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A weekly, monthly and always a live show back2lifesessions@gmail.com

2d ago

Bass Archaeology Podcast Ep17

Bass Archaeology – Episode 17 Synopsis Episode 17 digs deep into the lineage of groove, connecting the raw, live energy of band-driven funk and soul through to hip-hop sampling culture, jazz, house, and modern bass led production. We open with the Bass Arch Grunge Band – “48 Years”, a stripped-back, live-rooted performance intro. From there, the episode moves into the golden age of soulful songwriting and session excellence. Lenny Kravitz – “It Ain’t Over ’Til It’s Over” delivers a masterclass in retro-funk construction, followed by Marvin Gaye – “Got to Give It Up”, where the infamous bassline and percussion groove capture the essence of late-night dancefloor improvisation and the birth of modern groove culture. The funk intensifies with The Gap Band – “Burn Rubber”, a synth-driven early-80s electro-funk statement, before sliding into the smoother, minimal perfection of “Outstanding”, where space becomes the instrument and the bassline does more with less than almost any record of its era. The journey shifts into 90s pop-funk and dance crossover energy with Michael Jackson – “Don’t Stop ’Til You Get Enough”, a track that bridges disco and modern pop with one of the most influential basslines in recorded music. From classic to contemporary, Cody Currie ft. MiK – “Cash” brings the jazz-house revival into focus, echoing vintage disco without directly sampling it, showing how modern producers are now playing the past rather than lifting it. The episode then moves into the DNA of hip-hop sampling culture with De La Soul – “Ring Ring Ring”, where layered funk and R&B records are rebuilt into something entirely new, followed by Naughty by Nature – “Hip Hop Hooray”, where soulful bass textures underpin one of hip-hop’s most enduring crowd anthems. We return to pure musicianship with George Benson – “Give Me the Night”, a Quincy Jones-produced masterpiece where Louis Johnson’s bass anchors a flawless fusion of jazz, disco and R&B sophistication. Closing the main journey, Ella Candeu – “Just Pretty” brings a modern banging bassline 303 palette, before the episode locks into the underground with Bass Arch DNB – “Rootsline Roll”, a breakbeat-driven finale that connects funk heritage to modern drum & bass pressure. Episode 17 is ultimately a study in continuity: how basslines evolve but never disappear. From live funk bands to synth-funk pioneers, from hip-hop sample collage to jazz-house reinterpretation, the low end remains the thread that ties every era together—always moving, always shaping the dancefloor.

1h 7m
May 29

The Bass Archaeology Podcast Ep16 - Hosted by Cookee

Welcome to Episode 16 of the Bass Archaeology Podcast. Disco Tech - City Lights / Feel About you Noir Haze - Around (Solomon remix) All things break - Stay Crazy P - Open for Service Workers - A bronx Tape Piem & Cessie Innit - Colours of House George Morel - Lets Groove Plump Djs - Fired Up Stanton Warriors - Beggin Alex Reece - Pulp Fiction Sigma & Queen Mills - Little Things Jo Pacillo & French la Touche - The K Loop Rae & Christian - Spellbound Bass Archaeology Episode 16 – Full Synopsis Bass Archaeology 16 dives deep into the grooves, blending classic disco/boogie spirit with modern house, funky breaks, and soulful underground energy. The episode opens with Disco Tech bringing pure 70s-inspired heat through "City Lights" and "Feel About You" (Evelyn Champagne King vibes), delivering punchy disco-tech edits loaded with funky basslines and soulful vocals. It then flows into atmospheric deep house with Noir & Haze – Around (Solomun Remix), one of the most hypnotic and sexy tracks in the genre, setting a late-night, heady tone with its rolling bass and emotional vocal delivery. The journey continues with All Things Break – Stay, a smooth, emotional vocal house cut that adds a contemporary melodic touch. Crazy P – Open for Service injects playful, funk-laden house grooves with their signature live band feel and seductive energy. Mid-episode, things get raw and sample-heavy with Workers – A Bronx Tape, followed by the vibrant Piem & Cessle Innit – Colours of House, a colourful, feel-good house track full of warmth and groove. George Morel – Let’s Groove keeps the party spirit alive with old-school house energy, before Plump DJs – Fired Up brings bouncy, big-room breaks energy. The mix then shifts into proper breakbeat territory with Stanton Warriors – Beggin’, a high-energy, bass-driven rework, and the timeless jungle/drum & bass classic Alex Reece – Pulp Fiction — a smooth, rolling liquid masterpiece that showcases the evolution of bass music. Closing the episode on a strong note, we get Sigma & Queen Mills – Little Things (uplifting vocal vibes), the hypnotic tech-house of Jo Paciello & French La Touche – The K Loop, and finally Rae & Christian – Spellbound, a beautiful, soul-soaked downtempo closer that brings warmth and reflection. Bass Archaeology 16 is a rich, groove-focused journey that celebrates the full spectrum of bass-driven music — from disco roots and deep house hypnosis to energetic breaks and soulful refinement. It’s a true underground celebration of feel, funk, and low-end love

