Sv: (313) Techno Rebels--miami bass-ghetto tech etc.
Speaking of world class wrekin' cru, what albums of their's is any good. I found Turn Off the Lights. Is that the one with Calling Dr Dre to surgury lyrics??? Here is a list of the Wreckin Cru's good records: http://www.electroempire.com/artists/wreckin.html Don't buy 'Turn off the lights' unless you're into very cheesy soul music. - R
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
I think you're rightthough I'd be interested in a geneology here. I don't remember anything like say, Get It Girl or Throw That Dick before '86 or so.. H. You folks are missing the *early* days! The Egyptian, Nucleic, Planet Patrolling, Soulsonic days! When you went to the Bass Mechanic to fix your Cosmic Car! I'm talking at least '83 if not earlier. In fact, a lot of the bass rap you hear is tonally like the Egyptian Lover and the LA Dream Team, which would mean that Miami Bass is actually related to real west coast old school rap. In fact, to jump on a thread, check Sir Mixalot's Squaredance Rap. The man even had the vocals pitched up as a forerunner of... Am I going too far to say that whilst Mr. Mixalot was snatchin' from Mr. 500, others in Detroit were judiciously picking up some tips from Mixalot? __ Get Your Private, Free Email at http://www.hotmail.com
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
Cornelius Harris wrote: In fact, a lot of the bass rap you hear is tonally like the Egyptian Lover and the LA Dream Team, which would mean that Miami Bass is actually related to real west coast old school rap. In a sense Miami Bass' origins are from west coast. When 2 Live Crew came from California they were just another RAP-group makin' typical beatbox / scratching RAP. In Miami howerer, the climate is much HOTTER than elsewhere, so it took a little planning and manager Luke Cambell to join the band until they hit the jackpot. Started throwin' their D's as they say. Since then it was Miami Bass, Ghetto style DJ's, Ghetto bass... It's all about names of course, which really doesn't matter. Only music does. Proffit __ Get Your Private, Free Email at http://www.hotmail.com
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
On Thu, 13 Apr 2000, Cornelius Harris wrote: I think you're rightthough I'd be interested in a geneology here. I don't remember anything like say, Get It Girl or Throw That Dick before '86 or so.. H. You folks are missing the *early* days! The Egyptian, Nucleic, Planet Patrolling, Soulsonic days! When you went to the Bass Mechanic to fix your Cosmic Car! I'm talking at least '83 if not earlier. In fact, a lot of the bass rap you hear is tonally like the Egyptian Lover and the LA Dream Team, which would mean that Miami Bass is actually related to real west coast old school rap. In fact, to jump on a thread, check Sir Mixalot's Squaredance Rap. The man even had the vocals pitched up as a forerunner of... NawI'm not forgetting those days. My brother still has the twelve inch of the World Class Wreckin' Cru with Dr. Dre in half drag and full makeup!! But when I heard 2 Live Crew I didn't hear the same sound as Egyptian Lover, or Al-Naafiysh, or The World Class Wreckin Crubut rather something different. And similarly it is also possible that the people from Detroit were influenced by the West Coast. I just don't HEAR it. peace! lks
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
In a message dated 4/12/00 11:31:14 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: What's interesting to me is not so much the cultural angle.but the fact that they jumped on Ghetto Tech (which is just a more sped up version of miami bass music) oh about...14 years after the fact as far as i can reckon. Who jumped on it? Music magazines(doing their job to stay hip) that have had dj's, labels, and good promoters pushing it to them and the suburban buying masses of club kids(white and black)for years-- whether it is worthy of a grain of salt or not. I haven't heard any musicians talkin' about it, other than to dismiss it as the Brittney Spears of synthesis. Who cares anyways, if people are buyin' sell it- that's capitalism. Isn't it? Re: Bass and Booty--- apples and oranges--- very different in ways other than pitch. Some bass patters were actually complicated and certainly explored tonal quality and lo-end frequencies ways that were never done before. Remember the car shows with frequencies dropping below the bar--an interesting experiment-- certainly moreso than ass and tities as ghetto tech explores. I'll take Davis and Coltrane with Evans in a smoke-filled lounge over either anytime,but that's just a matter of taste. I think the first Feel the Bass series did penetrate the burbs all those years ago with much much hype- It replaced kool moe dee and depeche mode as my most played for a while when I was in Jr. High in a little town in texas.
