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Let me start from the beginning…

Strange Famous Records > SFR Blogs > Buddy Peace Blog > Let me start from the beginning…

Let me start from the beginning…

…at the top of the list – nawmean, have situation like this…

Whatever the time of day, it’s never a bad time to throw some Mobb Deep in the mix. That much I’ve learned.

Tuesday 18th August, 2009.

With the release of my Strange Famous-branded debut album ‘Late Model Sedan’, I wanted to write down some thoughts and historicals for you, on myself and some of the projects I’ve been involved in over the years. Who I am. All that mess. I know there are a lot of people who will know most of this already, close friends and acquaintances and listeners of all description, but it’s also plainly obvious to me that I’m not hugely well known and I’ve never assumed myself to be. I must stress that! I’m easily flattered for the most part but mostly I’m just extremely grateful for any kind or positive words that I’ve received over the years. I’ve been involved in music for a lot of years now and hopefully this will continue into the distant future (As long as I can do it I will), so I thought it’d be a good time to fill you in what’s been happening round these parts.

First off I want to send shouts out to everyone who got or is getting the House Of Bees mixB Dolan inspired the rugged rough and it was a pleasure to work on that… Jeezus. My ears are still hurting. It was a hefty month or so.

I started DJing in 1993. I’m old, see. Grey beard hairs are emerging, hairline receding, all that growing old shit. Forgive me for not dwelling on that right now. Thanks. The seed was planted by my brother Dan, aka DJ Budd (surname’s Budd), who bought ‘The Show’ by Doug E Fresh and the Get Fresh Crew back in 1985 on 7″ from Our Price. UK heads know what’s up.

Doug E Fresh & The Get Fresh Crew : 'The Show'/'La Di Da Di'

I can’t find any online evidence of Our Price record stores so you’ll have to take my word for that… I think they got bought out by Virgin. They were pretty rubbish in fact, looking back. But this was when WHSmiths and Woolworths used to sell vinyl. Remember that?

So that record, as well as hearing and dancing to (What I later discovered to be) Double D & Steinski’s ‘Lesson 1’ on our old clock radio…


…provided me with a fair amount of exposure to that old early hip hop goodness. The life-changing childhood discovery of swearing and hardcore sex raps came next with Eazy-E, NWA, then Ice-T with Ice Cube following. I asked my amazingly tolerant and open-minded mum to get ‘Straight Outta Compton’ on CD for me from said Our Price, along with this little jammie :

Jean Michel Jarre : 'Live In Concert, Houston Lyon'

Jean Michel Jarre : 'Live In Concert, Houston Lyon'

She picked me up from the playground opposite school at the end of the day with these two CDs, and this was what I consider to be one of my most important scores in my music buying history. What followed this was the usual pre-double figure aged scribblings of lyrics, trying to copy those graf pieces in Subway Art (Showing my age again, fuck) and memorizing raps. The natural evolution followed, with Public Enemy and De La Soul being prescribed via Budd the elder Dan, and car journeys soundtracked by Prince mixtapes. I used to be able to drop the first verse of ‘Bring The Noise’ at neckbreaking speed. Not so much now. I’ve shelved that party piece, and with good cause. That was in my skateboarding days… Ha, skateboarding. Like I could do anything.

There were more stops along the way before the DJing side of things. I was a very mild mannered and shy kid, but anger rose up from somewhere in there and before I knew it I was listening to heavy metal and some punk music. Dead Kennedys, Guns N’ Roses, Megadeth, Metallica, Anthrax, Faith No More (saw them live!), that’s how I was living. It was awesome, totally worth being accused of copying by Dan (haha, maybe I was), and when Public Enemy worked with Anthrax on the ‘Bring The Noise’ ‘remix’my worlds collided and exploded and the portal got blown shut, locking on the slam.

