Music Downloads

A combo I didn't think would work, but sort of did. Made the Bootie Best of 2024 proving my continued relevance. Also, to explain the cover, I was trying to make some connection between the Justice cross and the model airplane in the Stardust video, which is... vaguely cross-shaped... admittedly a bit of a stretch.

As heard in the movie "Sisters"!

I'd been hearing "Laktos" around and I was like, "huh, those happy little chords sound familiar," and eventually it hit me they sounded like Coldplay. Weirdly, years later, Ingrosso himself made a mashup of "Laktos" with MGMT's "Kids" he called "Kidsos" that got a lot of attention, but I don't think those fit together quite as well. I dunno.

I made the first version of this for the Sixx Mixx in early 2004. I think. Who knows. I mean, I wasn't keeping a diary. But anyway, the Daft Punk/Queen combination showed up in a video game, to my surprise, but what are you gonna do, so I thought I'd cash in on its notoriety by remastering it and making a cute new cover. And when I say "cash in," I mean, not get any cash whatsoever, from anyone.

I'm not sure what could have been a better title here. "Just What I Poked"? Anyway, I'd been wanting to make something out of this classic Cars track for a while, but there's no instrumental, so I kind of had to build one, and it's admittedly a bit sloppy.

While most of my mashups turn up the energy from the original to an almost intolerable level, I like how this one kinda brings the intensity down a notch from Crookers famous mix of "Day 'n Nite."

Credit for this number goes to my pal Kristi; I was planning a Bootie video set and fretting about not having any mashups that appeal to the hipsters, since I seem to always gravitate to the 80s for my bootleg raw materials. And she said hey, what about that Vampire Weekend band, hipster kids love them, and I was like, okay. She was right.

I hope people understand that there's a bit of self-mockery going on here, in the sense that it was highly amusing to me that one would take one's "hit" and then beat it to death with cheesy remixes and new versions, like an aging Vegas crooner updating their classics. Or, more admirably, like New Order constantly remixing "Blue Monday." Who knows. This doesn't really go anywhere, structurally, but I do like how the vocals sit over the Kanye instrumental, and I really think I stepped up my photoshop skills for the cover.

So I hear "My Love" out and about, and I realize, "holy crap, this is just like Radiohead's Reckoner, complete with falsetto croonery." Then I waste a few days putting it together, and then I realize the Oakenfold mix is actually really good and deserves its own version. Fun.

I actually quite like this and played the heck out of it at all sorts of gigs.

A ridiculous combo that got a smidgen of laughs when I put together in late 2008 and then had another spurt of interest in late '09/early '10. Cory Doctorow of Boing Boing called it his all-time favorite mashup as well as "gloriously stupid," which is probably the kindest possible description of my work ever.

Started off with a plain old Justice / Kanye mashup, and then as a special remix specifically for an all-video DJ set, added in what is (apparently?) the stuttery Soulwax re-edit of Beethoven's 5th in a bit of a cheeky reference to A+D's smash hit mixing Beethoven and Kanye a few years back.

I was a big fan of Bat for Lashes' album Two Suns. Maybe I'm a total girly-man (maybe!) but I really identified, lyrically, with "What's a Girl to Do," and Natasha really hit the nail on the head again with the despairing "Sleep Alone." The song's insistent rhythm seemed to cry out for a progressive style remix, but of course I was too lazy to go and make my own beats, so I just went looking for some instrumental dance track in the same key, and I remember Egostereo's chilly remix of the Shawn Christopher classic "Another Sleepless Night," which turns out to also have a nice lyrical similarity as well.

I never really wanted to release this, since it's super lazy and sloppy and I totally admit it was just something I made so I could play "Jump Around" at Bootie. But people like House of Pain and Queen and junk, so here you go. Fan-made cover art!

This is pretty straightforward: get in at dance tempo, slow down for some MIA, speed back up to dance tempo, crowd goes wild or maybe just goes to get a drink. It uses the Jeff T remix of Felipe Avelar's Electric Boogaloo for the beats.

