just asleep

Jadakiss; Green Lantern - A Trip to the South (Green Lantern Mix)

Jadakiss - A Trip to the South (Green Lantern Mix)

Billy Woods - Tinseltown REMIX

forgot where this version even came from, but it’s dope.
also I didn’t realize the original was the “single” for this album

Teledubgnosis’ 80 Creeps

Tragically late with this.

Boyd Rice and Friends - People

Boyd Rice and Friends - People
I can’t say I care much for mixed drinks.

Billy Woods - Tinseltown

Billy Woods - Tinseltown

I love you C/∆/T - Corvx de Timor - Ice Out - C/A/T Returns, but I’ll say it: changing up your name is fucking up your following. why not stick with one?

with music by Carpenter Brut? beautiful

Cornerstone Mixtape #173 DJ Prince Paul & DJ PForReal ‘Like Father Like Son’

  1. DJ Prince Paul & DJ PForReal – Negro Intro (You are the Father) (Exclusive)
  2. Bobby McFerrin – Don’t Worry be Happy/Fall in Love Mix (Exclusive)
  3. Drake – Draft Day (YMCMB)
  4. Future – I Won (Epic)
  5. Smooth Da Hustler ft. Trigger Tha Gambler – Broken Language (Profile)
  6. East Flatbush Project – Tried By 12 (10/30 Uproar Records)
  7. Negroes On Ice – Biggie x Iggy Azalea Mash Up (Exclusive)
  8. Commercial Break 1 – Black Taco (Exclusive)
  9. We Are Toonz – Nae Nae (Exclusive)
  10. GZA – Liquid Swords (Geffen/MCA)
  11. Rich Homie Quan – Walk Thru (Def Jam)
  12. Method Man & Redman – How I High (Def Jam)
  13. Negroes On Ice – Chris Brown x Temptations Mash Up (Exclusive)
  14. Commercial Break 2 – Montell Williams (Exclusive)
  15. Super Lover Cee ft. Casanova Rud – Do The James (DNA Records)
  16. Master Ace – Music Man (Cold Chilln’/Reprise/Warner Bros.)
  17. Big L – Holdin’ It Down (Rawkus / Flamboyant Entertainment)
  18. Beatnuts – Hammer Time (Legacy Recordings)
  19. Nas – Nazareth Savage (Ill Will/Columbia)
  20. Negroes On Ice – Mobb Deep x Chris Brown Mash Up (Exclusive)
  21. Joey Badass – 10 Joey Bada Trap Door (Pro-Era)
  22. Earl Sweatshirt – Centurion (OFWGKTA)
  23. Stalley – White Minks and Gator Sleeves (BCG/MMG)
  24. Rick Ross – Shame On A Nigga (Def Jam)
  25. Mac Miller – Red Dot Music (Rostrum)
  26. Negroes On Ice – Drake/DMX MashUp (Exclusive)
  27. KRS 1 – Sound Of Da Police (Jive)
  28. Dave Chappelle – Cops (Exclusive)
  29. David Banner – Bitch Ass Nigga (Exclusive)
  30. Schoolboy Q – Studio (TDE/Interscope)
  31. Young Thug – Stoner (Atlantic)
  32. Redman – Tonight’s Da Night (Def Jam)
  33. Eamon – Love Them Hoes (Jive)
  34. 50 Cent – This Is Murder, This Is Not Music (G-Unit)
  35. Commercial Break 3 – 5 Buck Box (Exclusive)
  36. K Camp – Cut Her Off (Interscope)
  37. Eminem – Headlights (Interscope)
  38. Commercial Break 4 – Low and Brow (Exclusive)
  39. DJ Prince Paul & DJ PForReal – Negro Outro (Exclusive)
    download link

First coming to attention in the early 1970’s, the Italian group Goblin managed to succeed in two different realms of the music world, both as a popular rock group and as a composing team for various horror films (particularly those of Dario Argento. Like Ennio Morricone, who will be forever remembered as a composer of western scores (although his works have covered all categories of film), Goblin will be fondly recalled foremost for their contributions to the world of splatter films. Since the group has been disbanded, their presence is even more sorely mimed, although they are still around working as individuals.