DJing came next in 1993, again via my brother, and soon enough we had a couple of belt drive turntables sitting there in the bedroom. Not many records to speak of but I just use Dan’s. I gradually built up my collection, starting with ‘Likwit’ by Tha Alkaholiks :


That was my first ‘proper’ record (By that I mean an import 12″), bought from Troublesome Records in Kingston, near(ish) London back in ’93. £6.99 it cost. Rap radio was a beautiful thing at that point as well, which I’d just gotten back into after not knowing where to find out about hip hop. Tim Westwood’s Capital Rap Show and Max & Dave on Kiss FM. Sometimes the Funki Dred show on Kiss too. With no internet whatsoever (Probably modem connection was possible but you wouldn’t be able to find out the name of a song by Googling it, that’s for damn sure…), it was all a matter of heavy record shop inhabitation, lyrical analysis (The mentioning of names, crews, the chorus, that kind of thing), and whatever it took to get the names. Often the records would be played as part of a long mix and if Max or Dave slurred the name of a track you were fucked. The hardest one was ‘Where I’m From’ by Digable Planets. Some DJ played the instrumental on a mix and I spent years finding out what that was. DooWop played some cool stuff as well, the first guy to play tracks from Onyx’s ‘Bacdafucup’, and some decent freestyles. Westwood got me into Black Moon, Snoop Dogg (first person to play ‘Gin & Juice’) and Jeru The Damaja (first person to play ‘Come Clean’… I’d leave the tape running on his early morning Saturday rap shows), and the pieces started to fall in place. Add to that my regular little rap record mailouts (Physical paper ones!) from around the North of England where there was a build up of mail order rap shops and my formative hip hop years were well on course.

It was a really dope time, looking back. The internet has had an incredible effect on music in general, that much is painfully obvious. It’s truly amazing in many ways and I do marvel sometimes at how quickly it happened, and also how quickly the world took it for granted as well. Maybe I mean ‘absorbed’ rather than ‘took for granted’, but you must know what I mean… It’s dissolved now. Back then, it was just such a ridiculously different world. Trying to find out what that Digables track was. Playing the background music of a Tim Westwood link section to record store clerk after record store clerk with my impatience and frustration accumulating. It was another era. I know it’s so easy to be nostalgic but it’s not even that – it’s just what you had to do to get records you wanted and didn’t know the names of! Some of the stuff they’d play on radio was so obscure too and it was on you to find out what it was. Thank the lord for the ubiquitous listening deck in record stores. Beggars Banquet in Kingston (Now Banquet Records), Mr Bongo in London (Both locations), Unity in London (bought ‘Nowehere To Run’ By The Gravediggaz on 12″ from there)… I’d have been pretty lost without them. It is much easier now but I don’t think it can be compared – it’s just so different. If I could have looked on a computer to find out and hear snippets of a track rather than hike a 90 minute train ride to London I surely would have… No question.

With an ever growing collection of dirty dubbed cassettes, a little vinyl library growing by the week and my mixing/scratching skills sharpening over time (With some bitten techniques – although heavily practiced), one of the belt drive turntables was replaced with a Soundlab DLP3 :

The Soundlab DLP-3

The Soundlab DLP-3

(I think that’s it)…

…and the other belt drive was replaced with a Technics 1210, and things started properly from then. I was making mixtapes under the name ‘DJ Chronic’ in 1993 (Hey cut it out, I was young!! Nah just kidding, it was a bloody stupid name), and if you thought that name was lame then make way for my 1994 incarnation, ‘Breakmaster B’. Indeed, hindsight is 20/20. Anyway, tapes got made, I started listening to and buying jungle/drum & bass records, and things were running pretty nice. I somehow went through pair after pair of earphones, and was a regular face in Argos buying up whatever the loudest ones were. Which probably explains my ear problems. In fact, it definitely does, I’m only kidding myself.

In 1995, I gave myself the name Buddy Peace. Buddy, after my surname of Budd, and the Peace because, well, why not. I’m a peaceful guy. I liked the sound of it, and it’s stuck since. I don’t have a lengthy anecdote I’m afraid – I could have made one up I suppose but I just wanted to be honest with you at this point. That’s where the name comes from! Just doodling and drawing some graffy stuff in my notebook.

I got my first DJing break in 1995 when I played at this little R&B club in London. It was pretty shameful really, I still have the flyers (actually I was still Breakmaster B at that point so it was before the radical name change). My name comes under the ‘Ladies Choice’ section. Come on now. Anyway I played my little set, did some scratch solos as you do as a young’un and the next year I was playing my final year school prom – the ladder was being climbed goddammit. It actually went alright, I played some KRS One, Method Man & Redman, I forget what else but was pretty tight if I say so myself!