Back in 2004, the original of this was kind of a cynical attempt to jump on the "rap/rock" mashup bandwagon that was a hot thing for a moment. It was a bit of a sloppy production and I never really liked it, but because of the source material it got some attention. And so for a 2008 video set at Bootie I figured it might be time to rework the thing, a little faster and a little dancier.

Two songs that were already overused to the millionth degree in mashuppery and remixery by the time I put them together, but this was part of my Daft Punk-inspired 2008 video DJ set at Bootie and so I thought it would be funny, joining the two in a vertiable cliche-plosion. Oww!

Honestly this was inspired by DJ Zebra who, when we were on tour together in '07, would end his sets with this MSTRKRFT mix of "D.A.N.C.E.," which I really liked. So I was like, "what goes with that? Pete Burns goes with that." Silly, and I probably worked harder on the cover than the actual mashup.

The first version was created for fellow mashup DJ Electrosound's Chemical Brothers bootleg tribute album, and when he asked me I'd already had an idea rolling around my head for a remix that elucidated the Baltimore beat that kind of bubbles under in "Star Guitar" so I was happy to have a deadline to whip me into shape. So, first I made the (mostly) instrumental version which I handed off to the project, which does a lot of repurposing individual sounds from "Star Guitar," and then I thought "hey this could use some Ludacris in order to qualify as a mashup to play at Bootie" so I threw "Stand Up" over it. Whee!

Part of the Party Ben Gettin' Euros Tour 2007 Experience! So in an attempt to ingratiate myself with the many nations of the EU, I tried to put together something appropriate for each location on the tour: "Polska Boys" for Poland (see below), a "Boulevard" mix with MC Solaar for France, and this ridiculous thing for Germany. Not familiar with Modern Talking? They're only the most successful pop group in German history, and it turns out "You Can Win If You Want" is basically the same exact chord pattern as "Crazy." I played it at Bootie Munich expecting a rousing ovation, but amusingly enough it was a total disaster and almost killed the floor entirely, and I've never played it since, but it makes me laugh.

Hey, Boyz is in 6/8 time, and so is that good old Kate Bush song "The Dreaming," so why not play them at the same time?

This was my attempt at a "remix" of the Jose Gonzalez track, "Killing For Love." This uses beats from a Cirez D electro track called "Horizons." There's actually some original Party Ben bleeps and bloops in it as well.

Back in 2007, I couldn't decide which was a better name, "Snow Police" or "Every Car You Chase," so I used both. The original version of this mashup uses only the publicly available single versions of both songs (no acapellas, just careful editing). I say this because I've probably been asked, in varying degrees of politeness, for the instrumental or acapella of either song 1000 times over the years. Didn't have 'em! Just worked hard, you lazy kids! Ironically enough, in 2011, when Sony Pictures came calling to recreate the mashup in cinema quality for the Sandler film "Just Go With It," they did indeed track me down full original stems of "Breath" and instrumental + acapella of "Cars," but that super clean mix can only be heard in the movie and I can't make it available for download.

I was dismissive of this when I first made it in 2007, mostly because the DIY acapella I used of "Umbrella" has sound quality issues, but nobody seemed to mind. It sort of took off and eventually made it to Dave Wakeling's ears, who called it "fantastic," and later, to the ears of Adam Sandler, who chose it as the second of my mashups to be used in the 2011 film "Just Go With It." Like "Every Car," I recreated the mashup in cinema-quality (?!) sound using some officially-sanctioned stems, but also like "Every Car," this cleaned up version can only be heard in the movie--I can't make it available for download without violating scary Sony contracts (although I doubt they care any more). It was actually used in many of the "Just Go With It" TV commercials starting in November of 2010; buy me a drink sometime and I'll tell you all about meeting that deadline and where I actually found a copy of the "Tenderness" extended remix when the record label themselves couldn't track it down in time.

I'd been playing Z-Trip's "Empire Strikes Back" mix out and about, so that sort of inspired this. It of course took me like 10 months after the release of "Galvanize" to realize the "Empire" theme was in the same key, which is sad because "Galvanize" came out right around the same time as Episode III and I could totally have syngergized this mix into cross-promotional proto-viral pop-cultural social media dominance. Was there a Facebook in 2007?

