BOC interview in HUMO?!

[hGc]

BOARDS OF CANADA - cross out the inappropriate
‘Today’s youth has no respect anymore for A) Music, B) Acne, and C) Yesterday’s youth’

With their new album ‘The Campfire Headphase’, Boards of Canada – the Scottish electronic duo Marcus Eoin and Michael Sandison – bid farewell to the cult status they achieved after ‘Music Has The Right To Children’ and foremost ‘Geogaddi’. On ‘Campfire’, we didn’t hear any layered, discomforting ambient littered with obscure references, but instead ten surprisingly straightforward sounding tracks full of weathered easy listening, and the melancholy of bruised Fisher Price-toys.

According to the legend, Eoin and Sandison are unworldly hermits living in a Scottish rural community, but the lads[/ï] we drink cappuccino with right now in the incredibly hip student quarters of Glasgow are dead normal guys in their thirties who – just like us – grew up during the late seventies and early eighties. Read: too young for the first punk wave, drenched with dry new-wave melancholy, heavily brainwashed by trashy American televison series. If you’re still in doubt: Having watched all ‘A-Team’ episodes creates a bond.
MARCUS EOIN (enthousiastic) "Did you hear that on ‘Campfire’, I played a small part that resembles the jingle of Stephen J. Cannell Productions – you know, the producer of ‘The A-Team’?"
HUMO Oops, no.
MARCUS “The closing jingle of ‘The A-Team’? No? You see someone using a typewriter while there’s a ‘tum-tum-tum-tu-dum’ melody playing in the background. It took me a damn day to recreate it perfectly, that’s why I’m happy as a lark when someone tells me he did recognize it (laughs).”
HUMO ‘The Campfire Headphase’ sounds like the tapes have leavened in a humid cellar for twenty years: dead-gorgeous but half vanished. And the cover looks like a used beer mat: the pictures are totally bleached.
MICHAEL SANDISON “You hit the nail on the head. It had to look like the album had been lying on the dashboard of our car since 1980.”
MARCUS “We want to react against the sterile, soulless, gleaming junk that is dominating record stores.”
MICHAEL “I love to browse in my boxes with old cassettes. All those dirty cases I have written on with a marker, the noise between the tracks… absolutely charming!
“In the nineties, producers sometimes mixed the crackling of old vinyl LPs in their tracks to let them sound more authentically. We go much farther: we mutilate our sounds consciously. We don’t have to try really hard, though: a lot of our studio equipment is garbage anyway (laughs).”

“Did you ever hear ‘The Disintegration Loops’ from William Basinski? Basinski, an American producer, wanted to convert his twenty-year-old cassettes to a digital format, but because they had been at the bottom of a drawer for so long, fragments of the magnetic tape came off. But instead of stopping the process to save the tapes, he went on with it and got the dying sounds digitalized and on cd. The results are ancient soundscapes sounding fantastic as well as tragic: you can really hear them pass away. When I read that story, I thought: hey, that’s what we’ve been doing for years: writing tracks using sounds that soak off a feeling of melancholy.
“It bothers me that the kids of today have no respect for music anymore: they quickly listen to a few fragments on the internet and then they decide whether they’ll buy the cd or not. When Marcus and I were young, we treated all of our vinyls with equal respect: even when it was total garbage, we still tried to listen to it as much as possible, sometimes just to deny the fact that we had invested our hard-earned pocket money on a shitty record (laughs). And, more importantly: we went to clubs to see artists live at work, we watched and listened to music on TV and radio, together with our friends we all listened to crappy cassette decks… Music truly was our life, but nowadays it is for a lot of people no more than a leaking tap: everyone, in the office and in the living room, constantly hears sounds coming from their computers, but no-one takes the effort anymore to actually listen to it.
MARCUS “Music has become an occupation for autists: ‘Me and my iPod, and just leave me alone’ – that’s how an ordinary morning in a train is like.”
HUMO: (couldn’t translate this one very accurately, it means something like: “you both are talking like two old nostalgic guys!” – someone coming up with a better translation? I can always edit it)
MICHAEL (laughs loudly) “It it stronger than ourselves, but we have nostalgia to our early teen years, when discovering music was an almost mystical experience.”
MARCUS “Mid-seventies until the early eighties: those were the golden years.”
HUMO Try to say that to someone older than forty: you’ll get a rant about ‘those shitty eighties’, that’s for sure.
MICHAEL: “They are wrong. The nineties, those sucked (laughs).”
“The eighties were a magical period for us: we were enchanted by music for the first time, smoked our first cigarette, had our first girlfriend. As a young teenager, you’re a blank sheet of photo paper, ready to get exposed to flashes of light: everything that happens to you in these years has an everlasting impact on you life.”
MARCUS “And with our music, we try to translate that nostalgic feeling in sounds. We don’t – like heaps of rock-and electronic bands of today – revert to what is considered the archetypal music of the late seventies and early eighties: we put our experience of that age – with our films, our TV-shows and our music’ – into sounds.”

