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Bass Archaeology – Episode 17 Synopsis Episode 17 digs deep into the lineage of groove, connecting the raw, live energy of band-driven funk and soul through to hip-hop sampling culture, jazz, house, and modern bass led production. We open with the Bass Arch Grunge Band – “48 Years”, a stripped-back, live-rooted performance intro. From there, the episode moves into the golden age of soulful songwriting and session excellence. Lenny Kravitz – “It Ain’t Over ’Til It’s Over” delivers a masterclass in retro-funk construction, followed by Marvin Gaye – “Got to Give It Up”, where the infamous bassline and percussion groove capture the essence of late-night dancefloor improvisation and the birth of modern groove culture. The funk intensifies with The Gap Band – “Burn Rubber”, a synth-driven early-80s electro-funk statement, before sliding into the smoother, minimal perfection of “Outstanding”, where space becomes the instrument and the bassline does more with less than almost any record of its era. The journey shifts into 90s pop-funk and dance crossover energy with Michael Jackson – “Don’t Stop ’Til You Get Enough”, a track that bridges disco and modern pop with one of the most influential basslines in recorded music. From classic to contemporary, Cody Currie ft. MiK – “Cash” brings the jazz-house revival into focus, echoing vintage disco without directly sampling it, showing how modern producers are now playing the past rather than lifting it. The episode then moves into the DNA of hip-hop sampling culture with De La Soul – “Ring Ring Ring”, where layered funk and R&B records are rebuilt into something entirely new, followed by Naughty by Nature – “Hip Hop Hooray”, where soulful bass textures underpin one of hip-hop’s most enduring crowd anthems. We return to pure musicianship with George Benson – “Give Me the Night”, a Quincy Jones-produced masterpiece where Louis Johnson’s bass anchors a flawless fusion of jazz, disco and R&B sophistication. Closing the main journey, Ella Candeu – “Just Pretty” brings a modern banging bassline 303 palette, before the episode locks into the underground with Bass Arch DNB – “Rootsline Roll”, a breakbeat-driven finale that connects funk heritage to modern drum & bass pressure. Episode 17 is ultimately a study in continuity: how basslines evolve but never disappear. From live funk bands to synth-funk pioneers, from hip-hop sample collage to jazz-house reinterpretation, the low end remains the thread that ties every era together—always moving, always shaping the dancefloor.

Welcome to Episode 16 of the Bass Archaeology Podcast. Disco Tech - City Lights / Feel About you Noir Haze - Around (Solomon remix) All things break - Stay Crazy P - Open for Service Workers - A bronx Tape Piem & Cessie Innit - Colours of House George Morel - Lets Groove Plump Djs - Fired Up Stanton Warriors - Beggin Alex Reece - Pulp Fiction Sigma & Queen Mills - Little Things Jo Pacillo & French la Touche - The K Loop Rae & Christian - Spellbound Bass Archaeology Episode 16 – Full Synopsis Bass Archaeology 16 dives deep into the grooves, blending classic disco/boogie spirit with modern house, funky breaks, and soulful underground energy. The episode opens with Disco Tech bringing pure 70s-inspired heat through "City Lights" and "Feel About You" (Evelyn Champagne King vibes), delivering punchy disco-tech edits loaded with funky basslines and soulful vocals. It then flows into atmospheric deep house with Noir & Haze – Around (Solomun Remix), one of the most hypnotic and sexy tracks in the genre, setting a late-night, heady tone with its rolling bass and emotional vocal delivery. The journey continues with All Things Break – Stay, a smooth, emotional vocal house cut that adds a contemporary melodic touch. Crazy P – Open for Service injects playful, funk-laden house grooves with their signature live band feel and seductive energy. Mid-episode, things get raw and sample-heavy with Workers – A Bronx Tape, followed by the vibrant Piem & Cessle Innit – Colours of House, a colourful, feel-good house track full of warmth and groove. George Morel – Let’s Groove keeps the party spirit alive with old-school house energy, before Plump DJs – Fired Up brings bouncy, big-room breaks energy. The mix then shifts into proper breakbeat territory with Stanton Warriors – Beggin’, a high-energy, bass-driven rework, and the timeless jungle/drum & bass classic Alex Reece – Pulp Fiction — a smooth, rolling liquid masterpiece that showcases the evolution of bass music. Closing the episode on a strong note, we get Sigma & Queen Mills – Little Things (uplifting vocal vibes), the hypnotic tech-house of Jo Paciello & French La Touche – The K Loop, and finally Rae & Christian – Spellbound, a beautiful, soul-soaked downtempo closer that brings warmth and reflection. Bass Archaeology 16 is a rich, groove-focused journey that celebrates the full spectrum of bass-driven music — from disco roots and deep house hypnosis to energetic breaks and soulful refinement. It’s a true underground celebration of feel, funk, and low-end love