I produced the original mashup of Tegan & Sara with Mylo back in 2005. Tegan liked it, Sara didn't, it got played on the radio a whole bunch. Two years later I heard this amazing remix of "Paris" done by Etienne de Crecy, and when I finally tracked that down, I redid the whole mashup using that. For better or for worse, his remix is actually pitched up from the original, which was itself already a few steps higher than Tegan & Sara, so now their voices are way up in chipmunk land, but, I couldn't stop myself.

After a few tries at marrying something to the Promiscuous a capella I finally found something that worked.

Funny how things work out. I considered this a total joke back in 2006 when I made it, but it turned into one of the tracks I ended up playing out the most for many years, and probably has gotten the crowd going more often, in more diverse locales, than just about anything else I've ever made. People love "Grease," I guess.

This uses Karl G's bootleg remix as a jumping-off point and basically just layers the synth loop from Ms. Summer's legendary little number over the whole thing. I know there's like 500 "Crazy" boots out there but my excuse is this was part of a mix I did for XFM so it's not like a real mashup or anything.

Well, this cracks me up at least. See, cause there was that other Miami Sound Machine/Mylo mashup by those Phil 'n' Dog guys that was like a mega-smash, but nobody in the US knew that Miami Sound Machine song, so I made this as a corny tribute for Americans. Ha? Anyone?

Something silly I made for Bootie that people ended up asking about enough for me to overcome my shame and post it here. More importantly, the PC paint cover was funny to me at the time.

One day I noticed the Tegan & Sara track we were playing at LIVE 105 had the same chord pattern as Mylo's "Paris Four Hundred," so I put them together. Surprisingly, it turned into one of my biggest hits ever, getting airplay around the world and ending up in the Top 5 most-played tracks of 2006 on Seattle's C89.5. Tegan & Sara themselves came into the station a few times and were aware of the remix; they were incredibly nice, but apparently they had divergent opinions about the mashup, so despite its success, the possibility of an official release never got off the ground. Their label did, however, from what I understand, offer promo copies to dance and Top 40 stations, encouraged by the success at C89.5. Of course, T&S have gone on to work with tons of dance producers since then.

Read more about it here. Or, um, ahem.

Made specially for a local nightclub's totally silly Country vs. Electro theme night, but turned into one of my most requested tracks. Video version features added Snoop!

Wanted to make a Death Cab remix; got distracted by Madonna. Then made the originally intended version without any Madonna vocals. First track of mine where a fan-made video turned up.

Possibly the most hated mashup in Party Ben mashing-up history. It was one of the first things I released after the D-level fame of Dean Gray. Can you say, "self-sabotage"?

This operates first of all as sort of a dub mix of Boulevard of Broken Songs, and was really just a goofy part of a Sixx Mixx, but then I sort of liked how it all came together, so here it is.

There were quite a few quality "Doorbell" mashups out by the time I did mine, but I feel like since I looped the Pump Up the Volume rhythm over the whole thing, mine was maybe a bit more dancefloor friendly. (Plus, another made-at-work PC Paint cover!)

This is the second version, but I prefer it, since it's what I wanted to make in the first place. Its first appearance was on Best Mashups in the World Ever are from San Francisco but I can't remember exactly when I made it, I'm pretty sure it must have been 2005. Bit of trivia, this actually uses two versions of "Dream On," the original album version and a live performance with the supremely hokey extend-o ending followed by stadium cheers.

I made the first version of "Boulevard" as the finale of my LIVE 105 Sixx Mixx show on October 1st, 2004. The idea of using Aerosmith's "Dream On" for the end came to me within the last few minutes before the show's 6:00pm air time, but we had no Aerosmith CD in the studio, and it wasn't on iTunes at the time (this was back before you could just download anything whenever, kids). But I suddenly remembered Eminem's "Sing (For the Moment)" had sampled "Dream On," and that was in the studio, so I used that instead. My original intention was to use Aerosmith, though, so I eventually made a different version using that. (See above, Version 2).