The fifth chord
HUMO ‘Campfire’ is a great deal more accessible than its predecessor. Didn’t you finally want to – don’t laugh – get access to a wider public?
MARCUS “Superstars at last (laughs)!”
MICHAEL “We’re still proud of ‘Geogaddi’, but let’s get things straight: it was a record for the fans – guys of whom we knew they would have the patience to listen to it attentively anyway, and who would make it a sport to pick out the obscure winks to politics and Satanism. ‘Campfire’ is more of a warning directed to the fans: you better watch out, the next record could perhaps differ even more radically from our earlier work.
“Boards of Canada is a unique project that got a bit out of hand. We wanted to make only one record on which we would pour the dreams of our youth in sounds, but right now we are at album number four already and the end is still not in sight (laugh). But we did once and for all away with a few of our tics: those deformed, eerie voices, those complex and repetitive song structures, and so on. We wanted full-fledged songs, complete with intros, hinges, refrains and bridges. A bit like a rock band, actually. ‘Campfire’, my dear, is officially our first pop record.”
MARCUS “In fact, ‘Geogaddi’ was also pop, albeit of the most hor-rib-ly difficult kind (laughs).”
HUMO A lot of your colleagues would rather keep hanging around in the same strait instead of admitting that you can’t keep being innovative – moreover, it is no crime to make accessible music.
MARCUS (to Michael) “Oh no, I think he means we’re starting to look like Phil Collins.”
MICHAEL “I know what you mean: many of the artists that were exciting in the past – even Genesis – changed after years in obese forty-year-olds, listening more to their accountant than to each other. But I’m already glad that you don’t insinuate that we’re holding a clearance sale. You wouldn’t be the first: one of your colleagues asked if maybe after ‘Campfire’ we would make - dammit – real pop music.”
HUMO Don’t worry: I’m allergic to people who regard ‘pop’ as a filthy word.
MICHAEL “I’m pleased to hear that, because I don’t understand what some people have against pop music. Take something like Goldfrapp: brilliant band, consisting for three quarters of bits of electronic music and poppy as hell. You can’t possibly be against such a thing, right?”
MARCUS “In the eighties and nineties there existed a strict separation between ‘pop’ – the fastfood from the hit lists – and ‘alternative’ – music for connoisseurs. This division has fortunately disappeared. For me, every artist that is good in what he is doing is ‘pop’ – anything between, let’s say, the Foo Fighters and Missy Elliot. So why wouldn’t Boards of Canada be pop music?”
MICHAEL “With this difference: we let hear a shrill tone at the right moment – in our terminology: the magical fifth chord. If you do something the listener doesn’t expect on the crucial moment, his ear will pay extra attention there the next time he listens: this way, you keep music fascinating.”