Well, years melted into each other, new equipment was bought, and now I’m buying a Yamaha handheld sampler in 1996 or so. I made loops on it, and you could get them exact – I’d just get things the right tempo on the turntable and then loop them on that, and then scratch or mix over them. Hey check it out :

The Yamaha SU-10 Phrase Sampler

The Yamaha SU-10 Phrase Sampler

That link presents you with all kinds of hellish flickery “You have WON, SERIOUSLY” imagery, which I can’t change but the sampler is there in all its video cassette-size glory. I made a ‘production’ tape, which was basically loops and sequences (you had to make them all live in one take) and make backing tracks for acapellas. Posse cuts were the best – I made beat-change-up remixes for ‘Roll With The Flava’ by Flava Unit and one for this Fugees posse cut track. It was fun, but this and turntables wasn’t enough… I eventually bought a second hand MPC2000 off my pal Matt Tomkins, where I started my sample chopping and sequencing smarts. I remember learning how to do step sequencing when ‘Falling Down’ was on TV. Not entirely sure why I remember but I definitely slapped my forehead in realization.

The 2000 graduated to a 2000XL, and I started taking it all a bit more serious – although at that point my beats were still weak. They were programmed to hell but the sound quality was far from what I was expecting. At that point I hadn’t fully taken much on board with regard to EQing and any stages in between MPC and minidisc recorder so it was all pretty shady. You learn though, and I started just messing with all kinds of stuff and trying new things. In the DJing world I was making some super lo-fi recordings with multi-track walkman mixdowns, which were really fun and getting the minidisc involved was cool as well. That was my digital realm back then, the Sharp minidisc. I went through tons of them. They were not built for durability like my walkman. I made a three deck mixtape, a four deck mixtape (‘Four Decksperimentation’) and then started involving the MPC a bit more. That comes later though.

I started working at Beggars Banquet in October 2001, which changed to Banquet Records in Februrary 2005 and is still going strong. I was in charge of the hip hop section and got to handle the electronicky stuff and some indie rock-ish goods as well. My job involved making some genre dividers too which was good graf practice. My time was never wasted. Ha. It was a very different shop back then. My bags of reserved records grew by the month and some months it would be half my wages, but it was a sick time. I got to meet DJ Vadim, Mark B, Roots Manuva and a bunch of other folks while I was working there too which was crazy… This was my full time job right up until I left. Just to round that tale off, I eventually resigned in summer 2007 to go back to learning. I linked em up above but do stop by – the only indepenedent record shop worth bothering about in the Surrey area, and surrounding counties…

I should give some idea of the beginnings of the mixes and mixtapes I used to make. I’m talking about the proper ones, not the scuzzy and hissy actual tape-tapes. The more production type mixes. When I got my computer, a full on tower affair back in 2001, I was really into multi-track mixes. I’d use Cool Edit Pro to record and mix and add pointless effects, but I was super enthusiastic about what could be done with all those free tracks. I came up with my own rules though – I would try not to, wherever possible, let the computer do whatever I could do. So if I wanted to mix a track into something else, I’d do it by ear and on turntables like I’d always done. It felt funny doing it any other way and I’ll always use turntables in the traditional DJ way so I see no reason to change. I didn’t back then. I did my first computer recorded mix which I called ‘An Apple And A Briefcase’ (there is a reason for the title but it’s long and less than interesting), and I just threw a bunch of ideas at it. Just to try out the things I could do really. A lot of things I had wanted to do before but couldn’t.

