Trials of an Xtraordinary Gentleman

We played a show a couple of weeks ago at the Saddle Inn, Chester. I intimated to the assembled personages that this was the highlight of my year so far, and I meant it. Just a few hours earlier I was nervously pacing the Priority Lounge of Philadelphia Airport waiting for my delayed flight back to the UK to be rescheduled, worried that I would make it back in time. The fatigue and the jet lag kicked in by about the second song: adrenaline kept me upright. Needless to say my body clock and I are no longer on speaking terms.

There was, however, no way I was going to miss this performance. My New Year's Resolution for 2019 was to dedicate a little more of my time to something I enjoy outside work. I'm lucky enough to have a dream job, but I'm aware that my utter dedication to a professional perfection has resulted in my music being neglected.

The first goal I set for 2019 was to shoot a music video. I'd been chatting about this for a couple of years with two good friends; Julian Croot and Andrew 'Kid Justice' Farnsworth, but we could never agree on a date, a location, or a storyline. Eventually, I suggested G, Julian and I scout locations around Manchester one Saturday in the middle of January. We started at China Lane walking and talking through possible shots, camera angles and movements before sliding over to an alley just off Stevenson Square and then making our way to Jersey Street and Beehive Mill.

G-Influence and I used to rehearse here, lugging gear through the masses queueing for the club mecca that was Sankey's Soap, but the environs has changed so much I barely recognise it. Sparkling new structures erupting along its length. The shadowy, foreboding, and mainly derelict, industrial buildings have been torn down and replaced by utilitarian, residential spaces. A lot of the street's character, or rather a lot of what I remember, has been excised and there really isn't anything that would serve our purpose as an interesting backdrop for a music video. It's all a tad bland. Trudging disappointedly away from the Mill I remember that there is a bridge over the grey, murky ribbon that is Rochdale Canal.

Inspecting the cobbled walkway around the bridge we discover an underpass. It's perfect. Green moss clinging to its old worn tiles. Strip lights buzzing like woozy wasps. Julian immediately selects a camera and suggests we walk towards him and then away from him. With attitude. These initial shots look great. The confines of the location offer a natural frame. It doesn't take me long to retrieve the MacBook from my briefcase and before you know it G and I are lip synching and pulling rock star shapes, pausing to let startled dogwalkers and pedestrians pass.

The captured footage looks stunning and we repair to China Lane to gather more. A short three or four hours after meeting, and content with our efforts, we repair to a McDonalds and call it a day. Over carcinogenic fast food and coffee we determine to congregate again the following week - when Andy should be available - to gather some more footage. Julian wants us to start really early so we can make use of the natural light as the sun rises. I don't say it out loud, but from now on I call him Julian Cimino*.

The following Saturday it's 6:30am and I'm stuck in traffic entering Manchester. I'm happy to defer to the experts, but really? Did we have to do this at this time? The plan for today is to use the top level of a city centre car park: capturing G and I as we perform. I'm the first to arrive, then Julian, who asks me to pose and look awesome so he can grab some footage before the others arrive. The car park floodlights are still on and it's pretty dark and I'm not sure where the value is in this action, but hey, he's the boss.

G-Influence arrives and tells me he isn't feeling great and he's swiftly followed by Andy who insists we call him "Kubrick".  Fair enough...

The cold, watery sun is ensnared by an overcast mid-January sky. The familiar dark grey blanket cloaks the city. We start with some shots of The Gents sitting by a table, me reading Alan Moore's The League of Extraordinary Gentlemen Absolute Edition (natch) and G just chilling like the legend he is. We then switch to the middle section of the song and jump around as we sing the "Lalalala's". Mid "Lalalala…" a security guard appears and asks us politely to move on. As he walks away, he pauses, turns and says, "Just finish the take you're on." We do so plus another couple for good luck and we move back to China Lane where the filmmakers undertake some exceptional focus pulling and execute the Michael Bay 360 degree shot whilst attempting to avoid the street detritus. 

