I haven’t had a chance to buy records in a month or so, and so it seems I slept on the latest installment of what is shaping up to be one of the labels of the year for me, Live Jam Records. I tried for weeks to write a paragraph or two about how great a label Live Jam is (and offshoot labels Relative and Appointment), but I am just too exhausted from work and wedding planning that I haven’t been able to come up with anything particularly clever to say. I love Live Jam because they hold true to some of the same basic values that we at ISM live by: mostly analog gear, analog recording equipment, first-take-right-take, action without thought business that manifests in disco tinged house and gritty techno with an immediate presence. Live Jam instantly became a buy-on-sight label for me when I picked up the first release. So much so, in fact, that many of the tracks I ended up playing on this mix I had never heard before playing them while recording. After all, the spirit of Live Jam is to lay down cuts in one shot all the way through with no editing. It should actually be pretty obvious that I hadn’t listened to some of the tracks because the mixing is especially bumpy at points, but as the recent success of a couple Jamal Moss DJ mixes prove, it don’t really matter these days if your mixing is perfect. Live Jam are some difficult platters to find, limited runs of 500 copies create a high demand low supply kind of deal, so keep your eye peeled son. Here’s the mix. No tracklisting, I used every track from every Live Jam record from 1-4, the two Relative records, and the Appointment record. LJR5 and Relative 3 (crap, missed that one too!) were not out when I recorded this several weeks ago.
ETA: I tried listening back to the mix and matching up the sequence of the records but I found it nearly impossible. Also, I noticed there were several cuts that I didn’t get around to playing, so I am considering doing a part two of this mix at some point, hopefully when I get the latest releases.