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het posted:
Oh het, you used to be my favourite moderator, but now after you say such words my world is shaken to the very core! (as always I'm just being my usual hyperbolic self. Except for the 70s Yes thing, my care of prog rock stops at Gong and the first 3-4 Soft Machine albums. That and Curved Air is a loving fantastic name) Slightly changing the topic a wee bit, I think a lot of my problems with namechanges or what have you is a lot of the time it just feels so artificial. Like it's an attempt for some artists who either aren't very good, or just plain not well known enough to try and leap frog the ladder without putting in the actual footwork and grind. Now I know you've got tradition on one hand, and on the other the new kids on the block or whatever, old fashioned oldies vs new hip cool futuristic new stuff, but with things like say, Drumstep, which just totally perplexed me, it just seems like a lot of young, not really that good(but certainly not terrible) producers tried to jump on it in order to create a very artificial 'scene' and inflate themselves and their standings in the music world. I remember seeing on forums so many complete unknowns suddenly tag their work that and pump it out, trying to be the first on the block, trying to act like they were kings of this brave new musical world. Except in this case they thought they found a new continent when instead they just ended up in the arse end of Neurofunk-land. (Maybe it gained a bit more legitimacy because Fabio/Grooverider - forget which - made it up?) I just can't see it being a way to really create and build up a thing, no real solid foundation and in the end it's just being built on sand, ready to collapse and be forgotten about. The UK stuff in this thread has managed to survive so long because it started off organically, with a solid grassroots support that built the initial foundations and everyone since has chipped in to keep that big musical Tower of Babylon going skyward.
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Aug 12, 2011 14:47
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Finally gave D Double's Bluku Bluku EP a listen, disappointed there's no Footsie features but it's cool. Nice to finally have a non radio rip of Lyrical Farda.
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Aug 13, 2011 03:50
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28 Gun Bad Boy posted:Oh het, you used to be my favourite moderator, but now after you say such words my world is shaken to the very core! 
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Aug 13, 2011 08:04
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Tropical 2.0 drops tomorrow and it's sounding like a real vibesin ting. Tropical 4 was one of my favorite BBK tapes back in the day. Some good ones from JME, really liking the Tropical rework of DJ Q's Oh. Also a new Todd Edwards track? Awesome.
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Aug 14, 2011 01:47
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GET MONEY posted:Tropical 2.0 drops tomorrow and it's sounding like a real vibesin ting. Tropical 4 was one of my favorite BBK tapes back in the day. Some good ones from JME, really liking the Tropical rework of DJ Q's Oh. Also a new Todd Edwards track? Awesome. Tropical was and probably still is my own personal favourite mixtape ever. Except for maybe Doogz' Axiom EP, and those first couple of Ghetts tapes, oh and the first Run The Road was fantastic as well, oh and not forgetting... And Todd Edwards never really stopped releasing stuff, just his recent stuff has been digital only sadly. Even i! Records has still been releasing stuff but again it's been digital only.
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Aug 14, 2011 02:00
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http://hardriverecords.tumblr.com/post/8908800680/i-just-uploaded-butterz-hardrive-at-cable-club 40 mins of terror danjah last night with d double and bruza good stuff I cant take hypes remix of ready or not seriously though in year 8 that was the song that got put on whenever the it teacher went out the room at school and we all thought it was the coolest thing ever qwako fucked around with this message at 17:33 on Aug 14, 2011 |
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Aug 14, 2011 17:23
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I bought this with money without realizing it was up for free in various lossless or near-lossless formats. Oh well. I like it! It's not a great leap forward or anything (kind of Rustie-esque) but it's fun and relatively melodic, which is what I look for in my electronic music, generally. Also picked up the latest Landslide without any knowledge of his history and I'm liking it a lot (for a vocal-heavy album, anyway) Basic Chunnel fucked around with this message at 22:44 on Aug 14, 2011 |
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Aug 14, 2011 22:29