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
On Wed, 12 Apr 2000 [EMAIL PROTECTED] wrote: In a message dated 4/12/00 11:31:14 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: What's interesting to me is not so much the cultural angle.but the fact that they jumped on Ghetto Tech (which is just a more sped up version of miami bass music) oh about...14 years after the fact as far as i can reckon. Who jumped on it? Music magazines(doing their job to stay hip) that have had dj's, labels, and good promoters pushing it to them and the suburban buying masses of club kids(white and black)for years-- whether it is worthy of a grain of salt or not. I haven't heard any musicians talkin' about it, other than to dismiss it as the Brittney Spears of synthesis. Who cares anyways, if people are buyin' sell it- that's capitalism. Isn't it? What I find interesting is the argument that this music is NEW. There's an interesting racial angle in there.it doesn't exist until large groups of whites listen to it. So the first article I read about the music deals with a white DJ who happened to go to school here at Michigan, then left after he blew up I think. The first article I read about house IN THE CHICAGO PAPERS was in 1991over ten years at LEAST after it'd been created. This is not a new phenomenon, but interesting nonetheless. Re: Bass and Booty--- apples and oranges--- very different in ways other than pitch. Some bass patters were actually complicated and certainly explored tonal quality and lo-end frequencies ways that were never done before. Give me an exampleit seems to me that BOTH grew out of Detroit technoI recall TECHNICOLOR being used for the backdrop of one of 2 Live Crew's early songs. Ghetto tech is more of a fusion between Miami and Technobut this makes them different types of APPLES, rather than apples on the one hand and oranges on the other. I'll take Davis and Coltrane with Evans in a smoke-filled lounge over either anytime,but that's just a matter of taste. I'm the same waybut I don't know too many house heads that can roll with either subgenre.. peace lks
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
a piece from a feature on Detroit's Mike Grant from Cognition (http://techno.ca/cognition) re: the use of Technicolor: 1985 looked to be Grant's year in Detroit, but before things had started to fall into place in his DJ career, he had already made the decision to join the military. While in the forces, Grant DJed as often as he could wherever he was stationed, and while in Seattle inadvertently managed to work a little bit of Detroit into a certain rumpshaker from the city's Sir Mix A Lot. I wanted to remain involved in the music while I was in the army, so I told Juan (Atkins) I was in Seattle and I knew of some people who were playing music in the area. He sent me some records, one of which was 'Technicolor' [a 1996 Metroplex single from Channel One--Atkins and Doug Craig], Grant remembers. At the time the radio station was called KFOX and Nasty Ness was the DJ on there, so I went down to the station, took some Metroplex releases to Ness, and wanted to see if he could get them some airplay. A few months later, all of sudden you turn on MTV and you see Sir Mix A Lot with 'Baby Got Back' and listening [to the background rhythm] you say, 'hey, that's Technicolor! I didn't really think anything of it at the time, but eventually that record really blew up and Juan mentioned something to me about it. He was like, 'Didn't I give you some records?' And I was thinking, 'Damn, you know what? You did!' Consequently, a lawsuit resulted. Atkins got his deserved royalties, and Grant can laugh now at his involvement in this now infamous footnote in electro history. Lester Kenyatta Spence wrote: On Wed, 12 Apr 2000 [EMAIL PROTECTED] wrote: In a message dated 4/12/00 11:31:14 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: What's interesting to me is not so much the cultural angle.but the fact that they jumped on Ghetto Tech (which is just a more sped up version of miami bass music) oh about...14 years after the fact as far as i can reckon. Who jumped on it? Music magazines(doing their job to stay hip) that have had dj's, labels, and good promoters pushing it to them and the suburban buying masses of club kids(white and black)for years-- whether it is worthy of a grain of salt or not. I haven't heard any musicians talkin' about it, other than to dismiss it as the Brittney Spears of synthesis. Who cares anyways, if people are buyin' sell it- that's capitalism. Isn't it? What I find interesting is the argument that this music is NEW. There's an interesting racial angle in there.it doesn't exist until large groups of whites listen to it. So the first article I read about the music deals with a white DJ who happened to go to school here at Michigan, then left after he blew up I think. The first article I read about house IN THE CHICAGO PAPERS was in 1991over ten years at LEAST after it'd been created. This is not a new phenomenon, but interesting nonetheless. Re: Bass and Booty--- apples and oranges--- very different in ways other than pitch. Some bass patters were actually complicated and certainly explored tonal quality and lo-end frequencies ways that were never done before. Give me an exampleit seems to me that BOTH grew out of Detroit technoI recall TECHNICOLOR being used for the backdrop of one of 2 Live Crew's early songs. Ghetto tech is more of a fusion between Miami and Technobut this makes them different types of APPLES, rather than apples on the one hand and oranges on the other. I'll take Davis and Coltrane with Evans in a smoke-filled lounge over either anytime,but that's just a matter of taste. I'm the same waybut I don't know too many house heads that can roll with either subgenre.. peace lks - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- Cognition/Andrew Duke's In The Mix mailto:[EMAIL PROTECTED] http://techno.ca/cognition 1096 Queen St #123 Halifax NS Canada B3H 2R9