Stinking druids
HUMO I’m very disappointed that you guys are – unlike the myth about Boards of Canada – no unworldly druids stinking out of their mouths. You even look suspiciously ordinary.
MARCUS (laughs) “You’re not the only one who is surprised at that: last years we have given interviews only sporadically, and mostly via e-mail, and since then we read everywhere that we are a bunch of paranoid hermits.”
MICHAEL “We have experienced that journalists make up a story themselves to accompany your music, if need be. In our case: that we live in a community far from the civilized world, renouncing every form of civilization and sacrificing humans. Why it took us so long to be aware of that, is because whe have better things to do than to sift out the professional press.”
MARCUS English music press lives on music groups that don’t exactly make (cautious) special, particular music, but still they’re with their mug on the cover, week after week. We absolutely don’t want that.
MICHAEL “You hear it: the principal reason why we have been sitting here talking to you, is to set the record straight. Boards of Canada are two simple guys who, by chance, make intriguing music.”
HUMO Keep up the good work! And thank you.

Kristoff Tilkin

[Archrival]

hgc! thanks a lot for the translation!!!

[hexagon son]

thank you and anybody who takes the time and effort to translate interviews into english. i really need to learn a second language, im starting to feel a bit ignorant.

[K-Man]

hey guys,

it's sort of weird, but also fun to read my own words (and those of BoC) in english.

one question: who actually called the interview 'really good'? it was fucking brilliant!

cheers,

kristoff tilkin
HUMO magazine

[hGc]

It really was fuckin brilliant...

Will you interview Mogwai soon? <_<;;

[A-Ball]

cool. thanks for translating. *saves it on notepad like a good boc obsessed boy*

[lands end road]

nice read. thanks

I wonder if that little sample that comes in at 28 seconds on '84 pontiac dream is the part from the A-team marcus "spent all day trying to recreate"



Having watched all ‘A-Team’ episodes creates a bond.
MARCUS EOIN (enthousiastic) "Did you hear that on ‘Campfire’, I played a small part that resembles the jingle of Stephen J. Cannell Productions – you know, the producer of ‘The A-Team’?"
HUMO Oops, no.
MARCUS “The closing jingle of ‘The A-Team’? No? You see someone using a typewriter while there’s a ‘tum-tum-tum-tu-dum’ melody playing in the background. It took me a damn day to recreate it perfectly, that’s why I’m happy as a lark when someone tells me he did recognize it (laughs).”

[Derail]

nice read. thanks

I wonder if that little sample that comes in at 28 seconds on '84 pontiac dream is the part from the A-team marcus "spent all day trying to recreate"



Having watched all ‘A-Team’ episodes creates a bond.
MARCUS EOIN (enthousiastic) "Did you hear that on ‘Campfire’, I played a small part that resembles the jingle of Stephen J. Cannell Productions – you know, the producer of ‘The A-Team’?"
HUMO Oops, no.
MARCUS “The closing jingle of ‘The A-Team’? No? You see someone using a typewriter while there’s a ‘tum-tum-tum-tu-dum’ melody playing in the background. It took me a damn day to recreate it perfectly, that’s why I’m happy as a lark when someone tells me he did recognize it (laughs).”

That's so cool they sampled the A-Team, I loved that show growing up! I must have been 5 or 6 years old, but my parents said I was'nt allowed to watch it anymore cause I used to get violent and run around the house breaking things cause I thought I was Mr. T. I still have'nt been able to pick up where that sample is in Tch. I should be able to cause that theme music is forever burned into my brain.

Anyone else rember the show "Night Ryder" with David Hasselhoff? That was another favorite of mine growing up, I loved "Kit", the talking car. It was Hasselhoffs '84 Pontiac Dream.