I’ve forgotten what came after but my big project after that was ‘Class Half Empty/Class Half Full’. See, in this time I’d been attending a lot of Anticon related shows. I’d been buying up the music since around 1999 (having first heard ‘Three Guys At A Bar’ by Sole/Livepoets, Mr Complex and D-Stroy and flipping over it), and started to make huge and important discoveries since then. Buck 65, Sage Francis, Sole, Alias, Atmosphere, come on you know the science. All that lot! Sixtoo, Dose, Aesop Rock, Why?… It was weird back then because there really wasn’t a scene for it over here. Seriously, hardly anything. I found it crazy! There was so much amazing music coming out and it wasn’t that I’d lost interest in the hip hop I’d been rocking all that time, I’d just been exposed to something different but – at the same time – in line with all that goodness from all those years ago. The samples, the rhyme flows, the beat patterns – how could it be so different but resonate so truly with this powerful and hard hitting old stuff? Another important element in this path was a tape my friend Bill Roberts made for me called ‘Post Rawk And Roast Pork’ (I liked that) which had stuff like The Fall, Tortoise, John Fahey, Papa M on it, and more. It really kicked my ass and that was probably 1997/8 or so. So there was a link to the past, but there was also a link to the sideline stuff like the indie rock and the more instrumental, even orchestral stuff. There was also the Warp Records music too – Boards Of Canada, Aphex, Squarepusher, Autechre… The links are even more clear these days when you look at what some people are doing and who is working with who… Some of the combinations are mindblowing! Over the years Why?’s band has been pretty much straight-up indie, Prefuse 73 worked with Aesop Rock and MF Doom (and performed with Slug of Atmosphere at ATP 2001 – which was curated by Tortoise!), Dose is working with Mike Patton and Tunde Adebimpe, and that’s just a couple of examples. There are just way too many to mention. The last ten years has been an incredible and mixed up bubbling pot of collaborations and genre-blending that has been in some ways out of the blue, but in some ways completely inevitable.

That’s kind of a back story (Abbreviated believe it or not). There were some shows here and there with some of the directly related or extended family people from the Anticon area, and I got to DJ at some of them. Some I just went to of course, but DJing at them was way better! I got to meet Sole, Sage, Alias, Dose, Jel, Dax Pierson and Buck 65 (and got to DJ with him this April!) as well as some other folk, but this was amazing because they didn’t come over much. You’d find me with my trusty minidisc recorder and microphone getting shout outs after the shows like a true fanboy. I’d always put these to good use, it wasn’t just so I could play them on repeat, pacing around my room nervously laughing and biting my fingers (honest). It was just something I had to do… I used some of these on ‘Class Half Empty…’.

After this mix came some 20 minute ones (‘Etceterature’, ‘Mug Of Soda’ and ‘Bunk’ – which was pre-‘Wire’ I’m afraid!) as well as some beaty ideas here and there, but one of the better ones was ‘Mathface’, which was mostly MPC based and had a fair bit of turntable activity on there.

I can’t remember the exact origins but somewhere along the line I’d given a CD to Sage, and he kindly posted some nice words about it what was then the Non Prophets forum. I think this was around 2003 or so… Sometime around then but maybe earlier. Maybe 2002… I got some emails from some of the old skool forum folks and I sent out a bunch of CDs. This was internet era, but I think pre-easy-upload era. To upload mixes would have taken such a long time. I think I was on dialup then to so it was inconceivable.

Sometime in 2003 I made a megamix of Controller 7‘s music – I’d been in touch with him for a while and this was to coincide with his website. Damn, this all seems like such a long time ago!! Tommy Seven is a great guy and we’re still in touch, and this was the start of my artist-centric megamixes. I threw a bunch of stuff at it and it got pretty intense but I’ve always been a fan, since ‘Left Handed Straw’. You can visit Tommy at his e-home :

Controller 7 : 'Left Handed Straw'

Controller 7 : 'Left Handed Straw'

I want to give him some props because he’s been there for so many years, and although we haven’t met proper human-like he’s a great friend. Makes ridiculously dope beats as well.

2003/4 was when some proper things started happening. My friend James Nicols was living in London and managed to get some work at the Warp Records offices. He’d play some of my mixes in the office there and I think Tom Brown from Lex was into them. I played at a Dangermouse and Prince Po show (J-Zone too) and although the needle broke and it wasn’t the finest performance I could have managed, it was all part of the fun along the way. Fucking embarrassing, but fun hey.

Some of the later shows over the next couple of years would include support Buck 65, Sage (a few times), Dose and Jel, Fog (twice, but once where the stage man busted his effects setup), the Boom Bip band, Notwist, Prince Po and Dangermouse again, Gang Starr, Roots Manuva and a lot more… I’ll get to some of them… I was Prince Po’s DJ twice as well – we played at the Roskilde Festival in Denmark (or thereabouts!), and did a show in London’s Jazz Cafe too (after Talib Kweli). Mad fun. He’s dope.