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qwako posted:I cant take hypes remix of ready or not seriously though in year 8 that was the song that got put on whenever the it teacher went out the room at school and we all thought it was the coolest thing ever BeastPussy fucked around with this message at 02:30 on Aug 15, 2011 |
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Aug 15, 2011 02:23
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Sets by Terror Danjah & D Double E, Royal-T, Swindle, Champion, D.O.K and Elijah & Skilliam from saturday night at cable are available on http://butterz.co.uk/ to download i think this is more of their model at work giving away free poo poo to draw more people in (i like it)
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Aug 15, 2011 03:31
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So after wasting this weekend getting roped into installing a new bathroom suite at my sisters and her husband's house, I never managed to get the next part of my guide written when I promised. But the good news it I'm getting it down now so with any luck it'll be on tonight or tomorrow morning sometime. And just 'cause I like to please people we're now into the wide world of UK Garage (and by please I mean we just happen to be at this part anyway) In the mean time to make up for it, here's a old mixtape from a 1997 La Cosa Nostra dance, with Mikey B on the decks, and incredibly we have Creed, Moose AND 5ive-O on the mic. Nothing but proper 4x4 UK Garage pressure on this so time to grab your girl, your Armani shirt, a bottle of champagne and a fuckload of coke and eccies and boogie on down. MC Creed was one of the first MCs I heard and to this day, probably about a decade or so since I heard him, he remains the MC with the most unique voice I've ever heard. Like a Wolfman Jack for the ectasy generation. Also I really hope the mods don't mind me posting this as given the fact it's ripped off a 15 year old long deleted limited edition tape(actual honest to goodness cassette tape!), of dubious legal nature in the first place I figure we're safe(I have my doubts if the PRS was informed of all the tracks on this thing). Sadly that tape is one of the few classics that remain on Slick N Fresh which used to be one of the few places flying the flag for garage in the dark days of the mid-00s. They even still have a link to Stereohype and the terrible and ancient Confetti Records site on their page!
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Aug 15, 2011 12:13
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Stoked about the upcoming UKG bit 28GBB. Whatever restraint you may feel about the number of tunes, forget about it, flood us. Listening to the Zed Bias "Lost DATs", some nice ones here - gonna check out your 1997 mixtape in a bit. Also, new Dego (of 4hero) album is worth a listen, especially tracks 18 and 19 (Dego's Dancehall Cry, Late Night Fright).
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Aug 15, 2011 15:01
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Since this thread introduced me to bassline I've gone total teenage british girl for a month without checking out any new music. I've been addicted to a loving two-step remix of the thong song (http://www.youtube.com/watch?v=O2NBfGXCdmc sick tune btw) and I even downloaded two Craig David albums. A couple of SICK new tunes I've discovered the last few days: Submerse - Mecha (From the Mecha EP http://www.youtube.com/watch?v=bPxAwWq1fak Mz Bratt - Selecta (Royal-T 'Very Butterz' Remix) http://www.youtube.com/watch?v=GsJtaRyI3JA Chaos In The CBD - Birthday Song (aaamazing tune) http://www.youtube.com/watch?v=68e8ArXt8v8 Ola Ugh fucked around with this message at 23:25 on Aug 15, 2011 |
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Aug 15, 2011 23:22
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Welcome to the fifth part of my UK Bass history guide. I intend this to be a rough guide to the history of the current UK dance music scene. An attempt to educate and show people what came before. It's not meant to be a completely 100% accurate in-depth report of the sound and scene at the time, but is hopefully good enough that people will be able to understand and form the links in what has turned out to be a 20+ year old musical scene.   