[hills west]

Well, thanks to insomnia and being a fast typer and procrastination, I've typed up the entire article and put it through Bablefish. enjoy, at least the understandable parts

With their new cd ` The Campfire Headhpase ' takes boards or Canada - the Scottish elektronicaduo Marcus Eoin and Michael Sandison - farewell of the cultstatus which them after ` Music has the Right to Children ' and especially ` Geogaddi had fallen to. On ` Campfire we heard no laminated uncomfortable, of obscure references ambient impregnated, as much as ten surprisingly rechttoe rechtaan sounding tracks full defended easy listening, and the melancholie of dented Fisher Price-speel-goed.

According to the legend is Eoin and Sandison unworldly eenzaten which lives in a commune on Scottish country, but the lads with which are we drink cappuccino in raging hippe student district of Glasgow honds-normal dertigers who - just like we - have grown up during the late seventies and the early eighties. Read: too young for the first punkgolf, with the gevriesdroogde melancholie impregnated of the new wave and onzacht gehersenspoeld trashy American tv-series. You should doubt: it creates a link if you all deliveries of ` The has seen A-Team.
MARCUS EOIN (enthusiastically)"had heard you that I play ' a bit on ` Campfire that on the jingle of them J. Cannell Productions seems - your weet, however, the producer of ` The A-Team '?"
HUMO: Oeps, no.
MARCUS that jingle with which concluded ` The A-Team? No? You see someone on a schrijfmachine tapping whereas there such ` tum-tum-tum-tu-dum'-melodietje sound on the context. The heft me verdomme a complete day cost for that this way perfectly possible n ate spleen, hence that I thole pin is if someone me tells that he had recognised it much (laughs).
HUMO ` The Campfire Headphase sounds as if the tapes twenty have years in a wet cellar leavens lie: bloedmooi but halfvergaan. And the cover seems still most on an used bierviltje: the photograph has entirely faded.
MICHAEL SANDISON nail on the head; it had seem as if the plate has lain since 1980 on the dashboard of our car.
MARCUS "we want our turn off against that sterile, soulless, shining cheap goods with which the plate shops lie full."
MICHAEL I find it delicious for in my boxes with old cassettes at noses. All those dirty hoesjes on which I with a marker have written what stand, the noise between the numbers... This way charming! In the years to ninety at producers weleens to cracking of ouwe to vinyl plates by letting sound to their numbers them more valid. We go much further: we try our mutilate consonances consciously. Already we must there frequently not even occur effort: much of ours studio equipment are already pure cheap goods (laughs). Have you ever ` The Disintegration heard loops of William Basinski? Basinski, an American producer, wanted be twenty years old tapes convert to digital format, but because they as long as below in a drawer had lain, came there fragments of the magnetic link separately. But instead of stopping and is keep tapes intact, he has brought out those dying sounds on cd. The result is decrepit soundscapes which sounds tragically just as fatastisch as: your hóórt they as it were die. Then I read that tale, thought I: hey, which are now net what we do for years: numbers write with consonances which soak off a feeling of melancholie at the auditor.
It disturbs me that the kids of respect nowadays no more have for music: they listen to rapidly a couple fragments on the Internet and decide then if they buy the cd or not. Then Marcus and I young was, treated we already our vinyl plates with as much respect: even if the toale cheap goods were, we tried there nevertheless this way frequently possible to listen, already it was but to onszelf not have admit that we had invested our hard-earned pocket money in kutplaat (laughs). And, still more important: we will see artists to clubs live to the work, we looked at and listened to our favoriete music programmes on TV and radio, we listened with our friends to crappy cassette players... Music was our léven, but is present it for many people no longer than a leaking tap: ierdereen hears on office and in the house chamber continuously consonances from computers to trickle, but nobody takes still the effort to listen.