The mixes were going good and the first collaborative one came about, with ‘Zilla’, who is now making insanely sick music over at Ninja Tune by the name of King Cannibal. He’s doing some incredible stuff and it’s amazing to see it all going on – seriously ace stuff. He used to work at Banquet before I came along, and he went to work at a distributor. We spoke on the phone at work about what we could do and after several postal trips and lengthy discussions, we chiseled and glued together our ‘A Friendly Game Of Chess’ mix, which was all hand spray painted by him and I made the covers. I forget how many we did but it was a fair few… I just checked, 100.

'Zilla' & Buddy Peace : 'A Friendly Game Of Chess'

'Zilla' & Buddy Peace : 'A Friendly Game Of Chess'

Good stuff… I was real secretive over what I used and so I might have made up some names there… Haha. You’ll have to forgive me.

2004 was ridiculous. I’d made a mix for Lex Records which wasn’t released but happened all the same, and I taught myself a good few lessons in mixtape production and tried some new stuff… It was all relevant. Summer that year, myself and ‘Zilla’ were asked to work together on a megamix for Warp Records. We were like kids, well I was anyway, who were just asked to make a report on what types of chocolate taste the best (or whatever the young’uns are into these days, motorbikes and alcohol, I don’t know). We worked in the same way – over the phone, postal service, keeping it lo-fi. I think ‘Zilla’ used Logic and an MPC for the most part and I did my parts on an MPC with turntables and some effects after. This is it :

'Zilla' & Buddy Peace : 'Watch And Repeat Play'

'Zilla' & Buddy Peace : 'Watch And Repeat Play'

We did the bonus mix. We’re still really proud, I think I can speak on his behalf! It was a mad time. We played a bunch of shows as well, mostly together but as a duo as well. International and around the country. It was amazing. We prepared live versions of some of our sections and rolled around from here to there with records, his Pioneer effects unit and my Vestax PMC06. My battered up travel buddy. She’s served me well. I did some solo shows too, one on Milan, one in Turin, and some other ones around too. Most of these were with Resfest.

2004 was also the year of my first – yes, my first – plane trip. 24 years old and hadn’t flown before. It was amazing. I was invited by DJ 2D2 (Prefuse 73‘s tour DJ) to come out there and play at this place called the Cube club. I asked if I could come out a day earlier and I went digging around the town. The first night I got lost and caught in the most torrential rainstorm I’ve ever been caught in was pretty angry. This subsided (the anger, gradually, and the rain, and I drowned my sorrows in some chicken products from the joint below the hotelly) and the show was actually really good. Much fun. This led on to me playing at the Sonar festival later that year. Somehow I got to play on the main stage, on the Saturday. Ridiculous. The main stage. Seriously, I was really unknown back then and there I was playing on this huge stage in front of a ton of people. It was ridiculous, and I knew at that point that that was it – that would surely be the biggest crowd I’d ever play at. I filled in the gaps between Ryuichi Sakamoto, Gang Starr (minus P-p-p-p-Premier) and Roots Manuva. It still freaks me out so I’ll leave it there. But I can say that I had a dressing room with So Solid Crew. I didn’t use it, the idea of a dressing room weirded me out so I bailed… Still!

More mixes got made (I made a megamix for Beans as well but nothing happened with that – still got it though, I’ll upload it sometime), and more shows were played – including Dedbeat 2004 with ‘Zilla’ where we ended up playing loads. It was madness. We played before Atmosphere too… Ha. Good stuff.

I met Sage properly (an actual proper meet) at London’s Scala a couple of times around 2004. Once with Buck and another time I forget who else was playing… This was right back at the early stages of what would soon be Strange Famous dealings! I think this was a Lex show so maybe that says something about how long ago it was…

I made a mix called ‘A Crew Called Self’, which you can hear the 3 minute megamix I made of right here :

Buddy Peace : 'A Crew Called Self'
Buddy Peace : ‘A Crew Called Self’

That was probably the most intense mix I’d made at that point. Again, I threw the lot at it, and there are quite a few elements in common with what would end up being ‘Late Model Sedan’. The intro for instance – it’s long. But I’ve always been into big intros. It was a hefty project but I had a lot in my system I needed to get out.