Timescale: 1994-1998 Key Labels: Nice N Ripe (and it's billion and one sub-labels), Ice Cream Records, Confetti Records, Catch, Public Demand Last time in the UK Bass History Guide we waved bye-bye to Jungle and the breakbeat. Today we move onto Garage, or more precisely UK Garage. American-style Garage was fairly popular in the UK in the early 90s and labels like Strictly Rhythm found strong sales in Britain with many tunes either being imported directly or sub-licensed on UK labels such as Champion and Network(and their Garage/House imprint Six6). It's sexy, swinging - yet still bass heavy - beat would allow it to become a feature in the second room at Jungle dances from around 1994, where there was a need for something to let people take a breather and wind down after a hard nights dancing to 155-160bpm beats. As Jungle started to become more and more technical, or more and more aggressive, is it any mystery then that people who were Hardcore lovers started to be drawn more into the seductive world of Garage? The slower, vocal US approach though just would not do for a more hyperactive, ecstasy fueled UK audience, so records were pitched up on the turntable in order to increase the speed. During 1994 however a new tactic was created. Why not create their own tunes that match what the regular punter really wanted. So influenced by what they experienced in Hardcore and Jungle a new series of UK producers kept the faster tempo and the 4x4 House beat, but increased the bass while decreasing the vocals. Indeed the vocals in many UK Garage tracks would be treated more like an instrument than anything else. A lot of this new attitude was brought on board when many ex-Jungle producers - sick of the way that scene was heading - leapt on-board this new phenomenon and brought their own influences and ways of working with them. Certainly by 1997 the "Jungle-lisation" of UK Garage was complete. In came the massive, rough basslines and synthetic stabs and out went a lot of the more 'natural' US-influenced sounds. This style would eventually be tagged as Speed Garage and continue to be a fertile breeding ground that would eventually birth out Bassline. Even the crowd had grown and changed. The early UKG scene was populated mainly by older heads, many had been a part of the scene since the early Acid House days, but come 1996 /97 the feet on the dancefloor had changed, partly due to the growing popularity of UKG leading to a natural intake of new fans, and also due to the influx of the younger, more 'energetic' crowd from the Jungle scene. By early 98 even the traditional 4x4 House beat that was the heart of UK Garage was disappearing, being replaced by the 2-Step beat which had first reared it's head briefly as early as 1995 before ducking its head back under the parapet until more favourable conditions came along. But we'll be talking about 2-Step in the next part, today though we're strictly 4x4 so let's go! Tube-Tape Playlist Link Logic "Blues For You(Hard Dub)" (Strictly Rhythm, 1994) A classic US Garage number of Strictly Rhythm. I'm including it here purely so you can hear the kind of tunes that influenced the UK Garage sound. I wonder how the American audiences reacted to tunes like these, the b-sides and odd cuts. Did they enjoy them or did they just find them weird, heavy and soulless? I mean compare this to the a-side, the vocal side, it almost seems like a totally different track. But after 5 years of Acid House, Hardcore and Jungle the Hard Dub mix is what found an audience with UK heads. Grant Nelson "In My Soul (Dubbed Out Mix)" (Nice 'N Ripe, 1994) Grant Nelson would become one of the leading figures in the UK Garage scene, with his Nice N Ripe label pumping out hit after hit. But before UKG Grant was probably best known as Hardcore act Wishdokta who had a string of hits on Kickin Records. An amazing change producing an amazing tune. From completely balls out aggressive Hardcore to such a divine and melodic tune. It has trumpets in it for God's sake! When was the last time trumpets sounded bad on anything? This is the kind of tune that UK producers would return fire with towards their American cousins. Faster, slightly rougher, much more bass heavy, yet still soulful and musical, but in a very different way. A great tune to show what makes UK Garage different from US Garage. Ambassadors Of Swing "Coming Up (Screaming Piano Mix)" (Nice 'N Ripe, 1995) Another Grant Nelson piece, though this time a collab with David Thackery, another early UKG pioneer. I was going to make this be the more bass-heavy [/url]Dirt Box Dub[/url] version of this track, but you know what? Those pianos and those vocals. As hard as you try to lose that ecstasy fueled euphoric feeling, it just keeps on coming back in tunes like this. You want an energetic rush you've got it. Between that piano and that vocal the tune just winds up higher and higher, building so much energy it's nearly unbelievable. If you're up and on your feet whenever this tune plays - whether in your room, in your bath, with your elderly mother or in a bus full of strangers - you have no soul what so ever, the Breakcore exit is just over there don't let the door hit you on the way out. Smokin Beats "Look Who's Lovin' Me" (Smokin Beats, 1995) Smokin Beats is another UK Garage innovator, having started up in the early 90s along with their (mostly) vanity label imprint, they put out track after track of classics. Their track Dreams is probably the best known and has been found on many a compilation CD. Here though is probably my favourite release of theirs - Look Who's Lovin' Me. A