It is with much sadness that I announce the end of the Mothership-Funkin’ House.
For quite some time now, while the Mothership-Funkin’ House sets have always been great fun to spin, they’ve been a pain in the ass when finding Fresh Tracks. Based on the statistics I’ve been collecting while auditioning the first ten or twelve thousand releases of 2006, Mothership-Funkin’ House demands monitoring the widest, vaguest genres in the industry. Further, these genres are the most populaced with new releases. Most importantly, out of every hundred such releases, the gems are ten times as rare.
At the end of the day, I found myself consumed to the point of frustration with just trying to trawl through these sources to find the Fresh Tracks, let alone buy them, prep them, practice with them, spin them, and, above all else, enjoy them. My recent business trip then put the nail in the coffin, causing a backlog of more than a week’s worth of auditioning to catch up on once I had returned. This catch-up process had to be spread over three weeks because of the sheer volume of work that even a single week presents.
The new criteria I’ve been applying since finally clearing the backlog have produced some new stats that really drive the point home: Mothership-Funkin’ House was accounting for some two thirds of the auditioning work but yielded less than one Fresh Track for every hundred tracks auditioned. The other two sets required one third of the auditioning work but yield one track for every twenty tracks auditioned. 66% of the sets. 33% of the time required. 95% of the enjoyment.
With the above in mind, and with much regret, I am dropping the Mothership-Funkin’ House concept for the time being. This allows me to put less of the time into auditioning releases and more into enjoying my true musical loves, The Cheat most especially.
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