Bass Arch 15 – Full Tracklist & Synopsis Tracklist Erykah Badu – Tyrone De La Soul – Me Myself and I Diago – Step On Down Method Man – Jabberwock Pecoe – Shake That Funk tha Beat – In the Mix Warner Case & Jean Tonique – Shake Our Bones John Julius Knight – So What It’s a Jazz Thing Carey Holmes & Larry LaBirt – Let’s Do It Again Hardsoul ft. Ron Carroll – Back Together High Beam – Just What I Said Vibe Chemistry – Living Like This Bomb the Bass – One to One Religion Full Synopsis Bass Arch 15 traces the living memory of bass music, moving fluidly from warm, organic roots in soul, jazz, and hip-hop through to modern house, drum & bass, and experimental electronic terrain. The episode opens in rich, classic territory with Erykah Badu’s “Tyrone” and De La Soul’s “Me Myself and I”, grounding the set in golden-era soul and conscious hip-hop. From there it slides into funk-driven energy with Diago’s “Step On Down”, Method Man’s “Jabberwock”, Pecoe’s “Shake That”, and Funk tha Beat’s “In the Mix” — a run of raw, bass-heavy grooves that celebrate swing, attitude, and dancefloor physicality. The tone then shifts into modern reinterpretation. Warner Case & Jean Tonique’s “Shake Our Bones” injects nu-disco production into vintage groove language, proving how bass memory is constantly recycled and refreshed for today’s club culture. This segues into deeper jazz-house waters with John Julius Knight’s “So What It’s a Jazz Thing” and the feel-good soulful bounce of Carey Holmes & Larry LaBirt’s “Let’s Do It Again”. The episode lifts into proper soulful house uplift with Hardsoul ft. Ron Carroll’s “Back Together”, where soaring gospel vocals and punchy programmed basslines create an emotional, communal peak. Immediately afterward, High Beam’s “Just What I Said” pulls the sound into minimalist, sample-based electronic textures — a sleek contemporary reinterpretation of earlier musical identities. Late in the mix, drum & bass energy arrives via Vibe Chemistry’s “Living Like This”. Rolling basslines and liquid rhythms carry forward the emotional DNA of soul and jazz into high-tempo UK rave territory, blending warmth and intensity at breakneck speed. The episode closes in a darker, more experimental space with Bomb the Bass’s “One to One Religion”. Here bass becomes atmospheric architecture — reduced, industrial, and deeply spatial — suggesting future directions for electronic music that move beyond pure dancefloor functionality into immersive, cinematic territory. Bass Arch 15 is a journey that honors the continuum of bass culture: from the organic and familiar to the futuristic and abstract, always anchored in groove, soul, and low-end resonance.

Bass Archaeology – Episode 14 - Sunshine Daze! Episode 14 of Bass Archaeology travels through deep soul, jazz-funk, conscious hip-hop, electro, house and jungle to uncover how bass music evolved from warm analogue musicianship into rave futurism. This journey starts in the sun-drenched atmosphere of Everybody Loves the Sunshine by Roy Ayers, where hypnotic basslines, drifting Rhodes chords and loose groove philosophy laid foundations that producers would sample and reinterpret for decades to come. From there, the emotional storytelling of Midnight Train to Georgia by Gladys Knight & the Pips showcases bass as narrative support rather than technical showmanship. The warm melodic playing underneath Gladys Knight’s timeless vocal performance reveals how soul music used restraint, pocket and feel to create emotional depth. The show then drifts into the jazz-rap haze of Pacifics by Digable Planets, where sampled jazz textures and dusty low-end grooves transformed old records into entirely new worlds. That atmosphere deepens further with Thieves in the Night by Black Star, a philosophical and socially conscious masterpiece that uses sparse boom-bap bass weight and haunting samples to create one of the defining underground hip-hop statements of the late 90s. Electro and reggae collide next with Reckless by Afrika Bambaataa featuring UB40, capturing a period where programmed basslines and drum machines began reshaping global dance music culture. That evolution accelerates into the club foundations of modern electronic music with Ooh, I Love It (Love Break) by The Salsoul Orchestra, one of the most sampled dance records ever made and a crucial bridge between disco orchestration, electro-funk and hip-hop break culture... The second half of the episode explores how these foundations evolved into house and rave futurism. Can You Feel It by Mr. Fingers channels deep house minimalism into spiritual club music, while Lindo Momento by Monsieur Van Pratt reinterprets disco warmth through modern nu-disco production and analogue-inspired groove. Underground pressure arrives through modern house gem called 'Games' and Jungle originiations like 'Untouchable' , before the journey descends fully into the shadowy low-end futurism of Valley of the Shadows by Origin Unknown one of jungle and drum & bass culture’s most iconic atmospheric records. Finally, Out of Space by The Prodigy detonates the rave energy completely, fusing reggae samples, breakbeats and hardcore intensity into a defining anthem of UK electronic music culture, before the Bass Archaeology band closes the episode with a liquid drum & bass outro that brings the entire low-end journey full circle. Episode 14 traces the DNA of bass music across decades and genres — from live soul musicianship and jazz-funk atmosphere to sample culture, deep house hypnosis, jungle futurism and rave energy — revealing how groove, space and bass pressure continue to connect every era of underground music history.