very dreamy, relaxed number that could easily be labelled or played as a House track, but if you ask me it's just a bit too raw and stripped down to really fit into that field. The vocals also are very UK Garage-y as well, being barely a line or two at a time before ducking out and being replaced by say, a bassline or whatever. Unlike later UKG tracks though the aren't chopped or processed really, retaining a more natural vibe. CJ Bolland "Sugar Is Sweeter (Armand's Drum 'n' Bass Mix)" (Internal, 1996) The first of two Armand Van Helden remixes. Strangely enough it'd take a American artist to remix a Belgian artist to produce a tune that would really help break the UK Garage scene. I don't know how much Armand Van Helden really cared about the UK Garage scene but he certainly helped it grow immensely with his sound influencing many producers to make records and introduce many punters that would pay at the gates and in the record stores to help keep the scene not just alive, but also to thrive. And it just goes to show you, you don't need to be from the UK to understand thumping beats and booming bass. You just need to not be a sucker. Sneaker Pimps "Spin, Spin Sugar (Armand's Dark Garage Mix)" (Clean Up Records, 1996) The second of the Van Helden remixes. What you thought I'd be sneaky and stick half way down the list? I like to subvert expectations and deliver a one-two knock out blow. This tune is probably the only reason people remember Trip-Hop bandwagoneers the Sneaker Pimps. I probably shouldn't be that harsh as people here have told me they actually came up with a couple more albums past their first post-Massive Attack/Tricky/Portishead debut. I've never heard them though and going by what I remember when they first hit out, nothing will compare to this track. You can definitely hear the beginnings of Speed Garage with this tune, a darker(hey it's in the name!), more minimal track, with lots of Dub elements(lots of reverb and siren-esque sounds all over the place) that sit over just a massive, rolling bassline that would become synonymous with that brand of UK Garage. Simple but very, very effective. Feyleine Brown "You Know I've Missed You (Todd Edwards Remix)" (Azuli Records, 1996) We can't talk about UK Garage without talking about Todd Edwards. Another American producer Todd Edwards would have a big impact on the UK scene. His cut-up and sampled-style tunes really hitting a chord with UK audiences. As well as his own original tunes, his remixes were also what caught the eye(some could say even more than his originals!) There hardly seems a release between 96 and 2000 that didn't feature a Todd Edwards remix - at least the good tunes did. Here he takes a crack at Feyleine Brown's "You Know I've Missed You", someone who I always thought was American but judging by past releases possibly not. I'll blame that on Azuli Records, a label born out of the very influential Black Market Records who really tried to act American, right down to shrink wrapping records(something not generally done here). KMA Productions "Cape Fear" (Urban Beatz, 1996) Definitely one of my favourite UK Garage tracks. This is a tune that'd show those Jump-Up Wobbly Dubstep artists how to actually use a sample lifted from a movie, rather than just using it as an intro and promptly forgetting about it. An earth rumbling, warping bassline keeps you on your toes while a real swingin' 4x4 beat keeps your hips shaking. KMA Productions sadly didn't put out too many tunes with just a handful of singles and EPs released in their short lifespan, ending with one of the first releases on the then new Locked On Records. Of course one of the best things they did was a Model 500 remix that I've never once heard played out, but luckily for you I've uploaded it here. Tuff & Jam "Set It Off (Booker T's State 51 Mix)" (Fifty First Recordings, 1996) An early track by Tuff Jam, aka Karl "Tuff Enuff" Brown and Matt "Jam" Lamont. A real pumping track with heavy piano use and a vocal that sounds like it could be lifted off some late-90s American R&B group. This time Booker T gives it a twist and this is what is squeezed out. Booker T is another one of those remix specialists, with many a tune having been reworked by him, including many, many highly commercially successful records at that. King of the underground and the mainstream. Anthill Mob "Feel The Groove" (Confetti Records, 1996) Ah the Anthill Mob, truly one of my favourite UK Garage producers. You may remember them from the last part of the guide where they were trying their hand at a Ragga style Jungle. Like many others they quickly got fed up of that scene and moved into UK Garage and began to pump out a lot of real bass heavy tunes. Most well known of which is probably Burning but it'd be a real shame just to stop at that tune (though you may have to take a seat when you learn how much that particular tune sells for) as tunes like this one is easily equal to that one. Richard Purser & Warren Clarke "The Lift Groove" (Deep Trouble, 1996) Both Richard Purser and Warren Clarke get slightly left out when talking about classic UK Garage I think. People name check Grant Nelson and Jeremy Sylvester all day long, but these two but out a lot of really good tunes as well. Like this one on Nice 'N Ripe Record sub-label Deep Trouble (one good thing NNR did was stick their logo somewhere on the label on almost - but not all! - their sub-labels). Here we turn down the bass ever so slightly and return to the more 'classic' Garage that Nice 'N Ripe favoured. A more Housey, soulful number with pianos bouncing away just infusing the track with sheer raw energy that just infects you and leaves you wanting more. New Horizons "Put Your Mouth (On Me)" (500 Rekords, 1996) Something is just so... sexual about this track. Maybe it's the lyrics and the vocals("oh/ah/come and make me feel good"), maybe it's that pounding, rhythmic kick or maybe it's just the name. But whatever it is, this track illustrates how early UK Garage still managed to keep that sexuality that American Garage House had. Though whereas the US stuff was pretty gay (and I mean that in the best possible way), UK Garage was always a more heterosexual affair. Just an absolute blinder of a tune that is so simple (really just bass, drums and vocals) yet is so powerful and forceful. you WILL be going to get on that dancefloor, whether you want to be there or not. You WILL have a good time. And you WILL make you come running back time and time again. A Baffled Republic "Bad Boys (Move In Silence)" (Catch, 1996) This is what happens when two leading UKG groups combine. Both Baffled and Banana Republic were top of the line UK Garage artists and this collab is one of those rare times when the positives of both groups are accentuated while the negatives are thrown out. A real UKG anthem, this tune digs deep into the past, showing the deep, deep Hip-Hop roots of the UK Bass scene by nicking a line from KRS-One/BDP as it's main sample. Here we start to get a real swagger to tunes, like what you get in Jungle, some real skankin' action going on as that bassline just goes boom-booom-boooom-booooom forcing you move (possibly in silence as the bass pressure has kicked all air out your lungs). Somore "I Refuse (What You Want) (R.I.P. Deep Dub Mix)" (i! Records, 1997) This classic track got it's final set of remixes in 1997, with this RI.P. Productions mix being the best cut of the lot. R.I.P. is probably best known for their classic track Ripgroove and being one of the main players in the Speed Garage scene. Anyway here they turn the light 'n funky original into a pounding, high energy lightspeed number perfect for the dancefloor. I think this was also licensed onto Locked On as one of the first (if not the first) singles released on that label, however it's the i! Records release that's on my shelf so that's what I'm going by. Chris Mack "Plenty More" (Confetti Records, 1997) Probably best known for the classic vocal "there's plenty more fish in the sea/for meeeeee..." now don't tell me no one else tries to do that high note at the end there. Don't be shy admit it, you do it too! Chris Mack was another refugee from the Jungle scene, known over there as Potential Bad Boy. The only 2-Steppy number to appear here, you can really understand why the ex-Jungle folk took to that beat rather than the traditional 4x4, as at times it almost seems like a really cut down breakbeat. The Jungle/Drum & Bass folk would pick it up as well, but at the speeds they were working at it just seemed too robotic and cold unlike here where it really shows off the kind of wild, skippy, swinging thing that Garage would become known for. Miles Fontaine "I Don't Want A Love" (Urban Dubz, 1997) You know one thing I will never understand about producers is why bother with an alias if you're just going to write the credits on the label? Ah well, no matter. Miles Fontaine is much better known under his actual name of Jeremy Sylvester, one of the true UK Garage dons. Jeremy Sylvester worked in the same kind of vain as the likes of Grant Nelson, making the rough beats with the heavy basslines but still keeping it very deep and soulful. In this track we're treated to an absolutely massive warping, wobbling bassline, almost foreshadowing what would occur in the musical future with the later, darker Garage and Dubstep. Baffled "I Believe In You" (Outlaw Records, 1997) Featuring the always fantastic Colour Girl on vocals (seriously check out her album on 4 Liberty Records that features this tune and many others, if you have the chance) this a fantastic track that really shows off how UK Garage treated it vocals. Less in a traditional way like you'd find in a US track, here it's heavily processed, with very little actual lines in it at all and it pops in and out of the track much a normal instrument would. In fact that's exactly how even the best UKG producers treated vocals, working it into