Soon we're making our way home and I'm more than happy to leave the editing in the hands of the expert, i.e. Julian Cimino. The initial passes are quite fantastic. I'm happy to have been proved completely and utterly wrong on the use of natural light. The early morning footage looks absolutely incredible. The slight blue of the light at dawn looks completely different and adds a dreamlike quality to the opening sequence as the band logo breaks apart. That was an unbelievably good call. Spot on, Julian!

I have to say I'm really proud of the song and the video. They compliment each perfectly which seems quite a simple concept, but is actually quite hard to achieve. Of all the music videos in which I've participated this is the best. Without question. By far. Working with Julian Cimino and Andrew Kubrick was an absolute thrill. A true pleasure. And you can see the fun we had in each frame of the completed work. We're already talking about what the second video might look like. Hopefully it won't take another two years for it to come to fruition.

With especial thanks to Julian 'Cimino' Croot of PicturedMedia, Andrew 'Kubrick' Farnsworth, and the marvellous Ed, Monica and team for making the Chester show so enjoyable.

The Xtraordinary Gentlemen single Cooler Than An 8-Ball In The Corner Pocket is available now, wherever you usually acquire your music.

See the video here

Behind the scenes and post shoot analysis here

Interview with the chaps here

The gig was a HUGE success by the way. Catch you at the next one?

*In honour of Michael Cimino, Director of one of my fave films, Heaven's Gate. Legend has it that he would keep everyone on set waiting for the light to change and the right cloud formation. I admire his relentless commitment to perfection.

Barcode Crucifix

I got a call from an excited Matt at Playschool Noize today to advise that 'Barcode Crucifix' by Damaged Gods out on 4/4/2011 is officially available for pre-order from amazon, play.com and hmv.

Slide back a month and I'm watching the Brits hosted by James Corden. Eliza Doolittle, during the first half of an ad break sponsored by Mastercard, proffers her stinky, powder blue trainers to the camera and mews in a voice she obviously imagines to be endearing (but which actually induces me to try and chew at my left elbow), that these are indeed her favourite trainers. If ever there was an indication of the crass commodification of music then here it is: wrapped in a self congratulatory clusterfuck celebrating vacuous product placement.

Music is both an art and a science. Between the algorithms and arithmetic, maths and magic exists the light and shadow of music. And Cheryl Cole.

The musical landscape has always been populated by non-entities with absolutely fuck all to say, playing fifth rate music filtered through fifth hand ideas and sponsored by tossers who know literally fuck all about fuck all. The difference is that now they're likely to receive a Brit nomination as they guarantee TV ratings.

It's been a long road to get to a point where this work could be released. Variously, it didn't sound "black" enough (I'll leave that to Plan B). There were too many long words (Antidisestablishmentarianism, anyone?). The guitars (Jim Davies of The Prodigy guests) were a tad too angry. The themes too dark. Even the artwork (by Lucius Michael Copsey) caused some consternation with the last record company who deemed it "disgusting" and "distateful". Awesome, eh?

But hey, if Chuck D digs it then I know I'm doing something right. I'm not going to rewrite the foreword (Pretentious, moi? Mais oui!) to the album here, but great art should be a document of the times in which it was created, so as I look out of my window I see dissent and dissatisfaction in equal measure and that's what 'Barcode Crucifix' enunciates eloquently. It concerns matters magikal, sexual, political and religious. Every word loaded with a symbolism which resonates long after the last note fades. And I personally guarantee that it'll make you shake that booty.

Can you imagine Public Enemy kicking fuck out of Nine Inch Nails whilst both parties are being torched by Rammstein as Dub C laughs at the horrific carnage? Lovely, isn't it? Man, I love Cradle Of Filth, but their hymns to violence are steeped in either fantasy or, in the case of the amazing 'Godspeed On The Devil's Thunder' album, history. Damaged Gods are of the NOW. When we suggest that "The lawless government invites anarchy," just look around. It is entirely true.