Bass Archaeology Episode 13: Cross the Tracks This week, we dust off the crates and embark on a soulful, funky, and house-infused journey that crosses musical borders, emotional highs, and dancefloor heartbeats. We kick things off with the raw, James Brown-produced funk fire of Maceo & The Macks and their irresistible call to “Cross the Tracks (We Better Go Back).” From there, The Meters lay down that signature New Orleans groove with the joyful strut of “Just Kissed My Baby,” reminding us that sometimes the simplest pleasures hit hardest. We ride the reggae train with Damian Marley (feat. Stephen Marley) on the uplifting, herb-infused “Medication,” then catch the one-and-only Dennis Brown boarding the “Westbound Train” for a roots reggae escape filled with smooth longing and redemption. Things heat up on the disco floor as Loleatta Holloway delivers pure vocal ecstasy in the timeless “Love Sensation,” followed by a deep dancefloor moment with the Larry Levan mix of Gwen Guthrie’s “It Should Have Been You.” Patrice Rushen keeps the romance alive with the smooth, unforgettable bassline of “Forget Me Nots.” We slide into soulful deep house territory with Kings of Tomorrow featuring Julie McKnight on the gospel-tinged anthem “Finally,” then keep the late-night vibes rolling with Miguel Campbell’s bouncy, seductive “Something Special.” The emotional core hits when Frankie Knuckles (with Satoshi Tomiie) brings the deep house classic “Tears,” a track that still moves bodies and souls in equal measure. Raze answers with the urgent, body-rocking demand of “Break 4 Love,” before DJ Vas drops the playful, sample-heavy “Wizard Funk” to keep the energy quirky and funky. We close the crate with a swing and a smile courtesy of Kid Creole & The Coconuts and their flamboyant, irresistible “I’m a Wonderful Thing, Baby.” From 70s funk and reggae to 80s disco, 90s house, and beyond—this episode is all about the basslines that connect generations, the tracks that make you move, and the timeless feeling of digging deep. Tune in, turn it up, and let the archaeology begin.

BASS ARCHAEOLOGY – Episode 12 “Purple Funk & Soulful Musicology” A Prince Tribute Special Welcome to Episode 12 of Bass Archaeology – a deep, funky, chunky, and soulful live-recorded journey through Prince’s incredible catalog. This episode is a heartfelt tribute to the one and only Prince Rogers Nelson, the Purple One, the multi-instrumental genius, and one of the funkiest bass players to ever grace the stage. We dig deep into his rich vault and deliver a warm, groovy mix featuring: Controversy When Doves Cry 17 Days Sexy M.F. Chelsea Rodgers Musicology Breakdown The Love We Make Stand Up and B Strong One Day We Will All B Free Purple Rain …plus a few more hidden gems that showcase Prince’s legendary bass lines, hypnotic grooves, and soul-stirring vocals. From raw early-80s funk to uplifting gospel-tinged ballads, this episode celebrates Prince’s unmatched creativity, his deep pocket, and the warm, spiritual “hug” his music continues to give the world. Turn it up loud, let the bass breathe, and feel the purple energy wrap around you. This one’s for the lovers of real funk, real soul, and real bass.

Episode 11 arrives like golden hour at a summer festival, sun dipping low, energy high, and the air alive with rhythm. Opening with the laid-back groove of Fat Freddy’s Drop’s Ernie, the scene is set: barefoot in the grass, sound systems humming, and a crowd slowly swaying as the day transitions into night. The vibe builds through the uplifting blues textures of Conditions Are Right, before rolling into the iconic balearic rework of The Man With The Red Face, a moment that feels like a live brass section echoing across a packed field. As the sun fades, Dexter Wansel’s Sweetest Pain and Amy Winehouse’s Cupid bring warmth and soul, like that perfect festival lull where everyone reconnects and resets. The groove intensifies as Bernard Wright’s Haboglabotribin’ injects pure bass funk energy crowds dancing, hands in the air before Jamiroquai’s Little L lifts things into full on festival euphoria. The blend of soulful house in Darryl Debonnas - Just to Be With You and the heartfelt pull of Angie Stone’s Miss You captures that magic of shared moments under open skies. As night fully takes hold, Eric B. & Rakim’s Know The Ledge cuts through with raw, timeless energy like a late-night set pulling everyone closer to the speakers. Closing with Raye’s Nightingale Lane, the episode winds down like the final moments of a perfect festival day, lights dimming, music fading, but the feeling lingering long after. A seamless journey through soul, jazz, house, and hip-hop, Episode 11 captures that festival magic where music, people, and atmosphere collide into something unforgettable.

