Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to.”

― Jim Jarmusch
Gábor Szabó


Born in Budapest, Hungary, in 1936, Gábor Szabó received his first guitar at age 14.

Him and his family moved to San Bernardino, California, in 1956, and worked as a janitor to save money to attend the Berklee School of Music in Boston. He studied there for a year and performed at the 1958 Newport Jazz Festival, alongside Miles Davis.

Szabó’s guitar playing brought folk music from Hungary, Gypsy, Roma and even Indian influences to rock, jazz and blues.

His career led him to work with artists such as Chico Hamilton, Ron Carter, Paul Desmond, Bobby Womack (with whom he recorded High Contrast), Carlos Santana (who covered Szabó’s Gypsy Queen under the title Black Magic Woman). He recorded a few albums under his name on the Impulse! label, home of John Coltrane.

In 1979, he became involved in the Church of Scientology, mainly to try and get over his heroin addiction that had started in the early 1960s. He split with the church the following year, feeling enslaved and betrayed.

In 1981, he returned to Hungary for the second time, feeling tired from his drug habit. He passed in February 1982 of liver and kidney disease.

Szabó always felt undermined as a jazz artist in the US although he was a prolific artist. His peers and fans recognized he had his own style of guitar playing and made a vanguard contribution to jazz, blues and rock’n’roll.

The Universe does work for good

Jay Dee

—Track 16

C’est la fête à la grenouille.


Beat tape #3



After listening to Moaning Cities eponym EP, we can only have faith in the Belgium quintet band Moaning Cities to be the worthy successor of everything that was great in the late 60s, 70s rock’n’roll.


The good fairies of psychedelic and bluesy rock have definitely touched that Belgium band's crib. Hear the influences going from The Doors, Led Zeppelin and The Black Rebel Motorcycle Club to The Velvet Underground. It's great to hear a revival kinda sound. 

A bit about their self produced vinyl released in september 2012:

You’ll think about the blues of The Black Keys (at their beginning) when listening to “Wandering Souls”, you’ll think about Black Mountain when listening to the mixed vocal duo in “Coal is mine”, “See You Fall” will remind you why you feel high just listening to some frenzied, psychedelic guitar riffs (and that’s why I love rock’n’roll) and 9 minutes long “Heaven/Abyss” and its sitar will revive the travelling acid lover hippy dozing inside every music lover.

We wish them a very prosperous and productive journey through ever growing recognition and fame, as well as a prompt concert in Paris !


Listen to their new release “Jah Ming Dee” on Bandcamp !

This is some neat shit.

After Syd tha Kyd, Tyler, The Creator from Odd Future strikes gold with brilliant Earl Sweatshirt.


It’s starting to look like Doris is going to be a very dark album. "Chum" marked a departure from Earl Sweatshirt's earlier body of work, leaving behind the rape filled horrorcore rhymes of yore in favor of a Kanye-esque form of self effacing lyricism, but still proved to be a rather melancholy affair.”Whoa” is no less bleak than "Chum" and a good deal more sinister, offering the same sort of retrospective account of becoming famous that Tyler, The Creator rhymed about on"Domo 23".

Lyrically, Earl is as brilliant as ever, deftly weaving intricate rhymes above sinister beats. The production on “Whoa” is quintessentially Odd-Future-circa-2010, admittedly on much richer budget: buzzing synth lines mingle with ghostly piano arpeggios over some of the biggest sounding drums to ever grace an OFWGKTA record. The accompanying video is more or less what you’d expect from an OF short, but still very much worth a watch. Do just that after the jump.”

From LiveRoTheFunk

Le Groove du soir, bonsoir !

"Danceholic’s", c’est le titre prophétique du dernier EP de Mr. G, produit sur le label Holic Trax, et vous pouvez en écouter un extrait ICI.


 par Nobuyoshi Araki.

La discographie de Mr. G.remonte aux années 1990, il n’y a pas qu’à Detroit qu’on trouve des colosses de la techno ! May God save the Queen.


Photo par tommysussex