The album has been years in the making and is more relevant and necessary now than when it was conceived. So over the past couple of weeks our government has;

- sent David Cameron to sell guns to Egypt's supreme military council


- had David Cameron appear in Kuwait to defend arms sales vociferously, whilst Gaddafi continues to use British arms against his own people


- sent the SAS and MI6 to the wrong place, where they were captured by farmers

Remember, these chaps went to the very best public schools and did the Oxbridge thing, so are far better and way more intelligent than you or I. Thus, I'll pause before branding any of these actions as thoroughly cretinous. Don't get me wrong boys and girls, it's ALL about the music, but these are the reasons I do what I do. And these are the reasons for the snarl on my face.

Meanwhile, shitty bands play their odes to vacuity with a criminal inanity. Don’t accept it. You deserve better. We all deserve better. And that is what Damaged Gods represents. The middle of March finds us on tour as a trailer for the album and August sees us over in America further spreading the damage. As always Brozilla will be sharp of suit. Superior of mien. Sexy of limb. Witty. Charming. And the easy erudition of my oratory skills will be a joy for all to behold. The aim here is to put on a show rather than merely play gigs like so many other bands and I would urge you to attend, participate wholeheartedly and display your affection by offering a two fingered salute.

Vees up. Us against them.

Nothing but love

xBx

Jackin' for beats with... DJ Gaddafi

As we approach the release of DJ Gaddafi's upcoming album "The G Files" we are pleased to give you an in depth interview with the Middle Eastern Despot/Rapper as he discusses his favorite producers, rappers, David Cameron & Dr Dre's "Detox" album. We're given an "Access All Areas" pass to his impressive Presidential Crib. Situated in the southern suburbs of Tripoli the central domed portico gives access to a lofty entrance-hall, lined by a row of double columns of grooved white marble with gilded bases. The white marble floored ballroom - the size of two football pitches - hung with tapestries woven in a different age depicting the Saracen violently resisting the infidel Christian Crusaders. The high, ornate ceilings are adorned by one elaborate chandelier after another.

We enter as DJ Gaddafi is in the middle of a telephone conversation with his American agent;

