I’m not a particularly energetic digger. I’ve been playing acoustic instruments and analog electric instruments from when the instruments were bigger than I was (parents: don’t let your 2nd grader talk you into dragging a cello around school) and at a certain point I stop scraping my sampling resources and pick up the bass or guitar and just play the damn part as I hear it in my head. Such was the process three years ago when I put together Magnatune Remixed: Riding the Faders (1) mainly because, while deep, the Magnatune catalog was a fraction of what it is today.
Flash forward to last summer: while starting to work on RTF 2 I got so overwhelmed with digging and cutting samples and a cappellas I had to accept that I wasn’t going to get to the whole catalog. It was hard. The samples were so cool I just knew an even better one was sitting around the corner… a few clicks away… but I finally jumped in and started mixing, and the first cut I made was a statement about one the self-imposed imperatives of the album called “There is No Brad Sucks.”
The other embarrassment of riches were the list of potential collaborators. I don’t want to over hype this, let me just say it was exactly as cool as you can imagine to work with Pat Chilla, lo tag blanco and Clarance Boddyker. We had a couple of logistical bumps (NEVER about the music) but I want to publicly thank these guys for hanging in there with me while I go through my various flip outs.
So under the cover of darkness, late last night Magnatune Remixed: Ridin the Faders 2 went online for download, streaming, purchase or license. About %5 of the proceeds for RTF2 album will go to me, the rest goes to Magnatune, the artists I sampled and my collaborators. This is how I want it and why I’m involved in the Magnatune Remixed project: to help support the business folks and artists who have acknowledged the new fundamental truth of the music industry that “giving away your music is good for your career.” That’s my agenda and I’m sticking to it.