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
y'all can check the interview with Mike on Flatplastic (http://www.flatplastic.com) as well as a chat with Jordan Fields and Rick Wade. -Giles. Andrew Duke wrote: a piece from a feature on Detroit's Mike Grant from Cognition (http://techno.ca/cognition) re: the use of Technicolor: 1985 looked to be Grant's year in Detroit, but before things had started to fall into place in his DJ career, he had already made the decision to join the military. While in the forces, Grant DJed as often as he could wherever he was stationed, and while in Seattle inadvertently managed to work a little bit of Detroit into a certain rumpshaker from the city's Sir Mix A Lot. I wanted to remain involved in the music while I was in the army, so I told Juan (Atkins) I was in Seattle and I knew of some people who were playing music in the area. He sent me some records, one of which was 'Technicolor' [a 1996 Metroplex single from Channel One--Atkins and Doug Craig], Grant remembers. At the time the radio station was called KFOX and Nasty Ness was the DJ on there, so I went down to the station, took some Metroplex releases to Ness, and wanted to see if he could get them some airplay. A few months later, all of sudden you turn on MTV and you see Sir Mix A Lot with 'Baby Got Back' and listening [to the background rhythm] you say, 'hey, that's Technicolor! I didn't really think anything of it at the time, but eventually that record really blew up and Juan mentioned something to me about it. He was like, 'Didn't I give you some records?' And I was thinking, 'Damn, you know what? You did!' Consequently, a lawsuit resulted. Atkins got his deserved royalties, and Grant can laugh now at his involvement in this now infamous footnote in electro history. Lester Kenyatta Spence wrote: On Wed, 12 Apr 2000 [EMAIL PROTECTED] wrote: In a message dated 4/12/00 11:31:14 AM Eastern Daylight Time, [EMAIL PROTECTED] writes: What's interesting to me is not so much the cultural angle.but the fact that they jumped on Ghetto Tech (which is just a more sped up version of miami bass music) oh about...14 years after the fact as far as i can reckon. Who jumped on it? Music magazines(doing their job to stay hip) that have had dj's, labels, and good promoters pushing it to them and the suburban buying masses of club kids(white and black)for years-- whether it is worthy of a grain of salt or not. I haven't heard any musicians talkin' about it, other than to dismiss it as the Brittney Spears of synthesis. Who cares anyways, if people are buyin' sell it- that's capitalism. Isn't it? What I find interesting is the argument that this music is NEW. There's an interesting racial angle in there.it doesn't exist until large groups of whites listen to it. So the first article I read about the music deals with a white DJ who happened to go to school here at Michigan, then left after he blew up I think. The first article I read about house IN THE CHICAGO PAPERS was in 1991over ten years at LEAST after it'd been created. This is not a new phenomenon, but interesting nonetheless. Re: Bass and Booty--- apples and oranges--- very different in ways other than pitch. Some bass patters were actually complicated and certainly explored tonal quality and lo-end frequencies ways that were never done before. Give me an exampleit seems to me that BOTH grew out of Detroit technoI recall TECHNICOLOR being used for the backdrop of one of 2 Live Crew's early songs. Ghetto tech is more of a fusion between Miami and Technobut this makes them different types of APPLES, rather than apples on the one hand and oranges on the other. I'll take Davis and Coltrane with Evans in a smoke-filled lounge over either anytime,but that's just a matter of taste. I'm the same waybut I don't know too many house heads that can roll with either subgenre.. peace lks - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED] -- Cognition/Andrew Duke's In The Mix mailto:[EMAIL PROTECTED] http://techno.ca/cognition 1096 Queen St #123 Halifax NS Canada B3H 2R9 - To unsubscribe, e-mail: [EMAIL PROTECTED] For additional commands, e-mail: [EMAIL PROTECTED]
Re: (313) Techno Rebels--miami bass-ghetto tech etc.
On 12 Apr 2000 [EMAIL PROTECTED] wrote: I don't agree with the duality of ghetto and bass. There's a third (sub)genre, and that could be called technobass or maybe Detroit bass. And the lineage on that goes on before Miami, before jeep trax, before where dem hos at, before all of it. I think you're rightthough I'd be interested in a geneology here. I don't remember anything like say, Get It Girl or Throw That Dick before '86 or so.. I have enough technobass/Detroit bass now to do a pretty decent full set, and while I'll never match the skills of the masters, it's fun to play and *this* house head definitely rolls with that. I hear you.but don't quite feel you. :) peace lks