Bass Archaeology – Episode 9: Hip-Hop Roots, Brass Grooves & Underground Bass Episode 9 of Bass Archaeology continues the journey through the records, rhythms and basslines that have shaped generations of music. This instalment moves fluidly between hip-hop foundations, alternative rock grooves, UK electronic culture and modern house music, all connected by the deep low-end pulse that sits at the heart of every great track. The episode opens with Cookee’s Hip ‘Pop’ Hop track, setting the tone with a playful nod to classic hip-hop rhythms and bass-led groove, blended with a pop twist that feels both nostalgic and fresh. From there the show moves into the socially conscious sound of A1 People with The Visit and God Loves Brixton, capturing the energy, identity and spirit of South London street culture, driven by gritty beats and powerful bass foundations. From there the show jumps into the explosive alternative hip-hop energy of Beastie Boys, pairing the sample-heavy funk groove of Root Down with the raw bass guitar-driven chaos of Sabotage. These two tracks remind us how hip-hop and rock collided in the 90s to create something loud, rebellious and unforgettable. The rock thread continues with Red Hot Chili Peppers, where the melodic textures of Desecration Smile and the emotional sweep of Wet Sand showcase the band’s signature fusion of rock, funk and deep rhythmic movement, carried by the unmistakable bass playing of Flea, whose style has influenced generations of bass players. Electronic bass culture arrives next with the pioneering UK sound of Leftfield and the classic track Original, a cornerstone of 90s progressive house and dub-influenced dance music that helped define how bass could move a dancefloor as much as it moved a sound system. Hip-hop returns with one of the genre’s most beloved jazz-infused moments as The Pharcyde deliver Passing Me By, a laid-back West Coast classic built on warm upright bass samples and soulful storytelling that perfectly captures the golden-era feel of thoughtful, groove-led hip-hop. The groove then shifts into something entirely different with the explosive brass-driven funk of Youngblood Brass Band and their high-energy anthem Brooklyn. Blending jazz tradition with hip-hop attitude, the track’s powerful sousaphone bass lines create a huge, celebratory sound that builds into a brass-fuelled crescendo in the middle of the show. UK garage house takes the spotlight next with MJ Cole’s Be Sincere (Wild Side Remix), a track that captures the silky swing and bass-heavy elegance that defined the early UK garage scene, where shuffled rhythms and warm sub-bass ruled late-night dancefloors. The episode then glides into late-night territory with the smooth Latin-infused house groove of Havana Jazz by Blanco K and T Markakis, bringing a sun-soaked, sophisticated club vibe that blends jazz chords, rolling basslines and hypnotic percussion. Finally, the journey closes with Cookee’s House Groove Vocal Mix outro, bringing the show full circle with a warm, uplifting, dancefloor-ready finale filled with soulful vocals and deep house bass energy. Episode 9 once again proves that basslines are the thread connecting every era of music — from hip-hop blocks and rock stages to underground clubs and brass-filled streets. Whether played on electric bass, sampled from vinyl, blown through brass instruments or delivered through a club sound system, the low end remains the heartbeat of the music we love. And that heartbeat is exactly what Bass Archaeology is all about.

Episode 8 Synopsis This episode delivers a vibrant, eclectic mix that bridges classic rock, reggae, hip-hop, electronic/chillout vibes, and Britpop/indie energy, framed by a groovy bass-driven bookend. It opens and closes with Bass Arch Banda funky, bass-heavy ensemble providing a soulful gospel intro to set a rhythmic, uplifting tone, and an outro to bring it full circle with that deep pocket feel. The playlist flows through timeless anthems and remixes: Bob Marley - Jamming (MC Lyte remix): A reggae classic re-energized with MC Lyte's rap verses, blending Bob's laid-back "we're jammin'" spirit with hip-hop flair from the late '90s Chant Down Babylon era remix—pure crossover positivity. Morcheeba - Moog Island: Chill trip-hop from the '90s, with dreamy synths, mellow beats, and Skye Edwards' smooth vocals creating a hazy, island escape vibe. David Bowie - Starman / Space Oddity: Iconic glam/space rock double-header—Starman's hopeful alien contact riff and Space Oddity's haunting astronaut tale, showcasing Bowie's storytelling genius. Chuck Berry - Mean Old World: Raw, pioneering rock 'n' roll blues from the legend, full of twangy guitar and storytelling grit. Rolling Stones - Miss You: Disco-infused late-'70s Stones groove, with that unforgettable bassline and Mick's yearning delivery. Gomez - "Las Vegas Dealer" from Liquid Skin) - Psychedelic Britrock with multi-vocal harmonies, laid-back grooves, and quirky energy. Oasis - Supersonic / Champagne Supernova: Britpop firepower—Supersonic's raw, fast-paced swagger and Champagne Supernova's epic, swirling psychedelic closer. Radiohead - Bones: Intense, angular rock from The Bends, with Thom Yorke's raw vocals and driving guitars capturing existential edge. Faithless - Insomnia: Epic '90s dance anthem—hypnotic house/trance build, Maxi Jazz's spoken-word insomnia confession, and pounding beats. Circa92 - 808 State - Pacific State: A modern rework/cover of the 1989 chillout classic, keeping the iconic soprano sax melody, rolling bass, and tropical exotica feel (Circa92's version adds contemporary house energy). Young MC - Knowhow (Stanton Warriors remix): Late-'80s hip-hop party track ("Know How") flipped into a breakbeat/electronic banger by Stanton Warriors—funky samples meet club-ready drops. The episode wraps with the Bass Arch Band outro, echoing the gospel-tinged bass groove to leave listeners in a reflective, rhythmic close. Overall, it's a nostalgic yet fresh journey through eras and genres perfect for a late-night drive, chill session, or high-energy mix that celebrates basslines, remixes, and timeless hooks.