In 2005 a few of us went out to New York. Some of my friends had set up this club night called ‘Wheels Instead Of Hooves’, and they’d been putting on shows for years up in London – they also gave Warp’s Team Shadetek their first UK show, for trivia’s sake! They’d sorted out this show in New York, which happened with Shadetek, and we took out some records and bits and pieces. I played on this guy Tim Sweeney‘s radio show called Beats In Space (I think you can still hear the show – it’s old though and I was nervous so you know, go easy… I talk a bunch too…) It was mental. The show was dope though, and went really good. New York is beautiful. One day I went out by myself and it completely slayed me. People were so friendly, and I got into some odd and wonderful conversations. I want to go back desperately. There or the West Coast! Wherever will have me. Ha. How’s that for some underhand begging.

The shop was going good as well, and my and my man Seldom Seen Smith set up a regular night in the legendary Bacchus club in Kingston. If you know Kingston and are into music, you know Bacchus. Just trust me. It was once a fortnight, and is still going on actually! Here, check it :

Still going strong. Props to Mike and the Banquet platoon! I finished my involvement around 2008, I couldn’t keep it going, but it was fantastic while it was going. I was just rubbish at the late nights. I also started getting – if I’m really honest – jealous at the guests who would turn up with Serato. I lugged vinyl around all over the place and it made my upper body pulse with pain on the regular, and Serato just looked so sleek and innocent, so small and lithe and functional The bastard. I still don’t own it but I sometimes wish I did. I don’t know. Maybe one day hey. Until then it’s shoulder bruising all the way.

Well that’s a pretty in depth history of things up until the middle of this decade really! There is so much more, of course, and I’ve had a little bit of music out in places too, but that’s it for the most part I guess.

2006 and onwards…

COMMONWEALTH KIDS (made with Carlo)

Carlo & Buddy Peace : 'Commonwealth Kids'

Carlo & Buddy Peace : 'Commonwealth Kids'

Carlo has made some very great music on Bully Records. He’s from Canada, as is Bully, so it all fits together nice. We met up in 2005 and knew we were on common ground, and so we decided to keep the fire burning with a collaboratory mix. He DJ’s as well as produces, and his beats are kind of reminiscent of older Sixtoo, making use of the natural grime that the SP-1200 allows. We batted this one back and forth, in the style of ‘A Friendly Game Of Chess’, this taking longer on account of the UK/Canada distance, but it worked in similar ways. Carlo pressed up 2 tracks of his, got them mastered by Sixtoo, and assembled the packages over in Canada. Shit is tight.


Buddy Peace : 'Wolf Diesel Mountain'

Buddy Peace : 'Wolf Diesel Mountain'

I’d been working on this mix idea for a long time. I kept a lid on it for a while because that’s how I’ve always been, but it was something I’d been saving up ideas for all the way. It was basically an MPC-based production mix using indie/post rock samples for the musical part and hip hop acapellas. I know that sounds pretty simple but there were some ideas I knew I hadn’t heard before and I had a lot to try out so I set out on the journey. It took a couple of years of not solid but pretty rugged work (I moved flat a few times in the making of it) and eventually I made the final edit and it was time to go. I like the intro best! Ha. It’s pretty full on. My friends at 2600 Recordings put it out. Here it is :

…and my friend Keith also wrote some nice words too :

I’m really proud of this. The artwork is by my beautiful angel Sophie, who killed it to the highest degree possible with this one. Love it. She designed the ‘Buddy Peace’ and ‘Late Model Sedan’ lettering on my album cover.

In 2007 I was approached by previous Strange Famous employee and heavily talented musician Tom Inhaler to make a megamix to honour the release of Buck 65’s ‘Situation’ album. Naturally I got on that shit as soon as I received the email, and it turned out nice. I’ve been a huge fan since the late 90’s so it was nothing less than an absolute pleasure. There was a lot I’d had in mind over the years for something like this, and my mind’s a constant database for lyrics and ideas so I put a lot of them into this.

