Three Free Cuts To Donut

Rather than heaping praise on crate-diggers who’ve chopped and Akai’d the hell out of a Purdie break, I thought I’d put the power back with you.

You might have mad rhymes, a promising flow and a chorus catchier than a Evel Knievel touchdown, but perhaps you’re lacking that unique, never been touched, purer-than-a-driven-Lamborghini break… one that’s never been spotted before… stands out from the pack… will establish you as a new contender for GOAT.

Here then for your delectation are three tracks – which have never been scrubbed and tweaked – to aid you earning kudos and Benjamins whilst not shelling out big bucks.

  1. Joe WalshRocky Mountain Way

Dude already recorded a breaks classic with the James Gang ‘Funk #49’, but this number is a spacey seventies affair. Hear it at; the break is found at 3.00 in a slow, marauding, tense synth line quickly joined by a vocoder that’s making tentative attempts to communicate as the keys then spar back. Nearly 48 seconds of laden groove that’s itching to be used. If you prefer the vinyl, find the track on the Smoker You Drink, The Player You Get album (1973) or choose the four-track ABC/Dunhill sampler (’77 – buy at, which is a better pressing).

  1. Quicksilver Messenger ServiceThe Fool’

Found on the self-titled album from ’68, this is a decent head work-out for just over twelve minutes. 4 minutes 59 seconds in though and the Jefferson Airplane-type beatnik stylings thin out to leave only a little bit of rhythm guitar, the odd tom, a bird call and a single wood chime over an understated bass and a drone in the background. Oh and there’s what sounds like a robot lion’s splintered roar. 18 seconds of oddness; find it here:

  1. Chas Jankel3,000,000 Synths

He’s still best-known as the keyboardist from English oddball act Ian Dury & The Blockheads (who deserve a guide to their own funk classics) but Mr. Jankel takes the spotlight on this album cut from 1981’s Questionnaire.

What director and score composer John Carpenter did to make you shift uneasily in your seat as you watched his classic movie Assault on Precinct 13, Chas echoes but moves it onto the dancefloor. Whilst a harbinger of what would soon come in terms of US electro, early house and techno jams, this track stands out on its own merits: the very English voice reciting numbers over an 808’s solidly satisfying beats? Yes. The Oberheim OB-Xa analogue synthesizer being put through its eerie and bewitching paces? Oh yes. Check it at I’d opt to use four bars from somewhere after the 4.24 mark when Chas uses all the keys…

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