Bass Archaeology – Episode 7: From Blues Roots to Dancefloor Benedictions Dive into the evolutionary journey of the bassline in Episode 7 of *Bass Archaeology*, hosted by a passionate explorer of low-end history. This episode traces the bass's role as the heartbeat of music—from its raw, foundational grooves in blues through reggae's revolutionary pulse, Minneapolis funk's innovative flair, golden-age hip-hop's stark minimalism, soulful reinventions, and finally into the euphoric, unifying depths of house music. The bass here isn't just rhythm; it's a storyteller, an agitator, a cultural unifier, carrying messages of protest, celebration, seduction, and spirituality across decades and genres. The episode opens with raw, organic blues feel to ground listeners in the origins of groove, then builds chronologically and stylistically through reggae's political consciousness, 80s soul sophistication, hip-hop's head-nod authority, retro soul revivals, and modern deep house transcendence. Each track highlights the bass player's artistry—whether through walking lines, hypnotic one-drops, sampled elegance, or rolling house grooves—showing how the low frequencies have carried culture forward. Tracklist Bass Notes 1. **Cookee’s Bass Arch Blues Band – Folli** A gritty, live-feel blues opener featuring walking bass lines with deliberate space and an organic, earthy tone. This raw roots performance reminds us that all groove begins with pure feel and human touch. 2. **Ella Fitzgerald – 3 Little Men** Classic swing-era jazz with upright bass driving the rhythm section through elegant walking patterns. A masterclass in mid-century restraint and swing groove. 3. **Delroy Wilson – Better Must Come (1971)** Recorded at Jamaica's legendary Studio One amid political tension. The heavy, hypnotic reggae bass—melodic yet deeply grounded—carries both the rhythm and the era's hopeful message of change. 4. **Toots and the Maytals – 54-46 That’s My Number (1968)** One of reggae's most iconic basslines, played by **Jackie Jackson**. His minimal, locked-in approach anchors the one-drop groove, delivering pure Kingston bounce and infectious energy. 5. **Prince – Same Page, Different Book (2015)** From the *HITnRUN Phase One* era, this track channels Minneapolis funk through modern production. The punchy, syncopated bass—performed by **Tal Wilkenfeld**—is sparse yet deliberate, blending precision with Prince's signature flair. 6. **Keni Burke – Risin’ to the Top (1982)** That legendary bassline—played by **Keni Burke** himself—glides with smooth, uplifting sophistication. A cornerstone of early 80s soul, endlessly sampled in hip-hop and R&B for its effortless groove. 7. **Eric B. & Rakim – Paid in Full (1987)** Golden-age hip-hop minimalism at its finest. The bassline (replayed from Dennis Edwards' "Don't Look Any Further") underpins Rakim's revolutionary flow with space, repetition, and undeniable head-nod authority. 8. **Grandmaster Flash and the Furious Five – The Message (1982)** A landmark in hip-hop history. The stark, moody bassline—performed by **Doug Wimbish** (of Sugar Hill Records' house band)—reinforces the track's gritty street reportage and social commentary. 9. **Amy Winehouse – You Know I’m No Good (2006)** with a deep, dub-influenced bass tone (played by **Homer Steinweiss** or **Nick Movshon** in the Dap-Kings style) under Mark Ronson's retro soul production. Thick, moody, and instantly recognizable. 10. **Stevie Wonder – We Can Work It Out (1970)** Stevie's own clavinet and bass interplay transforms the Beatles classic into funk-driven magic. The low end is melodic yet rhythmically sharp and innovative. 11. **Sharon Redd – Can You Handle It (1980)** Early 80s club soul with an elastic, urgent disco bassline that pulses with NYC dancefloor drive and energy. 12. **Taste of Bitter Love (DiscoTech Remix)** The remix amplifies the original's gospel-disco roots, boosting the bass weight for contemporary dancefloors while preserving soulful uplift. 13. **Director's Cut – Love Hangover (Remix)** A house reimagining of the Diana Ross classic. The bass drops deeper and warmer, stretched out for immersive late-night club euphoria. 14. **Black Machine – How Gee (Remix) (1991)** Hip-house fusion with a bold, rubbery bassline that captures early 90s rave culture's high-energy crossover. 15. **Hot Natured feat. Ali Love – Benediction (2012)** A modern deep house anthem featuring a rolling bass groove paired with spiritual vocal energy—pure sunrise-set territory. 16. **Lovebirds – Want You In My Soul (2011)** Warm, looping house bass built for emotional connection. Soulful, hypnotic, and charged with intimacy—the ideal closing embrace. From blues walking lines to reggae rebellion, sampled soul sophistication to house music transcendence, this episode illuminates how the bassline has evolved as a vessel for culture. It lives in the low frequencies as protest, celebration, seduction, and spirituality—proving the bass isn't just support; it's the thread that binds generations and genres together. Tune in for a deep, groove-filled archaeology lesson that celebrates the unsung heroes of the bottom end.