A few months on I was invited on board Buck’s ‘Dirtbike’ project to cook up some bits and pieces for the big man himself. We worked on about 6 or so beats (around that), and I ended up hooking up three intros and some beats for each one. The intros for parts 2 and 3 were from scratch by me, but the other stuff I made by using beats Buck sent me, rearranging/re-editing/reprogramming them and in some cases adding more bits to them (melodica, xylophones, cuts and whatnot), on tracks like ‘Not I’ and ‘Bury The Music’ to name a couple. This was such a great project to be a part of. I can safely say I’ll never forget what it was like hearing them all for the first time and making them all a part of my life ever since they got released. Not just because I had involvement at all, it’s not that (Although it has to be some of it!), but it was just so many ideas spread out over an hour which never lacked momentum or inventiveness. I just love all of them. It was a real pleasure to work on this.

I’d been working on the album through all this time, since 2004. Chipping away, stashing ideas away, or saving up beats. I’m definitely a perfectionist verging on OCD with what I do – I don’t know if it comes across but I put a huge amount of effort into anything I work on. Many of the tracks on Late Model Sedan have been through several switch up change ups over the years, especially the ones I started in 2004. They are ‘Shortlands Road Suite’ and ‘I Explode’. They’ve been with me for years, and that might explain why they are so long! One of the hardest things to do with solo productions is discipline yourself, especially when you’re not many years in the game. In many ways this is why the album is so long too… I’ve heard something about writers making debut books that are too long because they throw it all at it. I think I can understand that though – I think you have to get a fair bit out of your system but I’ve never tried to go for a mass appeal or target it specifically… I’ve always thought that if you can make something you’re happy to listen to for a while after, someone somewhere will appreciate it. Yes it is probably a self indulgent outlook but why not! I don’t even think I could make something that was specifically catered for a mass audience… If you know what I mean. But that’s not why I started making music and I don’t really want that.

I completed Late Model Sedan in the summer of 2008. Finally got it all sewn up and chopped up into tracks. I’ve learned more and more about EQing and all that stuff over the years, and I still find it tough, but I’m getting better. Most of this album was recorded at different times, on different equipment in different years, and in different locations. There are so many variables. While I paid it a huge amount of attention, I didn’t labour the mixdown element – I’ll say that. I could spend years and years absolutely perfecting it but to be brutally honest, I want textures and layers that display their qualities in other ways. Like I said, I am a perfectionist but more in the editing sense. I love great sounding recordings but I also love rough and rugged dictaphone recordings, crappy sampler music and lo fidelity recording aesthetics. I’ve always been really into Daniel Johnston‘s music and he recorded using tape recorder mics – I always went straight for the songs themselves.

Since then I’ve made a lot more music – I’m working on a bunch of projects, I’ve got loads of ideas to sort out and I’ve got so many more things to brush up and work on. Stay tuned yo – I’ll make more noise when these things are nearer to completion. It’s going to be a busy rest of the year and busy for the foreseeable future.

Oh yeah – you may still be able to hear some of the remixes I did as well – I’ve entered a fair few of the Strange Famous ones, including ‘Threewrite’, ‘Hoofprints In The Sand’, ‘Artist Goes Pop’ (which I shared winning position on) and ‘Talk About It’, which may still be up on the SFR site… Maybe getcha Google on.

I’m not sure what else to say! There is a lot more to include and I’ve certainly missed out on a lot here, but I’m on 8 pages on Microsoft Word and that’s pretty messed up by anyone’s standards so I’ll reign myself in right here goddammit. And if you made it this far, you’re crazy you absolute nutter. But thank you.

For now, please enjoy ‘Late Model Sedan’. It took years to build and there’s a lot of me in there. Take it round the block, take it on the road, let the kids take it out on a road trip. Whatever you like. Just remember the key word : PREMIUM. ‘Kay? ‘Kay.

There are some words on the Strange Famous site – my Late Model Sedan operators manual, which give some idea of how it came about, and this is pretty much the extended directors cut remix of those words. Again, I just felt I should give some background on who I am, some of what I’ve done and just fill you in on and up with some off the dome thoughts.

Ladies and gentlemen, it’s been a pleasure. There will be more. Thank you for your time. We will speak soon.

Be well.

Your pal,

Buddy Peace

(PS! *** BONUS LINK! ***)

‘Obituary Medicine’

A radio show podcast mix I made for ‘Rhythm Incursions’ back in 2006. It’s mainly indie rock kinds of stuff but I edited it a bunch and turned it all into a kind of mixtape – or how I would wanna hear a mix of this kind of stuff. It’s full on, you’ll dig it!

…just while I remember it. Enjoy!

Aug 18

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