1h 27m
May 15

Bass Archaeology Ep15 - Hosted by Cookee

Bass Arch 15 – Full Tracklist & Synopsis Tracklist Erykah Badu – Tyrone De La Soul – Me Myself and I Diago – Step On Down Method Man – Jabberwock Pecoe – Shake That Funk tha Beat – In the Mix Warner Case & Jean Tonique – Shake Our Bones John Julius Knight – So What It’s a Jazz Thing Carey Holmes & Larry LaBirt – Let’s Do It Again Hardsoul ft. Ron Carroll – Back Together High Beam – Just What I Said Vibe Chemistry – Living Like This Bomb the Bass – One to One Religion Full Synopsis Bass Arch 15 traces the living memory of bass music, moving fluidly from warm, organic roots in soul, jazz, and hip-hop through to modern house, drum & bass, and experimental electronic terrain. The episode opens in rich, classic territory with Erykah Badu’s “Tyrone” and De La Soul’s “Me Myself and I”, grounding the set in golden-era soul and conscious hip-hop. From there it slides into funk-driven energy with Diago’s “Step On Down”, Method Man’s “Jabberwock”, Pecoe’s “Shake That”, and Funk tha Beat’s “In the Mix” — a run of raw, bass-heavy grooves that celebrate swing, attitude, and dancefloor physicality. The tone then shifts into modern reinterpretation. Warner Case & Jean Tonique’s “Shake Our Bones” injects nu-disco production into vintage groove language, proving how bass memory is constantly recycled and refreshed for today’s club culture. This segues into deeper jazz-house waters with John Julius Knight’s “So What It’s a Jazz Thing” and the feel-good soulful bounce of Carey Holmes & Larry LaBirt’s “Let’s Do It Again”. The episode lifts into proper soulful house uplift with Hardsoul ft. Ron Carroll’s “Back Together”, where soaring gospel vocals and punchy programmed basslines create an emotional, communal peak. Immediately afterward, High Beam’s “Just What I Said” pulls the sound into minimalist, sample-based electronic textures — a sleek contemporary reinterpretation of earlier musical identities. Late in the mix, drum & bass energy arrives via Vibe Chemistry’s “Living Like This”. Rolling basslines and liquid rhythms carry forward the emotional DNA of soul and jazz into high-tempo UK rave territory, blending warmth and intensity at breakneck speed. The episode closes in a darker, more experimental space with Bomb the Bass’s “One to One Religion”. Here bass becomes atmospheric architecture — reduced, industrial, and deeply spatial — suggesting future directions for electronic music that move beyond pure dancefloor functionality into immersive, cinematic territory. Bass Arch 15 is a journey that honors the continuum of bass culture: from the organic and familiar to the futuristic and abstract, always anchored in groove, soul, and low-end resonance.