**Bass Archaeology – Episode 6** is a journey through groove, restraint, soul and emotional depth, tracing how the bass guitar (and low-end in all its forms) shapes feeling across generations. This episode moves from deep-pocket funk to cinematic pop, from system culture sub-bass to melodic classic rock, always returning to one central idea: the bass is the emotional compass of the song. The foundation is laid with ***Aretha Franklin – Rock Steady***, powered by the impeccable **Chuck Rainey**. His syncopated, bubbling line doesn’t just underpin the track, it drives it forward with swagger and precision. Rainey’s feel is elastic yet locked, a masterclass in groove economy that sets the tone for the episode’s emphasis on pocket and feel over flash. That dancefloor pulse carries into ***Sybil – Let Yourself Go***, where late-80s electronic disco soul production leans on rounded, supportive bass that keeps things buoyant and optimistic. It’s smooth, club-ready low-end, less intricate, more about lift and flow. Then ***Galliano – Little Ghetto Boy*** deepens the conversation. Rooted in the UK acid jazz movement, the bass playing here is fluid and expressive, echoing jazz phrasing while holding down a streetwise groove. It feels conscious, grounded, socially aware. The mood shifts into atmosphere with ***Nightmares on Wax – Nights Interlude & Stars***. Here, the bass becomes textural & warm, enveloping, almost meditative. It’s less about the line and more about the tone, acting as a cushion for late-night introspection. That low-frequency immersion continues through ***Layo & Bushwacka! – Deep South (Lazyboy Remix)*** and ***Buck Meets Dub Theory – Dub Theory Rework***, where bass is engineered as much as played. These tracks nod to reggae and dub lineage with sub-bass as physical presence, felt in the chest, creating space as much as rhythm. Modern soul re-enters with ***Olivia Dean – Loud***, where live bass adds intimacy and humanity beneath her vocal vulnerability of the voice and talent of now as a total constrast. Then comes a masterclass in groove minimalism: ***Luther Vandross – Never Too Much***, anchored by **Marcus Miller**. His crisp, articulate line is joyful and propulsive, a perfect example of how technical precision can still feel effortless and celebratory. ***SAULT – Masterpiece*** strips things back emotionally. The bass is understated but essential & grounding the track’s affirming, almost spiritual tone. It’s proof that sometimes the most powerful basslines are the ones that breathe and allow space. Vulnerability peaks with ***RAYE – I Know You’re Hurting (Live, Montreux)***, The Amazing voice of a generation RAYE, where the bass reacts in real time, dynamic and sensitive. It underscores the fragility of the performanc, A live bass and melody as good as any emotional support system. The episode then widens into psychedelia with ***The Beatles – Strawberry Fields Forever***. **Paul McCartney’s** melodic approach to bass playing is front and centre, inventive, exploratory, almost orchestral. His lines don’t just sit in the background; they converse with the song’s surreal textures. The scope widens further with Eagles – Hotel California (Live), where the bass locks into a steady, expansive rock foundation, supporting the drama of the performance. Finally, Fleetwood Mac – Dreams closes the episode with John McVie’s restrained, hypnotic pulse — calm, spacious, timeless. Finally, ***Fleetwood Mac – Dreams*** closes the journey with the restrained brilliance of **John McVie**. His playing is steady, spacious, hypnotic — a reminder that feel, timing and note choice outweigh complexity. The bass doesn’t shout; it reassures. Across Episode 6, the feeling that runs throughout is emotional grounding through the message of sound, Whether through funk precision, acid jazz fluidity, dub depth, soul warmth, or classic rock melody, the bass consistently acts as the anchor, the element that holds everything together while allowing the story to unfold above it. This episode is about, feeling, patience, tone, and truth. It’s about listening beyond the surface and recognising that the real narrative often lives in the low end which drives the univererse forward with aplomb. See you on Episode 7. Cookee

Welcome to Episode 5 of Bass Archaeology – a deep dig into the DNA of modern bass culture dug on a pure vinyl show. This episode traces the lineage from early breakbeats and hip-hop foundations through funk, acid jazz, jungle, big beat and into soulful drum & bass and UK breakbeat. It’s a journey across decades where the bassline isn’t just support, it’s the main storyteller. From iconic sampled breaks to live musicianship, from club anthems to headphone moments, this episode celebrates how bass connects genres, scenes and generations. Full Setlist – Episode 5 Bass Arch Band DNB Intro Incredible Bongo Band – Apache The Sugarhill Gang – Rapper’s Delight Grandmaster Flash and the Furious Five – Step Off Prince – Alphabet St. Jamiroquai – Soul Education (Live) Roni Size/Reprazent – Brown Paper Bag Alex Reece – Feel The Sunshine (DJ Pulse Remix Lenzman – Pictures of You (feat. DRS) Lenny Fontana – Spread Love (Nu:Tone Remix Adam Freeland – Supernatural Thing (feat. Alison David) Freestylers – Push Up (Plump DJs Remix) Fatboy Slim – First Down Sade – Is It a Crime Outro Track

