Tracks
Mine out on Vinyl today
Our single Mine on Under the Shade is now available on vinyl! It’s an especially dynamic release ,featuring guaranteed floor mover remixes from the Eddie Mars, SAS, & The Revenge.
http://www.juno.co.uk/products/438910-01.htm
*****
There’s been so much work put into this it’s only appropriate to give credit where it’s due.
The original recording sessions took place well over a year ago in the studio of Bushwick Wizard, Eddie Mars, slightly after meeting the Vietcong Disco crew and exchanging emails over excitement for Mr. Mars live sound quality control (the guy manages to blend records, eq the main mixer and make weird sounds on a monophonic pocket synth all at once). I’m not quite sure any of us knew what exactly we were getting into, but a steady dose of low-slung love funk found its way onto the tubes of one of the many mysteriously donated pieces of equipment in Mars’ studio. At the time, we were in the process of jumping ship from our abandoned house studio (all of our gear had experienced just the right amount of water damage), so even all of our shit was there. We ended up doing a live show of the material we were toying around with at Mars’ studio, opening up for Rub&Tug at a suspicious Biker Bar. I think one person yelled “we came here to see DJs!” during our set, but considering I was yelling nonsensical harmonies for Joey through a vocoder at the time, i couldn’t really be bothered besides.
Joey Washington eventually joined the party in the studio, laying down what in the early stages already felt like some classic vocal hooks. Months later, endless session swaps between myself and Mr. Mars, parts sounding like they had run the prep school bus gauntlet back and forth through all sorts of filters, and the original mix of Mine started to take form.
More months later, after a bit of hoo-ha and unmentionable confusion, we finally confirmed a release of the track with Under the Shade. Mars started to conjure up his own production (s)** of the original session takes at that time. ** There were probably closer to 25 of these productions, all of them equally impressive. Mars eventually settled on a mix and the SAS & Revenge remixes followed per fine curation of David Griffith.
In conclusion of the long experience of working on this, it’s not only a sentimental single for us, but objectively a collection of tracks that serve any funky vinyl junky well. While the original can certainly serve the “DJ”, it’s intention is to be a humble and genuine reflection of the energy we recorded way back in those wintery Bushwick nights. It is what it is, and it should never be anything else. Dude, it’s a song, don’t give me any blah-dee-blah about adding 32 bars of drums between every section. Besides, we like making songs, and like listening to them on vinyl in our living room while we eat slow-cooked pulled pork. Again, thank you to David Griffith for supporting the notion of letting the original do it’s thing, and letting it live on vinyl to do it.
As for the remixes, the Mars interpretation is, as he’s put it to me, how he’d produced Pink Stallone. It’s a spot on attempt at doing this, it embodies our youthful grunge funk swag in a diamond crusted Eddie Mars box (and no DJ can pass it up). The arrangement seems to grow and spiral endlessly in a way that all of our tracks ever have attempted to. In any case, he did produce Pink Stallone, its the A1 on this single, you can hear it first thing. You’ll love it.
SAS manages to ride a similar line. They make it dancey as hell but not the point where I’m embarrassed to play it for my punky friends. It lets the percussion fly true and fires off a serious stabby dirty bass line, thank you gents for that. The fact that I can hear myself playing out of tune bongos with sticks in Eddie Mars’ room on such a slamming mix is exciting. It’s got the “b*tch I’m telling you how it is” romantic approach. I can’t fight that.
Finishing up, the Revenge comes through with what I’d describe as a sort of Master at Works-like dub of the track. I’m not going to try to over analyze what Masters at Work did, and in the same vein, I’m not going to try to over analyze what The Revenge does. The guys body of work is out of control and to think he spent thought on a Pink Stallone track is awesome. Seriously, did I ever think the Revenge would ever touch one of my tracks, absolutely not. But here he did, and you can tell this is a guy who doesn’t need to impress anyone, that’s a a great place to be for making seasoned tracks. It stay’s course, its pretty, and any girl that’s heard me playing it around has started shaking, so there you go. It’s mature like those late-aged guys who can body surf waves for 200 yards without choking or getting scared by the jellyfish running up their swimsuit. Smooth.
Dance folks can be a little hypocritical when they jump on tracks for not “standing out” or “not punching hard enough” but also for being “too much like 90’s house” or something. They’ll be the first to hate on Loveshack when it comes on at their cousins wedding party too, even if every person in the room is dancing like crazy. Dance music is , in fairness, somewhat of a functional genre. But much like in architecture, or even in airplanes, function will constantly be challenged and consequently reconsidered by pointless acts of expression, often later called art.
Ciao.
ps: center sticker is killer, thank you Anna for that.