1h 12m
May 8

The Bass Archaeology Podcast Episode 14 - Hosted by Cookee

Bass Archaeology – Episode 14 - Sunshine Daze! Episode 14 of Bass Archaeology travels through deep soul, jazz-funk, conscious hip-hop, electro, house and jungle to uncover how bass music evolved from warm analogue musicianship into rave futurism. This journey starts in the sun-drenched atmosphere of Everybody Loves the Sunshine by Roy Ayers, where hypnotic basslines, drifting Rhodes chords and loose groove philosophy laid foundations that producers would sample and reinterpret for decades to come. From there, the emotional storytelling of Midnight Train to Georgia by Gladys Knight & the Pips showcases bass as narrative support rather than technical showmanship. The warm melodic playing underneath Gladys Knight’s timeless vocal performance reveals how soul music used restraint, pocket and feel to create emotional depth. The show then drifts into the jazz-rap haze of Pacifics by Digable Planets, where sampled jazz textures and dusty low-end grooves transformed old records into entirely new worlds. That atmosphere deepens further with Thieves in the Night by Black Star, a philosophical and socially conscious masterpiece that uses sparse boom-bap bass weight and haunting samples to create one of the defining underground hip-hop statements of the late 90s. Electro and reggae collide next with Reckless by Afrika Bambaataa featuring UB40, capturing a period where programmed basslines and drum machines began reshaping global dance music culture. That evolution accelerates into the club foundations of modern electronic music with Ooh, I Love It (Love Break) by The Salsoul Orchestra, one of the most sampled dance records ever made and a crucial bridge between disco orchestration, electro-funk and hip-hop break culture... The second half of the episode explores how these foundations evolved into house and rave futurism. Can You Feel It by Mr. Fingers channels deep house minimalism into spiritual club music, while Lindo Momento by Monsieur Van Pratt reinterprets disco warmth through modern nu-disco production and analogue-inspired groove. Underground pressure arrives through modern house gem called 'Games' and Jungle originiations like 'Untouchable' , before the journey descends fully into the shadowy low-end futurism of Valley of the Shadows by Origin Unknown one of jungle and drum & bass culture’s most iconic atmospheric records. Finally, Out of Space by The Prodigy detonates the rave energy completely, fusing reggae samples, breakbeats and hardcore intensity into a defining anthem of UK electronic music culture, before the Bass Archaeology band closes the episode with a liquid drum & bass outro that brings the entire low-end journey full circle. Episode 14 traces the DNA of bass music across decades and genres — from live soul musicianship and jazz-funk atmosphere to sample culture, deep house hypnosis, jungle futurism and rave energy — revealing how groove, space and bass pressure continue to connect every era of underground music history.

1h 14m
Apr 24

Bass Archaeology Podcast Episode 13 hosted by Cookee

Bass Archaeology Episode 13: Cross the Tracks This week, we dust off the crates and embark on a soulful, funky, and house-infused journey that crosses musical borders, emotional highs, and dancefloor heartbeats. We kick things off with the raw, James Brown-produced funk fire of Maceo & The Macks and their irresistible call to “Cross the Tracks (We Better Go Back).” From there, The Meters lay down that signature New Orleans groove with the joyful strut of “Just Kissed My Baby,” reminding us that sometimes the simplest pleasures hit hardest. We ride the reggae train with Damian Marley (feat. Stephen Marley) on the uplifting, herb-infused “Medication,” then catch the one-and-only Dennis Brown boarding the “Westbound Train” for a roots reggae escape filled with smooth longing and redemption. Things heat up on the disco floor as Loleatta Holloway delivers pure vocal ecstasy in the timeless “Love Sensation,” followed by a deep dancefloor moment with the Larry Levan mix of Gwen Guthrie’s “It Should Have Been You.” Patrice Rushen keeps the romance alive with the smooth, unforgettable bassline of “Forget Me Nots.” We slide into soulful deep house territory with Kings of Tomorrow featuring Julie McKnight on the gospel-tinged anthem “Finally,” then keep the late-night vibes rolling with Miguel Campbell’s bouncy, seductive “Something Special.” The emotional core hits when Frankie Knuckles (with Satoshi Tomiie) brings the deep house classic “Tears,” a track that still moves bodies and souls in equal measure. Raze answers with the urgent, body-rocking demand of “Break 4 Love,” before DJ Vas drops the playful, sample-heavy “Wizard Funk” to keep the energy quirky and funky. We close the crate with a swing and a smile courtesy of Kid Creole & The Coconuts and their flamboyant, irresistible “I’m a Wonderful Thing, Baby.” From 70s funk and reggae to 80s disco, 90s house, and beyond—this episode is all about the basslines that connect generations, the tracks that make you move, and the timeless feeling of digging deep. Tune in, turn it up, and let the archaeology begin.