To be certain, Goblin was unique, offering a strange assortment of chimes, groans, unharmonious, garbled sounds and high-pitched wails with tremulous, blaring, heavy metal music. While the two seemed uncompatible together, the arrangement worked, not just once, but repeatedly. Looking like throwbacks to Woodstock, the longhaired hippies known collectively as Claudio Simonetti, Massimo Morante, Fabio Pignatelli and Agostino Marangolo completely captivated Europe, then with the film DEEP RED, the world. Marangolo was the drummer and percussion expert; Morante the guitar; Simonetti the organ, piano, and string instruments; and Pignatelli the precision instruments. Composition was a team effort.

Even though Goblin itself is no more, many of their albums may still be found in the soundtrack or import sections of large record shops. Most of their films are also available on video; so those of you unfamiliar with their weird brand of music are still able to check them out with relative ease. They are well worth the listening pleasure (picture the strange scores of Ennio Morricone or John Carpenter with a Pink Floyd rock beat and you get some initial idea of what they are like). For the uninformed, a list of their best efforts in the horror line follows.

DEEP RED — A release made by Dario Argento prior to his THREE MOTHERS series, this psycho story involved David Hemmings trying to track down a harchet-swinging killer (revealed to be an old woman at the end, who aptly gets beheaded herself). Argento, who had made a habit of using Ennio Morricone to score the films he’d done earlier, used Goblin this time around. From the onset, when the opening credits came on amid a blood red background, people were fascinated. The strange, instrumental hard rock seemed inappropriate at first; but it blended well with the mood of the film as the story progressed, rising and falling with the action. The group proved their variety; for along wirh their ear-splitting rock scores, they also played a childish lullaby type of melody, enhanced by voices of choirboys and chimes. Whenever “flashback” sequences were shown, this irritating “jump rope” music would be heard, grating on your nerves, but creating unbelievable tension.

SUSPIRIA — With the positive effect Goblin had upon DEEP RED, Argento reused the boys for SUSPIRIA, the first of his Mothers myths, involving witches at a German dance academy. The opening song, heard throughout, consisted of weird chimes (few people noticed the melody to be a twisted version of the old children’s church song, “Jesus loves we this I know. For the Bible tells we so…”) creating subliminal messages within the brains of the viewers and making them all the more aware of “something evil” in the dance hall, even before the killings and Satanic rituals start. In this masterpiece, a hissing “devil voice” is also heard at points “singing” in time to the music with a wicked La-La-La-La-La-La-La. Added background voices, dubbed into the score (possibly a tactic copied from Ennio Morricone or suggested by Argento) include a repeated cry of “witch!” and the “devil voice” muttering barely audible blasphemies about Jesus Christ. The tone of this powerful main theme, one of Goblin’s most popular creations, completely overshadowed all other lesser pieces of music in the film.

DAWN OF THE DEAD — The Dario Argento slaughterfest about a group of humans making a last stand against the rest of the world, which has become a zombie-infested snake pit (ZOMBIE was the original title of this film in Europe), makes for plenty of gore, spills, and thrills. Goblin is right there again, only this time they get to show a wide variety of musical scopes and talents. The album is still circulating in some stores. The film score ranges from a slow, ambling march at the beginning and end to match, presumedly, the walk of the lumbering undead scattered throughout the movie. Other variations include a slow saxophone melody during romantic moments; a lampoonish Keystone Kops type of melody for when a group of bans are picking off zombies and even hitting some in the face with pies; and, overall, only remote similarity to the pounding songs heard in previous credits. Certainly this would be the film in which Goblin showed the audience its wide variety of composing talents.

TENEBRAE — While Argento used Keith Emerson for INFERNO, he had Goblin back for TENEBRAE, a psycho-killer story involving a razor-slicing, woman-hating maniac at loose in Rome. Since the plot was somewhat similar to DEEP RED, so was the music. Loud, blaring rock scores at the beginning, end, and in-between sequences where the killer arrived on the scene; an annoying flashback theme, which (instead of the choirboy song from DEEP RED) offered an assortment of strange sounds, much like a worn out music box: and heavy reliance on keyboards made this a classic in European slasher films. The poetic, flowing music matched well with Argento's poetic, flowing spurts of blood. As in his other works, the Argento/Goblin connection was a marriage made in heaven.