DJ Gaddaffi: I don’t wanna hear what the fuck these motherfuckers got to say. They say I can't run shit and this and that? Will. I. Am.? Yeah, the motherfucker’s tight as fuck, but if it ain’t broke, you can’t fix it, motherfuckers. I’m ‘bout to go hard. I’m not gonna make this guy a superstar again. The boy had his chance. GA! DA! FEE!. Let me reiterate this. Hold on... One love, Basil, I get down with y’all, that’s Libya baby, for real. Freshly! Chopped! Basil! Yeah... Y’all puttin’ it down for the brothers and sisters, for real. I’m just talkin’ about all the suckas that be hatin’. Be a fan and stop hatin’. Listen to the real shit, you got to do it. Sheeee-it. Let me pull this motherfucker back for y’all one more time. This just that soulful shit, this is what I do. Don’t get mad at me, I wanna say your name, but I ain’t gonna do that. One love y’all to people that got love for Libya. Freshly Chopped Basil: What’s up y’all this is Brozilla with "Freshly Chopped Basil". I’m here with DJ Gaddafi, you all know him, and here he is. What’s up, man? DJ Gaddafi: Just chillin’, doing my thing. You know how we do? Workin’ on "The G Files", tourin’, having a good time. Just want everybody to come see this tour and feel the music I’m bringin’. Freshly Chopped Basil: So you've got the album coming out soon. It’s coming out at the end of April, right? DJ Gaddafi: Yep. The album is coming out April 27th. It’s a great record it’s got a lot of features. I got a lot of talented cats gettin’ down; Snoop Dogg, Beyonce, G-Influence and Brother B, The RZA, P Diddy, Eminem, Nick Clegg, 50 Cent, Tech N9ne, Ed Balls, Chuck D, RBX and Caroline Spelman singing some chorus hooks... Dr Dre did his thing on a couple of tracks... Just a bunch of talented artists and I love what they do. Freshly Chopped Basil: Usually with your albums you produce the entire thing. How come you put Dre in the mix? DJ Gaddafi: I love Dre, who doesn't? I think he’s a great producer. In fact all the producers that’s puttin’ it down I respect them and I love their work. There’s a lot of good music out there, I respect everybody and I love what they do. Freshly Chopped Basil: On the flip side of that, you as a producer, which artists would you like to produce for? DJ Gaddafi: My tastes are way out and people might think I'm trippin’, but I wouldn’t mind doing something for T-Boy. And- Freshly Chopped Basil: That's Tony Blair, right? For real. T-Boy can spit. He brings heat and keeps it 100. He's my main Caucasian. He kinda reminds me of myself when I was doing my thing, and I’m still doing my thing, don’t get it twisted. We go waaaay back. He brings the fire. I like Raekwon, he’s cool. I like Jay-Z, he’s super cool. I like Nu Labour, even though they don’t have records out now. Snoop, that’s a must, I’ll work with him anytime. Damaged Gods are crazy talented. They're getting a lot of play out here with "Outf!%king rageous." You heard that yet? Whooooh! HOT. There are tons of guys out there that I like who are putting out good music, but there’s a lot of other people trying to rap and trying to produce just because it’s so easy to get into right now, but in a minute that’s gon’ change once that real music comes back and people understand what’s really going on. I know I went somewhere else on that answer, but hey. Freshly Chopped Basil: You’re putting out this record on your own Coup D'etat label. This is your second independent release. What's that like when you compare it to your major label experience? DJ Gaddafi: I mean independent is a little harder than being on a major label. You gotta be hands on: make sure everyone's doing what they s'posed to do. I wasn’t hip to that, I thought I was still gonna have people to do things for me. But you get a chance to really see what’s going on and really know who got your back and who don’t got your back in the business. I’mma put it to you like this: when I was with a major, it was on and crackin’. Everything crackin’. I made a lot of people, a lot of 'behind the scenes' people, rich. But now that I’m independent and I have to get at the same people that made it pop for me back in the day, then it’s a problem. I mean that as far as, “Hey, DC, can you gimme a hand here? I- Freshly Chopped Basil: "DC?" DJ Gaddafi: David Cameron. "I made you a load of money and I'm still making you money.” And I gets no love. It can still go down like that. It’s just a different way as far as showing that support. I mean I support everybody in the Middle East, I support everybody in the West, the East, Down South. But it’s just gotta be a mutual thing, especially here where I’m from. Everybody out here, all the DJs, all the clubs, everybody gotta ride and look out for each other. I’ve been to clubs where I’ve seen cats that’s from here at the door, and they like, “Nuh uh” and they let artists from somewhere else right in. We gotta have more unity and that’s what we missin’ from the game. The talent is there, the music is there, the unity is the key. Freshly Chopped Basil: Tell us about the viral video you had for "Capitalism Crash". How did you guys decide to do that and are you guys gonna shoot any other more traditional music