Clint Eastwood was Gorillaz' first proper single. A huge smash initially in the UK, where it remained in the charts for months and the top 10 for weeks. At around the same time radio in Europe also went mad for the song. Slightly later in 2001 the song would also become a massive radio hit in the US and central and South America. Bigger than his previous smash, Song 2 (with Blur), this song remains Damon Albarn's biggest hit. In the UK the Ed Case Refix (available on all formats) actually got far more airplay than the A-side, probably resulting in the inclusion of said remix on the debut LP. B-side Dracula was probably the best of the off cuts from the 'Gorillaz' sessions, and tour rap group Phi Life Cypher also contributed a version.
FREE DL: http://psymbionic.bandcamp.com/track/gorillaz-clint-eastwood-psymbionic-remix
Here's a brand new drumstep remix in support of my upcoming EP, "Ride With Me", out April 3rd on MalLabel. When I first heard this Gorillaz track back in 2001ish, it totally blew me away because it was such a meshing of different styles. The tune really opened my eyes to many different kinds of music, especially underground electronic vibes.
Gorillaz - Clint Eastwood (Godlips Remix)
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Clint Stewart - Throwing Stones EP
[SECOND STATE: SNDST006]
A: Clint Stewart - Throwing Stones
B: Clint Stewart - Come Undone
For Clint's second solo effort on Second State he brings us two big room jams. With the Throwing Stones EP he takes the same approach as he did with the previous Warpaint EP by going for two different vibes on either side of the record.
On the A side we have 'Throwing Stones'; a peak time club tune perfect for dark spaces and strobe lights. With giant rolling sub bass, a heavy kick, crisp hi hats and crunchy hand claps the groove slowly grows into a big break with atmospheric chimes and vocal snippets. Soon you are lost in an ethereal break, but suddenly snapped back into reality as the bass changes and a single looping synth takes center stage creating a driving yet euphoric peak time floor filler.
With the flip side, Clint goes for a warmer, uplifting tone with 'Come Undone'. Starting with finger snaps and a growing arpeggio, the vibe slowly builds as big toms and dreamy atmospherics introduce a massive sub bass line. As a shaker creeps up and another synth blends with the original arpeggio the beat finally drops. A solid four to the floor groove ensues and culminates into a wash of delayed chimes as the breakdown introduces the lead; an unforgettable brass line that is sure to have all the hands in the air at a sunny open air or a morning at the club.