*The BASS ARCHAEOLOGY Podcast EP4- OUT NOW** Welcome to the fourth instalment Hosted by Cookee of a series exploring every dimension of bass culture, history, and innovation with a journey amongst my record collection. Ive spent Forty-eight years deep in the crates Digging through the grooves, uncovering the breaks From rock to reggae, house to jungle sounds Bass Archaeology, is what we’ve found Spinning the vinyl, playing the 4 strings, Every record tells a story, hear what history brings No limits, no borders, just the low-end truth Excavating Music from the fountain of my youth. **Featuring original music by the amazing artists below,** Cookees_BassArchBand - Deep in the Crates Bob Marley - Get up Stand Up / Rat Race Soul 2 Soul - Keep on Movin Roots Manuva - Juggle Tings Beastie Boys - Son of Neckbone / Get it together/ feat Q-Tip Naughty by Nature - Ghetto B/ Everythings Gonna be alright Massive Attack - unfinished sympathy wShara Nelson Reef - Weird Skunk Anansie - Charity RATM - Bombtrack Smashing Pumpkins - Disarm Nirvana - Come as you are The Kooks - Naive Outro

Welcome to the third installment Hosted by Cookee of a series exploring every dimension of bass culture, history, and innovation via my record collection. This is not a dj Mix Episode 3 Cookees intro song Herbie Hancock - Rockit 1983 Short & Shortie - Naughty but Nice (Bushwacka! End004.1996) Sunkids - Rise Up feat Chance (Tony Humphries - 2000) Liquid People Y2k ReGroove - You used to Hold Me so Tight(feat Thelma Houston) Groove Armada - Chicago Daft Punk - Lose yourself to dance (Feat Pharrell/Nile Rogers
 Radiohead - High and Dry Brad - 20th Century Alice In Chains - Nutshell Aretha Franklin - Nite Life (Live) Buddy Guy & Junior Wells - How can a women treat a man so mean Pink Floyd - The Great Gig in the Sky Cookes outro song This is the latest podcast in the series. The Bass Archaeology Podcast will cover all aspects of bass - from funk foundations to jungle, from studio legends to underground innovators.

The BASS ARCHAEOLOGY Podcast EP2- OUT NOW Welcome to the second installment Hosted by Cookee of a long series exploring every dimension of bass culture, history, and innovation. Ive spent Forty-eight years deep in the crates Digging through the grooves, uncovering the breaks From rock to reggae, house to jungle sounds Bass Archaeology, is what we’ve found Spinning the vinyl, playing the 4 strings Every record tells a story, hear what history brings No limits, no borders, just the low-end truth Excavating Music from the fountain of my youth. Featuring original music by the amazing artists below, top and tailed by Cookees_BassArchBand Cookees_BassArchBand - 48 Years Deep pt1 Miles Davis - So what - w/Paul Chambers Nina Simon - My Baby Just Cares - w/Jimmy Bond The Black Crowes - Non Fiction - w/Rich Robinson Pearl Jam - Jeremy (unplugged) - w/Jeff Ament RHCP - Tippa my Tongue - w/Flea The Doors - L.A. Woman - w/Jerry Scheff The Brand New Heavies - Highest High - w/Andrew Levy Jungle - Dominoes & Ive Been in Love - w/Josh Lloyd/Lydia Kitto Olivia Dean - A couple of minutes - w/Finn Zefferino-Birchall

 Chic - Everybody Dance - w/Bernard Edwards. Cookees_BassArchBand - 48 Years TripHopOutro This is the latest podcast in the series. The Bass Archaeology Podcast will cover all aspects of bass - from funk foundations to jungle, from studio legends to underground innovators.

The Bass Archaeology Podcast - Episode 1 - Hosted by Cookee BASS ARCHAEOLOGY EPISODE 1 - OUT NOW Welcome to the first installment of a long series exploring every dimension of bass culture, history, and innovation. From the iconic slap of Chic’s “Good Times” to the deep rolling breaks of Breakbeat Era’s “Ultra Obscene,” Volume 1 takes you on a journey through decades of bass mastery. **Ep1 - FEATURED TRACKS & ARTISTS:** We Chic - Good Times Massive Attack - Safe from Harm Jamiroquai - Runaway Guru - Loungin’ (feat. Donald Byrd) Ezra Collective feat. Olivia Dean - No One’s Watching Me Nuyorican Soul - Black Gold of the Sun (feat. Jocelyn Brown) Guru - Never No Time to Play (feat. Ronny Jordan & DC Lee) Dillinger - Cocaine In My Brain (G-Corporation Remix) Breakbeat Era - Ultra Obscene Break & Total Science - Blame You This is just the beginning. Bass Archaeology will cover all aspects of bass - from funk foundations to jungle warfare, from studio legends to underground innovators. #BassArchaeology #BassMusic #Chic #MassiveAttack #Jamiroquai #Guru #EzraCollective #NuyoricanSoul #ThieveryCorporation #BreakbeatEra #DrumAndBass #FunkMusic #HipHop #JazzFunk #MusicPodcast #BasslineCulture

DJ Cookee returns live on Back2LifeSessions for an exclusive online-only radio showcase on Mixlr. We’re warming things up for the legendary House of Honey Christmas Party at Omeara on Saturday 29th November — and Cookee’s digging deep into the archives… expect soulful rollers, underground house bass heat, and a few forgotten warehouse gems that never fail to lift the ceiling.