videos? DJ Gaddafi: For "Capitalism Crash" I just got my secret police to film David Cameron swanning around the Middle east trying to sell arms to literally anyone. In this climate of violence? If that doesn't show you that Capitalism is utterly bereft of morality... Anyway, the response was off the chizzain! I think we're up to something like 5 million views on YouFace. Yeah, we’re gonna shoot more videos. We shooting for "It's All About The Oil Receipts" which is me and T-Boy. Doing that, puttin’ it down and letting people get a glimpse of that. Middle East meets West. I got family in all places so I can’t have tunnel vision. That’s how you survive in the game, you can’t have tunnel vision. Freshly Chopped Basil: I heard that "Education Revolution" was originally gonna be a Michael Gove collaboration song, tell us about that. DJ Gaddafi: I did the song with him, that’s what that was. But records change. A lot of records I could tell you about right now that had other people on them from a lot of artists that you know have changed. Just like on that Elton John single “Don't Let The Sun Go Down On Me”? I was on that song originally and I got dropped for George Michael. So records change, that record changed. I put G-Influence and Brother B on it, it was a good feel for them so that’s what it was. Freshly Chopped Basil: On another note, have you worked with Dre on "Detox"? DJ Gaddafi: In the beginning, sort of the beginning, I was over there with Dre and the rest of the fellas going through the records and marking off ideas for him to hear. That’s all I did really. Then a year or so ago I spat a verse or two, but I don't know if they made it onto the record. Freshly Chopped Basil: So you made some TV appearances since your last album. How did that come about and how did they approach you and what was your first thought? DJ Gaddafi: Well I did the "Celebrity Fit Club". I didn’t want to do it at first because I thought it was some corny shit. So I was like, “Damn, I’m not old, I ain’t played out. I’m still a youngster.” I told ‘em no, but then the producer Rich called me and said, “Lemme take you out to lunch”. So I had lunch with him and he explained to me what the show was about and what was going on as far as showing me how to eat better and showing me how to exercise their way. I said, “So y’all gonna pay me to exercise and eat right?” So I was like, “Shit, let’s go.” And I did that and I’mma do more of those type of shows. On the big screen, as far as movies, sitcoms, all of that, I’mma do it all. It’s just showing versatility and by the way I’ve been easing over into scoring. I scored the popular Libyan drama "Tripoli Heights". I don’t even know if a lot of people know that but I scored that show, it was a great show. So I’m doing a lot of things. I’m easing my way into being behind the scenes ‘cause that’s what I really love. I’m still a motherfuckin’ rap artist period. I do that. But you grow and you have to change and I’m just changing and I’m looking for the next motherfucker who can shock the world. A lot of motherfuckers can rap and they do that all day but I’m looking for a person that has a story about themselves, something that can captivate the world, not just your hood. And that’s what I like about T-Boy. He got a story and he tellin’ these motherfuckers, “This is what it’s like with me and where I’m from. This is what it’s like and this is how we gon’ give it to you." He got a story about it and you rarely find artists that really give you that story and that realness. But I’m pretty sure it’s coming, and I’mma be looking, ‘cause I am a producer, Gaddafi Funk Entertainment, baby. Freshly Chopped Basil: We’re about to wrap up but before that tell us what kind of vibe people are gonna expect on the album. DJ Gaddafi: You can expect a lot of records that’s got a soulful feel, a lot of records that’s like more on the groove tip. I ain’t really goin’ hard on the record, like Will. I. Am. Did you catch Black Eyed Peas at the Superbowl? Oh, man! That was some repugnant shit. A lot of people don't know that Fergie played William Shatner's girlfriend in an episode of TJ Hooker back in 1986. She's looking rough these days, right? That's the crack. A lot of these celebs are on crack these days. They tell me crack is in. Anyway, what I'mma be doing is talking to everybody from a fake tanned, ugly WAG motherfucker on "Daybreak" to Paxo on "Newsnight". Freshly Chopped Basil: Can you explain the bloodthirsty repression of your people for four decades at the behest of your Western puppet masters? DJ Gaddafi: Huh? Freshly Chopped Basil: Never mind. Before we leave, do you have any closing comments about anything? DJ Gaddafi: All I have to say is whatever you want to do in life keep your mind to it. If it don’t jump off at first don’t get frustrated, even though we do get frustrated. Just keep pushin’ and don’t let nothin’ hold you down. And keep faith in God and know that it’s gonna be alright. And for the motherfuckers that be hatin’ on Brozilla Triple X L, kiss my motherfuckin’ ass, ‘cause you can’t hold a brother down. Freshly Chopped Basil: Wise words. Thanks for your time today. Peace. DJ Gaddafi: Huh?