PATRICK — In the United States the greatest controversy surrounding this film, which dealt with a comatose villain who possessed psychic powers, was not whether it was any good or not but exactly who composed the score. While the American version of the movie credited music to Brian May (as did a soundtrack album), a series of records came out in Italy, which were imported into the USA, carrying the same logo and film credits, except with Goblin listed as the composing artists. This mystery of duo composers took quite some time to answer, although the explanation was simple. Italian distributors reportedly did not like the soundtrack accompanying the original film (keep in mind just how heavy the emphasis on film scoring is in Italy with the likes of Ennio Morricone, Francesco De Masi, Nino Rota, Nora Orlandi, Bruno Nicolai, and such enjoying more popularity than many actors or directors). Thus, Goblin was hired to rewrite the score and their adaptation was used throughout Europe in places where Patrick played. Rather bland as compared to SUSPIRIA, DEEP RED, and so on, this was not one of their best musical scorn.

BURIED ALIVE — An absolute shocker, combining a psychotic killer with a mother fixation and a liking for dead bodies, with bringing stiffs back to life via a shot (as would later be seen in RE-ANIMATOR), this film received little play in the USA until it came out in video form. The heavy metal, typical Goblin score blended well with the heavy duty violence of the film. The chimes, the hypnotic rhythm, the odd assortment of Morricone-type sounds all molded and shaped to cause the right effect at the right time. In all, the film score was better than the actual film.

While the aforementioned are the major horror films scored by this group, others exist which offer equally interesting musical highlights, but have far less impact on the fans of splatter. These include:

CREEPERS — A more recent chiller by Dario Argento, which featured Jennifer Connely, Donald Pleasence, and a host of killer bugs. Goblin only composed a portion of the music for this utilising instrumental scores, heavy rock music and chimes as in SUSPIRIA and DEEP RED. Other musicians and bands involved with this flick include Simon Boswell, Motor Head, The Andi Sex Gang and Bull Wyman. As with BURIED ALIVE, the film soundtrack was better than the actual film.

STORIES TO KEEP YOU AWAKE — Only sparce information is available. Evidently, this was an Italian television program like “Night Gallery" or "The Dark Room,” called “Sette Storie Per Non Dormire.” The theme song they composed, aptly titled “Yell" was a big hit as a single and sold on 45’s throughout Europe.

WAMPIR — By accounts, a vampire flick that may or may not have been released in America under a different title. Only one song from this film has been released in record form, “Roller,” which has appeared on various Goblin albums. Regrettably, this correspondent has been unable to find other details. The title song is indeed chilling. It starts off with the DEEP RED/SUSPIRIA rock sound then stops and an organ solo is heard, like something out of the Haunted Mansion ride at Disneyland, before the song comes to a close with the rock melody resuming. Wild, to say the least, and unfortunately more details haven’t cropped up about the film.

During Goblin’s reign there were other film scores and monumental works not related to the horror category but, nonetheless, effective. These scores include SQUADRA ANTIGANGSTERS, a crime drama which used disco beat music for most of the scenes where music was required and I LOVE YOU, I LOVE YOU NOT, a tear-jerker starring Maximilian Schell, Terrence Stamp, and a then-unknown Jacqueline Bisset.

In summing up, fans might be unaware of the Goblin logo (a demon in a crouching position playing on a violin) and what it means. This symbol, adorning their records and merchandise, came from en old painting titled The Devil And Tartini, based upon a European horror tale. Supposedly. the devil appeared one night, crouching over the bedposts of this man named Tartini, playing a violin. As the story has it, the devil wished this man to realize he could become a great composer and thus should take up music as an art. How the story ends is beyond me.

Whether or not the members of Goblin saw the devil at their bedside playing a guitar or set of chimes in like fashion is not known, but the greatness they achieved in the world of horror film, with or without Satan’s help, goes without saying. It is only hopeful that one day they will band together again, particularly if Argento finally puts together the final part of his Three Mothers series, sending The Mother of Tears on a terror spree through Rome. If such ever transpires, then no one better than Goblin could conceivably give her music to create mayhem to as she goes about making life miserable for mankind.

Hopefully. Argento will take the hint!

from Deep Red magazine #6, March 1989

from Fangoria #1; “famous cyclopian alien from Allied’s Atomic Submarine”