1h 23m
Apr 17

The Bass Archaeology PrinceCast - Ep12

BASS ARCHAEOLOGY – Episode 12 “Purple Funk & Soulful Musicology” A Prince Tribute Special Welcome to Episode 12 of Bass Archaeology – a deep, funky, chunky, and soulful live-recorded journey through Prince’s incredible catalog. This episode is a heartfelt tribute to the one and only Prince Rogers Nelson, the Purple One, the multi-instrumental genius, and one of the funkiest bass players to ever grace the stage. We dig deep into his rich vault and deliver a warm, groovy mix featuring: Controversy When Doves Cry 17 Days Sexy M.F. Chelsea Rodgers Musicology Breakdown The Love We Make Stand Up and B Strong One Day We Will All B Free Purple Rain …plus a few more hidden gems that showcase Prince’s legendary bass lines, hypnotic grooves, and soul-stirring vocals. From raw early-80s funk to uplifting gospel-tinged ballads, this episode celebrates Prince’s unmatched creativity, his deep pocket, and the warm, spiritual “hug” his music continues to give the world. Turn it up loud, let the bass breathe, and feel the purple energy wrap around you. This one’s for the lovers of real funk, real soul, and real bass.

1h 39m
Apr 10

The Bass Archaeology Podcast Episode11 - Hosted by Cookee

Episode 11 arrives like golden hour at a summer festival, sun dipping low, energy high, and the air alive with rhythm. Opening with the laid-back groove of Fat Freddy’s Drop’s Ernie, the scene is set: barefoot in the grass, sound systems humming, and a crowd slowly swaying as the day transitions into night. The vibe builds through the uplifting blues textures of Conditions Are Right, before rolling into the iconic balearic rework of The Man With The Red Face, a moment that feels like a live brass section echoing across a packed field. As the sun fades, Dexter Wansel’s Sweetest Pain and Amy Winehouse’s Cupid bring warmth and soul, like that perfect festival lull where everyone reconnects and resets. The groove intensifies as Bernard Wright’s Haboglabotribin’ injects pure bass funk energy crowds dancing, hands in the air before Jamiroquai’s Little L lifts things into full on festival euphoria. The blend of soulful house in Darryl Debonnas - Just to Be With You and the heartfelt pull of Angie Stone’s Miss You captures that magic of shared moments under open skies. As night fully takes hold, Eric B. & Rakim’s Know The Ledge cuts through with raw, timeless energy like a late-night set pulling everyone closer to the speakers. Closing with Raye’s Nightingale Lane, the episode winds down like the final moments of a perfect festival day, lights dimming, music fading, but the feeling lingering long after. A seamless journey through soul, jazz, house, and hip-hop, Episode 11 captures that festival magic where music, people, and atmosphere collide into something unforgettable.

