| | Keith MacKenzie Booty Breaks CD Keith MacKenzie Discography of CDs
A prime-mover in the U.K. breaks scene, DJ Deekline has combined a lifelong love of funk and electro with the contemporary sounds of breakbeat culture to create a unique take on the style. BOOTY BREAKS finds the DJ teaming up with U.S.-based partner-in-mix, Keith MacKenzie, for a rump-shaking romp through electro-edged funky breaks and Florida-style bass music. A full-throttle, pitch-perfect mix from beginning to end, BOOTY BREAKS' high-octane beats will get bodies moving and grooving on the dance floor.
Recording information: DNF Studios, Orlando, FL. Booty Breaks Music | List Price | $15.98 (You save $3.83) | | Category | Rock/Pop Albums, Rock CDs, R&B, Electronica, Dance | | Label | Moist Music | | Orig Year | 2008 | | All Time Sales Rank |  396366  | | CD Universe Part number | 7697300 | | Catalog number | 1193 | | Discs | 1 | | Release Date | Jul 22, 2008 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Personnel | Big Daddy Kane, MC Flipside, Yo Majesty, Yolanda, DJ Assault, Sporty-O, Benzo |
Keith MacKenzie Booty Breaks Songs
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Click on the  buttons below to play song samples |
| |   | 1. | Booty Breaks Intro |
| 2. | Ass 'N' Titties - (remix) |
| 3. | Get Wild off This - (DeEkline and Ed Solo Remix, remix, featuring Big Daddy Kane) |
| 4. | Jack the Ripper - (D-Lerium & Faze Remix, remix) |
| 5. | Handz Up - (Stanton Warriors Remix, remix) |
| 6. | Planet Breakfast - (remix, featuring MC Flipside) |
| 7. | Do What You Want - (DeEkline and Ed Solo Feat. Yo Majesty Remix, remix) |
| 8. | Rubdown, The - (D-Lerium & Faze Remix, remix) |
| 9. | She's Gamey - (remix) |
| 10. | Gangstered |
| 11. | My Bass |
| 12. | Make Your Girl Feel the Bass - (remix, featuring DJ Assault) |
| 13. | Say What - (featuring Benzo) |
| 14. | I Can Dance - (remix) |
| 15. | System Static - (remix) |
| 16. | Fame and Money |
| 17. | Bam Bam - (featuring Yolanda) |
| 18. | Operator |
| 19. | Who Are the Warriors - (Bass Kleph Remix, remix) |
| 20. | Feelin' the Luv - (Original Chicago Mix, remix, featuring Yolanda) |
| 21. | Call Me - (Lee Mortimer Remix, remix) |
| 22. | Low Rider - (featuring Yo Majesty) |
| 23. | One in the Front - (remix, featuring DJ Assault) |
| 24. | Pressure Point - (featuring Sporty-O) |
| Booty Breaks Review
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An exquisite pairing of talent, the duo of Carla Olson and Gene Clark apparently came out of casual living room sessions while Clark was preparing for another project. The feeling of spontaneity and closeness of spirit engulfs all of the cuts here. Olson's strident and powerful vocals mesh beautifully with Clark's slightly world-weary, soulful performances. As for the material, both songwriters obviously put their best foot forward here. Olson's "The Drifter" and "Are We Still Making Love" are excellent country-folk outings. Clark contributes one of his finest later compositions, "Gypsy Rider," a multi-leveled song that can easily be viewed as autobiographical. Excellent support is provided by an array of backing musicians, especially Stephen McCarthy (lap steel and dobro) and guest Chris Hillman (mandolin). Chemistry is the operative word here. The only sad thing is that So Rebellious a Lover was to be the only studio effort by the duo before Clark passed away in 1991. This record is important not only for what it is, but for what it could have become. ~ Matthew Greenwald
So Rebellious a Lover caused quite a stir when it first appeared on the Demon label in 1987, and was hailed as a return to form for Clark. Carla Olson, the Austin native who transplanted to L.A. (and is criminally underappreciated in America), was the perfect foil for Clark. As a songwriter, her lean and taut lines resonate her visions of weary hearts and broken but hopeful lives. Her tunes are rooted in the Americana tradition of Townes Van Zandt, Clark, and others. Clark's tunes here are inspired and free of the weighty lyrical entanglements of some of his other '80s projects. These sessions were born from an informal living-room encounter, and that ease and freedom of license is everywhere evident. Proof in the pudding is in the recording of Clark's "Del Gato," which contains the lyric of the album's title. The story is an elegiac one, full of yearning and downtrodden vision, and the two singers' voices ache with desperation, regret, and the hint of redemption on the margins of the tune. Olson's "The Drifter" is a third-person tale of tragedy and legend. It is Old West mythology that, in the grain of the singer's entwined vocals, becomes a present-day passion play. And then there's Clark's haunted "Gypsy Rider," which could have been recorded for White Light. Olson's harmony drips with an ache at once ghostly ...
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