One of my favorite moments is when I’m listening to a record and hear a sample in there. Depending on the record, it may or may not hafta be something obscure. If it’s like it was just now, and it’s being scratched in, I’m geeked up that I could recognize that, as is. The thing is, it’s not even like I think I’ve got some type of perceptive powers because of it. Really, I’m surprised that I never noticed it before. In any case, I’m really trippin off that Gap Band cut into Buck Whylin by Terminator X. Everybody knows that his destruction of En Vogue’s Hold On is one of the most thorough dismantlings of any song, but he pretty much did the thing to Burn Rubber, too. I’m just mad it took me that long to recognize it.
UPDATE With the records in there.
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You just educated me, man. Terminator X did “Hold On”? Wow. That’s something that was deep in the crates. Gotta pull it out now.
That’s my butter,how I drag the kids back to ‘74.
I refuse to play the over played “Brickhouse” jams and instead give them a taste of the familiar,by playing tracks that have been sampled,but in most cases the original is superior.
I too will stumble across stuff,like years ago when I blindly bought a Ballin’jack LP,only to discover the sample used in Young MC’s-Bust a Move.
Because I’m not listening to much current stuff,sometimes I have the crowd telling me what song has been sampled,as I tend to play the grooves I would have sampled myself,back when I was muckin’ about with producing beats.
One of the tracks I was working on back then,ended up being used for the Beastie’s track-High Plains Drifter and when that LP came out,I was pissed at first,but then took it as a compliment to my ear for loops.
However once I heard the Fatback Band,I realised that it most cases,the sample could never be as great as the whole.
Tribes use of Wicky Wacki in Show Business reinforced that it was the hook n’ the boogie that made my head nod,more than the lyrics,as good as they were.
Just like any drug,Funk is best in it’s purest form.
I’m one of the few people who actually bought Terminator’s CD, Terminator X & The Valley of the Jeep Beats. Like his PE stuff, it’s a sonic barrage with a bottom that will crush weak-kneed woofers.
I’ve been curious why DJs have never exercised more control over Hip-Hop beyond the studio and occasional boutique/vanity label. It makes sense to me that they’re the genre’s auteurs and the ones best suited for transitioning to electronic media, e.g.; programming music video channels and radio stations. To this day, much of my choices in music are based on knowing a Jazzy Jeff or Premier was the producer.
$B, as far as fatback goes, you know what did it for me? i gotta learn how to dance from kool g rap’s streets of new york. i liked the sample, but when i heard the original song, it was a WRAP.
mib, that’s an interesting thought: why don’t djs do more programming? i’m assuming that there’s that little issue of payola, but having a dj actually run a video show just makes too much sense. well, donnie simpson used to do it back in the day, but after video soul…let’s see…were ed lover and dr. dre (the fat one) djs before mtv raps, or after?