BUY YOUR TICKETS HERE: https://www.tickettailor.com/events/barnbeats/1553922 We're delighted to be able to invite you to Barn Beats 2025. After a great event last year, we thought we'd do it again! Set on a gorgeous farm in Surrey, the party action takes place in a beautiful 16th Century oak-framed barn, and we'll have fab food and a great drinks selection in the adjacent courtyard provided by PHD. The camping is easy - a nice, flat field across from the barn, with nice loos and hot showers too.

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The buzz is real… and it’s sweet! You’re officially invited to our online radio GIVE! promo show 2025 – hosted by Cookee and featuring an exclusive new mix by Ben the Bee – live on Back2LifeSessions via Mixlr (download app via app store) This isn’t just any promo show… It’s our 10th GIVE special ON B2LS, and trust us – it could well be the best one yet. Expect deep laden bassline grooves, feel-good house, and that signature GIVE energy that’s built a real community over the years between us on B2LS and the honey pot of love. Whether you’ve been with us from the start or this is your first time,

A weekly, monthly and always a live show [email protected]

A massive THANK YOU to everyone who tuned in to The Eclectic 'Chilli' Show last night! It was a full journey through my record collection—some new, some not so—but all played straight from vinyl for that pure, warm sound. From Jazz to Northern Soul, Blues to Rock, Pop, Disco to Old Skool classics, it was a true multi-genre affair from start to finish, with the perfect vibes for easy listening and chilling by the fire during this winter cold snap. ❄ The chat room was alive with great energy, and I appreciate everyone who joined in for the ride—your company made it even more special! Music is life. See you soon!

Basslines all the way through,Breaks into DNB

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Hip Hop into House...Podcast action. https://www.facebook.com/groups/back2lifesessions

Jazz Club Live Radio Performance. Artists such as Billie Holliday Dizzie Gillespie Julie London Ella Fitzgerald Louis Armstrong And many more.

Garage in the mix

Cookee_RhinoBassDisco SAVE THE RHINOS. DIG deep for the annual fundraiser Big LOVE BEZZA x https://www.justgiving.com/page/berry-white-1686843767831?utm_source=copyLink&utm_medium=one_page&utm_content=page/berry-white-1686843767831&utm_campaign=pfp-share&utm_term=2ad6443e35c84246902984deb7f996bd

Cookee_199 show...LIVE on air

Breaks and DNB session with Curly Commander LIVE on air. Includes mic.

part-2-of-cookee-200-wonderful-times-live back2lifesessions and feel good friday

cookee-200-wonderful-times-live_back2lifesessions Feel Good Friday episode 200. @CurlyCommander

For my wonderful Friend Zoe W on her 40th Jubilee event.

Tribal Tech Workout..Always live Mixing..No SyncVicars here. email [email protected] for bookings.

I first met Ferg and Mardi at Kimberley circa 2005 over a tea bag. instant love lasts 20 years... Was my pleasure to play and perform at Dickfest (40), Mardigras (50), MFA (50). Some huge beautiful events full of love and light.. Here is my live mix (minus the crowds whoops) Recorded live from the Empire Stage Sunday 7pm For Mardi at 60..Happy Birthday with love...Cookeeeee [email protected]

Bass driven house beats with an upfront 2am vibe

A weekly, monthly and always a live show [email protected]

Supporting Save the Rhino since the late 90s. Donate as sadly we still face a struggle to keep these animals on earth.. Spread Love. DL and donate please.. https://www.justgiving.com/fundraising/Berry-White With love to Rhino Bez..xx

A weekly, monthly and always a live show [email protected]

A weekly, monthly and always a live show [email protected]

A very different show from the normal. Guitars and Drums and Rock Legends

A weekly, monthly and always a live show [email protected]

CC show 22 Recorded Live July 2020

private xmas mix

covid lockdown sessions... Recorded Live Friday 29th May Only on the back2lifesessions. THANKS FOR ALL THE FISH IN THE PAST 12WEEKS mixlr.com/back2lifesessions/showreel

Cookee - CoronaBassHouse. More bass, less than a virus

A weekly, monthly and always a live show [email protected]

A live mix from 2012. Many still love this one. Its now available forever.

Cookee - Back2lifesessions - Mayday Mix up - Live Vinyl mix.

its a game of two halves.. house into breaks