Maybe it’s some instant karma that on Mick Jagger’s birthday, I should mention the most brilliant mash-up of all time named “Rolling Confusion”, which seamlessly brings together the opening riff to the Stones’ “Street Fighting Man” with the Temptations’ “Ball Of Confusion” and then back to the Stones’ “Gimme Shelter”.



On Friday, I played DJ with my iPhone and through YouTube as the music in his restaurant is dire- and he doesn’t care nor does he know his music- and all those horrible soundalike recordings he was playing started to irk me.

I needed my fix of “Rolling Confusion”, a track that makes me giddy with excitement and horny with desire the way great Rock’n Roll should be.

The Temptations? Rock and Roll? They are here, baby, and let’s just remember that just because White Men Can’t Jump, Hendrix, Mr Chuckles Berry, Ms Little Richard and the mighty Prince have proven that black men can rock the casbah.

As for “Rolling Confusion”, it’s a mash-up by Mark Vidler from Go Home Productions- www.gohomeproductions.co.uk


Some years ago, someone from the company got in touch about seeing if I might be able to help them have access to footage from classic UK television Pop shows like “Top Of The Pops” and “The Old Grey Whistle Test” for their videos.


When with either Universal Music or EMI- or both- we tried, but, for reasons known only to them, the BBC decided to hold on to their content.

A decade later, they’ve still done bugger all with it.

And here’s what irks me about music channels, music programmers, content providers and music companies: They lament about the drop in sales, but today’s average music executive is too lazy, too scared to make a decision and is just dead weight holding on for that golden handshake.


In other words, they’re worse wankers than bankers and music companies have become grey, rigid, frigid establishments lacking any soul and totally void of creativity.

It’s Blade Runner country or Gotham City waiting for Batman to save it.


For years, the recorded side of music companies and the publishing sides have “worked” as enemies rather than allies, something many new to the inner workings of a music company will not understand as it’s so goofy and childish.

It’s also where it’s easier to say No than Yes while music executives just sit there and accept it as this is how it’s always been and they have no plans to upset the mangled status quo of what is an unmitigated mess that keeps good ideas in music- like mash-ups- happening.


Trawl through YouTube and there are some brilliant mash-ups- an incredibly creative one that brings together the Beatles’ “Helter Skelter” and Led Zep’s “Whole Lotta Love”, various mash-ups of the Police and Snow Patrol- one better than all the others- and a number of other brilliant work by Go Home Productions.



Where can one actually BUY these mash-ups?

Apart from the Go Home Productions site, no idea as, legally, these infringe copyright laws by using tracks that have not been “approved”.

Same with the videos that have been scratched together in order to have these mash-ups on YouTube.

And yet, though “illegal”, they’re mercifully still up there on YouTube with millions of other bootlegs that the music companies don’t own.

That night at my friend’s restaurant when playing Mr DJ and seeing the reaction to all these mash-ups- new music to many- it made me realize that, yes, this IS new music to many and that mash-ups bring the worlds of music together- old recordings with new recordings, the East with the West, Jazz and Pop, genre and genre.


It also shows musicians who don’t know enough about their art that THIS is how creative medleys should be in 2014 and not just one song following another.

That’s too easy and that’s part of a distant past.

Having said all this, the commercial future and mainstream marketing and promotion of mash-ups comes down to changes in mindsets and changes in copyright laws and those dreaded approval processes, all of which means months of time wasting- IF it even gets approved.


Add the approval processes for visual content into the mash-up, and it becomes a question of, “Do I really need this shit when those who it can also benefit- financially and creatively- apparently don’t care enough to make things happen?”


Well, maybe they do, but, most in music companies and music-related businesses today, simply don’t get it.

That’s what attending ceaseless “marketing” meetings and vapid music conferences do to minds.

It renders them useless and turns “executives” with the power to change things into corporate eunuchs.