1h 20m
Apr 2

TheBassArchaeologyPodcast Ep10

Episode 10 of Bass Archaeology dives deep into one of the most important threads running through modern music culture — the journey of basslines across genres, decades and dancefloors. From roots reggae foundations to rave culture, from disco and soul to drum & bass rollers, this episode explores how a single low-end philosophy connects musical worlds that might otherwise seem miles apart. The journey begins in Jamaica with a towering roots reggae classic: Chase the Devil by Max Romeo and The Upsetters. Produced by the legendary Lee "Scratch" Perry, the track is a cornerstone of 1970s reggae mysticism, combining hypnotic basslines, spiritual lyricism and the unmistakable sonic space of Perry’s Black Ark studio. Its famous line about putting on an “iron shirt” would echo across generations and genres, becoming one of the most sampled reggae vocals in electronic music history. That vocal energy leaps directly into rave culture with the Out of Space (Scott Forshaw & Greg Stainer Remix) by The Prodigy. Built around the sample from Max Romeo’s reggae anthem, this track represents the early 90s explosion of UK rave where reggae sound system culture, breakbeats and electronic production collided in warehouses and fields across Britain. The remix keeps the spirit alive while injecting modern club power. From rave culture the episode shifts into one of the most recognisable basslines in pop history: Billie Jean by Michael Jackson. That iconic groove played by session legend Louis Johnson helped define the sound of the 1980s, proving that sometimes the simplest bassline can carry an entire song into immortality. The theme continues with a playful twist on the King of Pop legacy through Somebody’s Watching Me, reimagined here in the club world by Boogie Hill Faders with Somebody’s Thriller Is Watching Me. This mash-up style reinterpretation blends nostalgia, funk and dancefloor creativity a reminder of how DJs and producers constantly recycle musical DNA into new forms. House music then enters the archaeological dig through the infectious groove of The Rattlesnake & the Ant by Moodena, where disco basslines and modern house production meet in a playful, strutting dancefloor rhythm. The groove-led momentum continues with Everything by The Chocolate Fudge Band, a deep slice of soul-drenched funk that reminds listeners how the foundations of dance music were always built on musicianship. Next, the spotlight turns to the lush UK house and soul fusion of Real Love by Drizabone, presented here in the Casa Blanca Remix. This era of British club culture blurred the lines between soul, jazz-funk and house music, creating warm, vocal-driven grooves designed equally for radio and dancefloors. The soulful thread deepens with the legendary Chicago house anthem That's the Way Love Is by Ten City. With the powerhouse voice of Byron Stingily, the track captures the emotional core of house music where gospel energy, club culture and uplifting basslines combine into something spiritual. Modern underground house arrives with Romantica 2021 by Ruben Mandolini, a sleek and hypnotic groove that showcases how contemporary producers continue to reinterpret classic dancefloor energy using crisp production and rolling basslines. The tempo then lifts into melodic electronic territory with Lava by Sebastien Leger, where progressive house textures meet cinematic synth landscapes, proving that bass doesn’t always have to shout, sometimes it simply flows beneath the surface guiding the rhythm forward. From there, the episode shifts gears into high-energy UK drum & bass with Amazing by Voltage and Shy FX. This track embodies the modern jungle revival, combining classic breakbeat heritage with heavyweight bass pressure built for massive sound systems. The sunshine vibes **DJ Marky bootleg. The Brazilian-influenced melody and rolling drum & bass with deep RNB undertones via sunshine andersons classic track The darker edges of drum & bass appear next with Situations (DLR Remix) by Atlantic Connection, where crisp drums and deep sub frequencies return the show to the underground club environment where bass music thrives. Finally, the journey closes with the Cookee Outro Band DNB Roller, bringing the episode full circle with a rolling bass groove that captures the essence of Bass Archaeology itself: digging through sounds, eras and rhythms to uncover the connective power of the low end. Episode 10 demonstrates that basslines are more than just musical accompaniment — they are the architects of groove, the engines of dancefloors and the invisible thread connecting reggae studios, Chicago warehouses, London raves and global club culture. From roots reggae prophecy to drum & bass futurism, this episode celebrates the endless evolution of bass.

1h 21m

A weekly, monthly and always a live show back2lifesessions@gmail.com

Creator

Cookee
Years Active

2019 - 2026
Episodes

63
Rating

Clean
Show Website

Cookee_Back2lifers