton and I promised I’d visit the next time I was nearby. I went west on Route 25 and started the peaceful, sunny journey to her eatery. It’s not every day I’m out in Riverhead or Calverton. I took all the time in the world driving through the scenic route of vast farmland and sparse local businesses along the long, quiet roads; ready to catch up with her and walk down a beautiful but bittersweet and tattered memory lane.

Prince: “1999” b/w “How Come U Don’t Call” 7”

Re-Flex: “The Politics Of Dancing” b/w “Flex It” 7”

Normal, The: “TV Overdose” b/w “Warm Leatherette” 7”

Gary Numan: “I Die: You Die” b/w “Down In The Park” 7”

Pet Shop Boys: “It’s A Sin” b/w “You Know Where You Went Wrong” 7”

Robert Palmer: “Simply Irresistible” b/w “Nova” 7”

Pet Shop Boys: “What Have I Done To Deserve This” b/w “A New Life” 7”

Bananarama: “Cruel Summer” 7”

Belinda Carlisle: “Heaven Is A Place On Earth” 7”

Dead Or Alive: “Brand New Lover” 7”

Joan Jett: “Little Liar” 7”

Killing Joke: “Adorations” b/w “Exile” 7”

Mike & The Mechanics: “Silent Running (On Dangerous Ground) b/w “Par Avion” 7”

Tone Loc: “Funky Cold Medina” 7”

Suzanne Vega: “Luka” 7”

Human League: “Don’t You Want Me” b/w “Seconds” 7”

Escape Club: “Wild Wild West b/w “We Can Run” 7”

Erasure: “Chains Of Love” b/w “Don’t Suppose” 7”

Don Henley: “All She Wants To Do Is Dance” b/w “Building The Perfect Beast” 7”

Starship: “We Built This City” b/w “Private Room” (ins.) 7”

Todd Rundgren: “Hello It’s Me” b/w “Cold Morning Light” 7”

Huey Lewis: “Stuck With You” b/w “Don’t Ever Tell Me That You Love Me” 7”

Stevie Winwood: “The Finer Things” 7”

Wings: “With A Little Luck” b/w “Backwards” 7”

Robert Palmer: “Addicted To Love” b/w “Let’s Fall In Love Tonight” 7”

Bananarama: “Venus” b/w “White Train” 7”

Joan Jett: “I Hate Myself For Loving You” 7”

Mike & The Mechanics: “Through The Living Years” b/w “Too Many Friends” 7”

Stevie Winwood: “Higher Love” 7”

Don Henley: “Dirty Laundry” b/w “Lilah” 7”

J.J. Fad: “Supersonic” 12”

Black Moon: “I Got Cha Opin” b/w “Reality” 12”

Big Daddy Kane: Raw ‘91 12”

Kurtis Blow: “If I Ruled The World” 12”

Jeru The Damaja: “Come Clean” b/w “D. Original Dirty Rotten Scoundrel” 12”

Fu-Schnickens: “Ring The Alarm” 12”

Young MC: “Bust A Move” 12”

Chaka Khan: “Crush Groove (Can’t Stop The Street)” 12”

Big Daddy Kane: “I Get The Job Done” 12”

Double XX Posse, The: “not Gonna Be Able To Do It” b/w “The Pure Thing” 12”

Domino: “Sweet Potato Pie” 12”

Masta Ace Incorporated: “Jeep Ass Niguh” b/w “Saturday Night Live” 12”

Fonda Rae: “Over Like A Fat Rat” 12”

River Ocean ft. India: The Tribal EP

Grandmaster & Melle Mel: “White Lines” b/w “Melle Mel’s Groove” 12”

DMX: “Born Loser” 12”

Grandmaster Flash & The Furious Five: “On The Strength” 12”

Anti Nowhere League, The: The Perfect Crime 12”

Mr. Mister: “Is It Love b/w “Broken Wings” 12”

Thompson Twins: “Lies” 12”

Roxette: “The Look” 12”

T’Pau: “Heart And Soul” 12”

Dire Straits: Extended Dance EP 12”

Flora Purim: “Stories To Tell” 12”

Raveonettes, The: Pe’Ahi 12”

Orchestral Manoeuvres In The Dark: “If You Leave” b/w “La Femme Accident” 12”

Nu Shooz: “Point Of No Return” 12”

Falco: “Vienna Calling” b/w “Rock Me Amadeus” 12”

Shirts, The: self-titled 12”

Belinda Carlisle: “I Get Weak” 12”

Captain Sensible: “Wot!” 12”

Young Gods, The: self-titled 12”

Men Without Hats: “The Safety Dance” 12”

Level 42: “Something About You” 12”

Killing Joke: “Sanity” b/w “Eighties” 12”

Pere Ubu: The Art Of Walking 12”

Kraftwerk: The Man-Machine 12”

Innocent, The: Livin’ In The Street 12”

XBXRX: Gop Ist Minee 12”

Cabaret Voltaire: The Crackdown 12”

Cars, The: Panorama 12”