Mine 12” on Under the Shade coming soon
“The catalog of Pink Stallone & Joey Washington singles continues with the arguable gem of their collaborative sessions, Mine. The second Daniele B & Eddie Mars co-production, Mine exhibits the steady progression of the Stallone sludge-funk thump, again fueled by gushing maturity and composure from Washington vocals. Eddie Mars even delivers his own stunningly-authentic production of the Stallone/Washington sound, marking the first official Mars rendition of Pink Stallone since his inception as a producer and member of the live group.
With this comes two workouts by master of the deep The Revenge who provides a stripped back timeless dub. One of those tracks that will still sound great in twenty years time. Simple and effective with a hint of grandeur.
Finally wrapping things up are S.A.S (Subb-an & Adam Shelton). Following the bumping Foot & Mouth release earlier this summer we had to ask the boys to give there twist and they sure delivered. Acid base and full throttle beats transform ‘Mine‘ into a jacking dancefloor destroyer, be warned!”
Dancing in Time on Juno Records
http://www.juno.co.uk/products/dancing-in-time/430589-01/
Juno Review:
“Across a multiplicity of releases and remixes on labels such as ThisIsNotAnExit, RVNG INTL and Lo there’s always been a unique quality to the music of Pink Stallone that’s been hard to pin down and slap an easily digestible label on. A deft combination of classic song writing and eminently danceable rhythms that stay close to the 4/4 axis yet contain a distinctly liquid feel is the best way to describe the New Jersey musicians’ latest production in tow with singer Joey Washington - the elastic, twilight delight that is “Dancing In Time”. Another gold star in the Under The Shade release schedule, the slow burn of the original is complemented by a stack of fine remixes. Mugwump call shotgun with a decidedly low slung revision that places the emphasis squarely on how deep the bassline can grab your guts - a pleasantly reserved effort from the Belgian duo. Wolf + Lamb duo No Regular Play opt for the more percussive approach, with stuttering patterns augmented by some dizzifying subaqueous chord patterns in the early moments, though the vocals signal a shift into something wholly more satisfying.”
Resident Advisor review of Dancing in Time
Resident Advisor’s William Rauscher offers some well-put ciritcal insight into our latest 12” Dancing in Time ft/ Joey Washington on the Under the Shade label.
Dancing in Time Video
Next Pink Stallone 12” single due on Under the Shade next month. Remixes from Mugwump, No Regular Play, and Joey Washington’s original Strictly producer Paul Scott aka BOP! This one’s serious!
Picadilly Records Description of The Six
We should hang out in Manchester more often.
“Ace double header from this New Jersey outfit. After making tracks for a few years, the trio hit pay dirt when they hooked up with sometime Stritcly Rhythm vocalist Joey Washington, who adds just that bit of je ne sais quoi, turning good music into essential. Riding the kind of slo-mo groove that the current wave of beatdown house producers would give their right arm for, “The Six” is a growling, grinding, sleazoid groove that puts a swagger in your hips and a snarl on your lips. This 12″ was originally released in 2009, which goes to show how ahead of the game Pink Stallone are. Flip it for the more upbeat disco-house of “Seaside Conga”, another monster groove that takes a trip round the New Jersey ‘hood, while dropping acid riffs and rough guitar licks. ESSENTIAL. ” - Picadilly Records
Limited Edition Artwork for The Six
Our first limited 12” The Six has received a slick new art treatment from illustrator (and official resident Generatto art director) Anna Francescutti. There are only 66 of these out there, popping up now on online stores like Picadilly Records, Juno, and Downtown304.
If you haven’t grabbed The Six yet, this would be a good time to do it!
Free HQ Downloads and A Record You Should Grab
We’ve been grinding away for the past few months, and its official: The first Pink Stallone self-release 12” is hot off the press and ready for your hearts. We’ve put a lot of blood and sweat into this record, each jacket is hand inked & screenprinted by yours truly (on both sides) , and the music, well, its what it is: Pink Stallone rockin’ some dark funk with very special guest, and future staple of our sound, Joey Washington. We’ll stress now that this is the first, it ain’t the last, and every one of these 12′’s we do is going to sound as unique and different as the one that came before it. 500 copies, 140g records pressed at Brooklyn Phono, screenprinted jackets, 45rpm 7ish minute single sides for that hi fi groove. All self-written, produced, and recorded, mixed by our good friend Jake Aron. No samps, just amps.
As we gear up to get this record in stores and readily available online from us in early 2010, anyone interested in grabbing one of these now, just email us at pinkstallone [at] gmail [dot] com . We’ll also send you free hq digital files of the two tracks + radio edits when you purchase.
In the meantime, enjoy two free HQ downloads from us now, Hydroplanes featuring Joey, and a new/old little ditty from Moroder Summer & co.
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