A running joke back in 2004, and very much a part of the current-events-referencing work I was doing for the Sixx Mixx. At the moment Howard Dean's infamous "scream" speech went viral, it occurred to me how hilarious it would be to replace the inspiring Jesse Jackson speech overlaying the Crystal Method's "Keep Hope Alive" with Dean's raspy hollering. It was a bit of trickery editing the original to "remove" Jackson (I never had an instrumental and just stitched together instrumental sections). While there were perhaps hundreds of "remixes" of the Dean speech, mine became a bit of a viral hit, and even inspired a news piece on Bay Area Fox affiliate KTVU. The station's political reporter Brian Banmiller came to interview me, and I remember at one point being so nervous that the stopped rolling and advised me to "stop moving my head back and forth so much." I'm a radio guy! Anyway, it turned out that once you've made an instrumental of "Keep Hope Alive," you can just sort of put any speech over the top of it, add some echo, and you've got a pseudo-dramatic comedy gem. So I kept doing it, for the funny, whenever an amusing new bit of spoken word audio would hit the news. This included a terrible version using brief viral American Idol sensation William Hung as well as post-Nipplegate Janet Jackson. The version I made using Howard Stern's voice (during his controversial final year on terrestrial radio) got a spin on the actual Howard Stern Show after WXRK electronic show host Liquid Todd gave it to them, but Howard sort of misunderstood the situation, demanding to know how much money the Crystal Method was making from selling a song that used his voice. I of course have continued to be a huge Stern fan and was just giddy to have my song played (briefly), although they never said my name or anything.

I made quite a few versions of this for the LIVE 105 Sixx Mixx leading up to the 2004 elections (those seemed like the darkest of dark days, but hey, little did we know), using various speeches by President Bush and even a little Cheney sometimes. They're all pretty dated now but at the time, it felt like we were doing something pretty cool and edgy or whatever.

I don't understand why there aren't more "Waiting Room" boots - the damn thing's got like 2 full minutes of instrumental sections, it's exactly at hip-hop speed, and it's a freakin' classic. Apparently got the approval of Fugazi's Ian MacKaye, according to a Washington Post reporter.

New Order "Bizarre Love Triangle" vs. Madonna "Ray of Light," made specially for Bootie 1/14/04.

Once upon a Sixx Mixx, in June, 2004, I threw together Franz Ferdinand's "Take Me Out" and the Beasties' "Triple Trouble." "Funny," I thought, "they're like in the same key and stuff." About a month later, genius bootlegger and Friend of Bootie (TM) McSleazy announced his latest mashup item: Franzie Boys! Now, of course Mr. Sleazy came up with the idea on his own, but it was kind of funny, so later when I did my own Beastie mix with Chic, I snuck Franz Ferdinand in there and gave it a name that was a nod to his original version (and stole his cover). Love ya Sleazy!

Everybody says Freddie Mercury sounds all chipmunky in this, but what was I supposed to do, slow down the Daft Punk? I think not.

A mix of the Beastie Boys with multiple classic house/techno tracks including Fast Eddie "Yo Yo Get Funky," Royal House (Todd Terry) "Can You Party," Inner City "Good Life," 808 State "Cubik," LA Style "James Brown is Dead."

Another one of those "Don't Own a Drum Machine Or Have the Individual Tracks from This Song But Would Really Like To Do A Remix So I'll Just Steal This Instrumental Dance Track from Way Out West and Put A Lot of Echo On the Original and Call It Good Or At Least Mediocre" things I do. Got two airings on BBC Radio 1's Essential Selection!!

Produced this especially for an episode of LIVE 105's electronic show Subsonic, but couldn't think of a name for it. So we opened the phone lines to take suggestions, and this was the best one.

My first attempt to put something with U2's "Sunday Bloody Sunday;" this was fine, and inspired a phenomenal lip-synch performance from Patty O'Furniture and Tristan Shout & co back in the day, but I sort of abandoned this track when I realized Lyrics Born sounded better.

If this pointless combo got one person to buy Kraftwerk's Computer World, it was worth it.

Two QOTSA album tracks ("Medication," "Everybody Knows That You Are Insane") in unholy union with Trent's ubiquitous vocal from "The Hand that Feeds," this made in tribute to a tour the two bands did together. As far as I know they never cuddled tenderly as pictured on the cover, but my photoshop fantasies are almost as satisfying.