MARCUS music an occupation for autisten has become: ` I and my iPod and leave myself for the rest with rest - thus a weekday morning in treincoupé sees.
HUMO hear your busy: couple of ouwe fall!
MICHAEL (laughs loudly)"it is stronger than onszelf, but we have heimwee to our early teenager years, then music discovers an almost mystic experience was." MARCUS the middle from the seventies to the early eighties: those were the applied years.
HUMO say that someone parent then forty: you get driven a tirade concerning ` which klote-eighties.
MICHAEL they stray. The nineties, dié suckten (laughs). For our were the years eighty magical periods: we products music for the first time enchanted, smoked our first cigarette and had our first lief. If early teenager is you a white piece photograph paper, ready to be exposed to lichtinvallen: everything what which happens years with you, has, a permanent impact you to revive.
MARCUS and with our music try we that nostalgic put feeling in consonances. We do not seize - such as many rock - and electrobands of nowadays - léterug to the music of the late years seventy and early years eighty; we put our believing of that era - with our films, our tv-series and our music - in consonances for.
HUMO Campfire are a piece more accessible than predecessors are. Did you did want strike at last - not lichen - a more general public?
MARCUS "at last super ASTRE (laughs)!"
MICHAEL we are still proud on ` Geogaddi, but leave we indicated: it was a plate for the fans - lazy of which we knew on voorhand that they would produce patience to listen attentively to, and those ere and sport of make nom would wink obscure to political and satanisme to peck. ` Campfire are rather a warning to the address of those fans: look but from, because our next plate perhaps still more radically is able differ from our former work. Boards or Canada are a one-off project date and beetje has gotten out of hand. We wanted make one plate on which we pour the dreams from our youth in klnaken, but we sit already to cd number four and end is not nóg in visibility (lachje). But we have made komaf, however, once and for all with ` Campfire with a couple of our tics: those deformed, ghastly votes, but which complex and repetitieve call songstructuren, on. We wanted full songs, complete with intro's, coupletten, refrains and bruggetjes. A beetje such as rockband, therefore. ` Campfire, my bests, are officielle our errste pop plate.
MARCUS "in fact were ` Geogaddi ' also pop, they it of the terribly difficult type (laughs)."
HUMO much of your colleagues continue hang around rather in the same straatje instead of admitting that you cannot indefinitely be renewing - moreover ` t are no crime accessible make music.
MARCUS (against Michael)"Oh no, I think that he means that we start seem gradually on Phil Collins."
MICAHEL I understand what you mean: many groups which ever raging interesting were - also Genesis - change after years in dikbuikige veertigers who listen more to their accountant then to each other. But I am for a long time glad that you do not suggest am for a long time glad that you do not suggest that we keep cut-price selling. You not the first would be: one of your colleagues asked or we after ` Campfire perhaps - godbetert! - will make real pop music.
HUMO no need: I am for lazy those ` pop allergic dirty become vindren
MICHAEL that do me pleasure, because I do not understand really what has some people against pop music. Take now Goldfrapp: brilliant link, for the quarter of broken composed electronica and nevertheless this way pop as the plague. There you can be nevertheless impossible tégen?
MARCUS "in the years eighty and ninety existed ere and strict separation between ` pop ' - the fastfood from the hitlijsten - and ` alternative ' - music for gourmets. That bipartition has disappeared fortunately. For me every artist is who is well in what he does ` pop - everything between pakweg the Foo Fighters and Missy Elliot. Therefore why boards or Canada no pop-muziek can be? MICHAEL with this difference: we let hear a strident note at the appropriate moment - in our terminology: the magical fifth chord. If you do something at the vital moment twat the auditor do not expect, its ear will continue hang there at each next bel onion phthisis: this way hou your music boeind.

Stikende druïden
HUMO I have been very disappointed that your - differently than the myth concerning boards or Canada wants - no unworldly and a beetje from their mouth stinking druïden to be. You there even see suspected simply from.
MARCUS (laughs) you are not the some which astonish themselves about that: the last years, and since then read we overall have given we but sporadic interview, and then still generally by e-mail that we a couple paranoïde kluizenaars is. We have experienced
MICHAEL that journalists if need be themselves invent a tale at your music. In our case: that we live far from the inhabited world in a commune, each form of civilisation abjure and man sacrifices bring. That it as long as we that doorhadden has lasted occurs because we, however, something beters to do have to then the profession press from become fluffy.
MICHAEL you hear it: main save for which we have here with you sit talk, to set the record straight is. Boards or Canada are two dóódnormale guests who occasional boeinde make music.
HUMO do this way! And thanks

man ..i cant stop the tears from coming out in laughter at the awesome grammar mistranslations...freakin awesome

[The Other]

great interview. thanks again...

[Derail]

The Spanish interview belongs to a magazine called GO Mag, November issue. I'll post the scans as soon as i got them. I ain't got a scanner, so this could take a while. the interview is in spanish of course, so you're gonna need someone to translate this one too.
Don't know if they (BoC) had already said that in another interview but i found interesting to know:

- they plan on releasing an EP next year and maybe the comp. box (1987-1995 stuff). In their own words: "we'll probably do it with Warp"
- they're arranging a tour with Warp. They wanna play in Europe but Warp wants to send them to the States. In Europe the tour would be in selected dates and places ("natural environments or beautiful places; maybe some festivals. We want the set to be analogic and worn out, without computers or software")
- talking about synesthetics of their albums: "MHTRTC was an open sky record and TCH is decoloured. Like a desert, spacious and warm."

I leave you the cover, that's all by now

Sorry to resurrect this thread, but I wanted to bump it so the newer members could see it. When I read this I was doubtful about this info, but they followed through on the ep, so I wouldn't shut out the possibilities of the boxset or a tour just yet. This is the most promising info we have, and it's Boc saying this, not just someone speculating. (assuming itannexe got the translation correct) What do you guys think? :shock:Does anyone know Espanol?

[sevenELIXIR]

I remember reading that article on this forum a while ago... it's nice to hear something legitimate about the "box set." Hopefully, BoC will release this.

[radiateme]

The Spanish interview belongs to a magazine called GO Mag, November issue. I'll post the scans as soon as i got them. I ain't got a scanner, so this could take a while. the interview is in spanish of course, so you're gonna need someone to translate this one too.
Don't know if they (BoC) had already said that in another interview but i found interesting to know:

- they plan on releasing an EP next year and maybe the comp. box (1987-1995 stuff). In their own words: "we'll probably do it with Warp"
- they're arranging a tour with Warp. They wanna play in Europe but Warp wants to send them to the States. In Europe the tour would be in selected dates and places ("natural environments or beautiful places; maybe some festivals. We want the set to be analogic and worn out, without computers or software")
- talking about synesthetics of their albums: "MHTRTC was an open sky record and TCH is decoloured. Like a desert, spacious and warm."

I leave you the cover, that's all by now

Sorry to resurrect this thread, but I wanted to bump it so the newer members could see it. When I read this I was doubtful about this info, but they followed through on the ep, so I wouldn't shut out the possibilities of the boxset or a tour just yet. This is the most promising info we have, and it's Boc saying this, not just someone speculating. (assuming itannexe got the translation correct) What do you guys think? :shock:Does anyone know Espanol?

Thanks so much for bumping this! Yes, they did follow through with the ep so maybe the box set isn't far off! Especially with the inclusion of some unreleased songs on the trailer. Oh man, I feel pretty confident on that. But, of course this is BoC we're talking about. And the tour at "selected dates" and places. The redmoon date! Sorry, just gushing a little ;p.

[deadfly]

Yes, I'm still optimistic that the Boxed set will come out eventually.

We still haven't seen the full interview from Go Magazine. Is ther anybody who can post a translation, or at least the original Spanish version?

[thedisavowed]

I could do a decent translation of the spanish if anybody has a scan.

[Derail]

Yes, I'm still optimistic that the Boxed set will come out eventually.

Right on, I think it'll come out, it's just a matter of time. They've said this numerous times now, so all we have to do is wait. Even if they took some of the better tracks from those old releases and made a compilation of some sorts I'd be happy as a clam. I can't tell you how many times I've looked at the artwork for those old albums/eps and listened to the clip of "Wouldn't You Like To Be Free?" wishing...hoping I know by now I'm probably repeating myself and said a few weeks ago that I didn't care anymore, but I lied. We all deserve to hear this stuff....