Back in the LIVE 105 days I received piles of suggestions for mashups, and despite appreciating every single e-mail, these suggestions are generally very annoying. First, people typically have just thought of a funny title, and have no regard for any potential musical mixing, and moreover the whole thing feels kind of disrespectful, I mean, I know mashups are silly but do you yell at your favorite bands to play "Freebird"? Oh, I guess you do. Anyway, this idea did indeed come from a LIVE 105 listener and intrigued me enough to try it. The sound quality is terrible to my ears, since there was no Cake acapella and I was forced to just, like, turn down the bass, but here it is, and people still ask about it.

This is the first version from 2004. Honestly, this was a pretty cynical move, making this, since I hadn't done any rock-vs-rap things and that whole mashup style was getting a lot of attention at the time. I think my disinterest shows in the sloppy production, but after it got lots of attention, I forced myself to revisit it in 2008 and that newer version (above) is tolerable.

How much can I milk "Callin' Out"? Well, since I was kind of responsible for getting the brilliant Lyrics Born's "Callin' Out" added to LIVE 105 rotation (where it eventually went to #1), I guess I felt a certain attachment to the song, and like so much of my work, the continual retread felt humorous to me, I guess a lot of that comedy is lost nowadays.

Inspired by Adam Freeland's brilliant dub-style reworking of Nirvana, "Smells Like Freeland," this is a complete complete de- and re-construction of "Hey Ya" (complete with title that incorporates my name as a tribute). Similarly to Freeland's mix, this uses nothing but sounds from the original song, although often altered significantly. My biggest innovation here is probably turning the chorus into straight 4/4 time at the end (i.e. removing the quick 2/4 measure that gives the original some quirky charm). It all turns out to have a kind of retro-jump-up-jungle kind of feel. In general one of my favorite things I've ever made, it was a very time-consuming piece of work, and yet seemed to maintain a sort of integrity throughout the process. Got zero attention.

Featuring beats from songs by One Up Front, Plump DJs and Moby, made in 2001. This turned into a crazy phenomenon when it was put into regular rotation on LIVE 105, and was my first taste of local "viral" fame. Of course, this was before I even had a web site, and I spent hours burning CDs of the track and mailing them to fans who e-mailed me at the station, and later, spent lots of money on pressing promo 12" singles so I could actually play it out -- this was before CDJs were standard for DJ booths. I made an attempt to post it to the famous bootleg forum GYBO where it was savaged without mercy, but I promise it was a thing for a few months.

So here's the story. The year is 1999. I read in NME about Fatboy Slim playing a special version of "Rockafella Skank" in his DJ sets that was mixed with the Rolling Stones; he was calling it "Satisfaction Skank." "Cool," I thought, "but I'll probably never track down a copy of that." (This was before the internet, folks!) We had prototype digital audio editing software at LIVE 105, the radio station I was doing part-time production at, so I decided to use it to try and make my own "Satisfaction Skank," to play out, having never even heard Fatboy Slim's. To my surprise, the station ended up putting my version into rotation, and popscene emprisario Aaron Axelsen played the hell out of it.

Of course, when I finally got a web site, I posted it, but I suppose I wasn't clear about its genesis, and some overzealous mashup types accused me of "stealing" it. Which I suppose I did. It's a sensitive point for the bootleggers, I mean, I have seen people taking credit for my stuff all over the place, and in the absence of any financial renumeration, actual credit becomes more valuable to the amateur producer. I guess I had felt like my "Satisfaction Skank" took on a life of its own in the Bay Area, so here it is, with the caveat that I promise I never intended to take credit for the idea. What's amusing is that when I finally heard Fatboy's own mix, years later, it was very different, slowed down to fit "Satisfaction," rather than sped up like mine to stay at "Skank" tempo.

Incidentally, the editing software I used for this was called "Session 8" and it lived on on an old PC at LIVE 105 -- it was called "Session 8" because it featured a grand total of 8 audio tracks to play with. It turned out to be the only computer I know of in the world that was an actual casualty of the "Y2K" issue, for real. The LIVE 105 engineers took a look at it, said it was a piece of junk and couldn't be salvaged, and with no compatible software available to which I could transfer the tracks and session, all the original files were lost on Dec. 31st, 1999.