[BunnyRabbit]

nice read. thanks

I wonder if that little sample that comes in at 28 seconds on '84 pontiac dream is the part from the A-team marcus "spent all day trying to recreate"



Having watched all ‘A-Team’ episodes creates a bond.
MARCUS EOIN (enthousiastic) "Did you hear that on ‘Campfire’, I played a small part that resembles the jingle of Stephen J. Cannell Productions – you know, the producer of ‘The A-Team’?"
HUMO Oops, no.
MARCUS “The closing jingle of ‘The A-Team’? No? You see someone using a typewriter while there’s a ‘tum-tum-tum-tu-dum’ melody playing in the background. It took me a damn day to recreate it perfectly, that’s why I’m happy as a lark when someone tells me he did recognize it (laughs).”

That's so cool they sampled the A-Team, I loved that show growing up! I must have been 5 or 6 years old, but my parents said I was'nt allowed to watch it anymore cause I used to get violent and run around the house breaking things cause I thought I was Mr. T. I still have'nt been able to pick up where that sample is in Tch. I should be able to cause that theme music is forever burned into my brain.

Anyone else rember the show "Night Ryder" with David Hasselhoff? That was another favorite of mine growing up, I loved "Kit", the talking car. It was Hasselhoffs '84 Pontiac Dream.

Let's get it right though derail, they didn't sample it they recreated it - played it just the same.

[steve-o]

nice read. thanks

I wonder if that little sample that comes in at 28 seconds on '84 pontiac dream is the part from the A-team marcus "spent all day trying to recreate"



Having watched all ‘A-Team’ episodes creates a bond.
MARCUS EOIN (enthousiastic) "Did you hear that on ‘Campfire’, I played a small part that resembles the jingle of Stephen J. Cannell Productions – you know, the producer of ‘The A-Team’?"
HUMO Oops, no.
MARCUS “The closing jingle of ‘The A-Team’? No? You see someone using a typewriter while there’s a ‘tum-tum-tum-tu-dum’ melody playing in the background. It took me a damn day to recreate it perfectly, that’s why I’m happy as a lark when someone tells me he did recognize it (laughs).”

That's so cool they sampled the A-Team, I loved that show growing up! I must have been 5 or 6 years old, but my parents said I was'nt allowed to watch it anymore cause I used to get violent and run around the house breaking things cause I thought I was Mr. T. I still have'nt been able to pick up where that sample is in Tch. I should be able to cause that theme music is forever burned into my brain.

Anyone else rember the show "Night Ryder" with David Hasselhoff? That was another favorite of mine growing up, I loved "Kit", the talking car. It was Hasselhoffs '84 Pontiac Dream.

Let's get it right though derail, they didn't sample it they recreated it - played it just the same.

I also don't think he is actually talking about the "A-Team" theme song. I think he is talking about the little piece at the end of the episode where the "Stephen J. Cannell Productions" jingle is played whilst showing Stephen Cannell typing on his typewriter.

[FuneralCateringService]

Yeah, I found this on youtube: http://youtube.com/watch?v=hqPiKgXCD4s& ... e%20a-team

I'm pretty sure that bit at the end is what he's talking about. There's a sort of keyboard arpeggio thing when you see "Universal" that sounds pretty Boccy, I think it was used in OSTRE.

[radiateme]

Yeah, I found this on youtube: http://youtube.com/watch?v=hqPiKgXCD4s& ... e%20a-team

I'm pretty sure that bit at the end is what he's talking about. There's a sort of keyboard arpeggio thing when you see "Universal" that sounds pretty Boccy, I think it was used in OSTRE.

Yeah I'm not sure but I believe it may be this part here. http://www.yousendit.com/transfer.php?a ... E37E411AD4