the track as if it was no different than a piano or bassline or something. Again it adds to that real stuttery, skippy feel that UK Garage would gain, something that it could not have if the vocals were the centre of the track like they are traditionally. R.I.P. Productions "The Chant (We R)" (Satellite Records, 1997) You got a taste of R.I.P. before with the Somore remix, now feel the full power of them with this classic, past plundering track. Sampling from the classic Lennie De Ice track (you should know that one by now, if not, go back and re-read the guide) it really shows that even in the Garage era delving into the past(or even near past) for 'inspiration' continued. This time marrying up the We Are E samples with the big warping Speed Garage bassline for maximum dancefloor effect. Believe it or not a lot of the older UKG heads really were not fans of Speed Garage, I guess to them it sounded just loud and aggressive. Unlike later times that happened though, the people making it were generally true sceneheads with an knowledge and understanding of the music and the scene itself. Greg Stainer "Weakness" (V.I.P., 1997) Greg Stainer put out a handful of singles in the late 90s, all of them engineered by a certain future UK Garage God MJ Cole. And his hand is all over this tune with it's slow, careful build up before it explodes into pure dancefloor bizness. Laid back, but at the same time strangely energetic, it's tracks like these that showed why MJ Cole would go on to great things. Not to take anything away from Greg Stainer of course, who's recently reappeared on the music scene producing some Deep House kind of numbers. After all it was Greg who was doing the producing so he must've came up with the actual musical ideas. Still he'd probably be more well know as something other than "a guy MJ Cole produced" if he had more things released back in the day, as what he did release was gold. Ordinary People "Baby You Make My Heart Sing" (Social Circles, 1997) Ordinary People was Social Circles label owner Jason Kaye, often with an ever-changing cast of secondary producers. On this release we're treated to Kaye working alongside Steve Gurley, yet another ex-Jungle producer (this time formerly of Foul Play, though I believe in 1997 he still had one or two Jungle releases under his solo name of Rogue Unit). What the opening organ and vocal bits don't prepare you for is the sheer darkness for this tune. And it's not done the easy way by simply making a complete racket. Here we're treated to some real brooding notes that give the tune a real kind of broodiness, though luckily without the black liner. Too soulful for depression though it's a real internal broodiness. Like the vocals say "burning up inside". A real brooding lust that the odd haunting organ hits add to that atmosphere. It makes you wonder was this kind of darkness brought into the scene via the Jungle cats, or was it always there, just obscured in the shiny glittery face of the US stuff? Underground Solution "You're No Good" (Sound Of Underground London Records, 1997) No not the Roger Sanchez Underground Solution(massive kudos from me by the way if you knew that one) but rather Londoners Danny Foster and T. Smoove, here producing another slice of ultra hot 4x4 UK Garage action, this time with Carina Joseph on vocals. A real soft, smooth laid back sunny Sunday afternoon track this one, so good in fact it would reappear a few years later in 2-Step remixed form. Sound Of Underground London also has a loving cracking acronym, S.O.U.L. Absolutely fantastic. Dem 2 "Destiny (Original Mix)" (Locked On, 1997) Finally I've teased you all through the guide, but we actually have a track from Locked On Records, who would probably become the label for UK Garage just a short year or two later. But in 1997 you could count the releases they had on one hand. This track would actually be re-released a year later and break through into the middle of the UK charts. But for now we're dealing with the original number. Here we see the 2-Step thing slowly creep into the scene, showing the direction Garage would go from 98 onwards, and this tune is one of the classic tunes in that style. Gone is the super tempo and all powerful warping bassline of Speed Garage and in it's place is the swing that UKG is known for, with hi-hats and a bass drum that seem switched, with the hats keeping the rhythm while the kick jumps around seemingly wildly, skipping beats here and there in an effort to follow the pace. Leena Conquest "Boundaries (Banana Republic Mix)" (Parousia, 1997) You know I have this on a double pack which features the original, a DJ Zinc remix and a Tricky remix, but you know what? I cannot remember a single thing about any of the other remixes. But this one by Banana Republic? I have this down pat. Amazingly slinky and seductive, this 4x4 mix truly eclipses every other remix on the 12 inches. Interestingly is how the vocals are handled, remaining very much more 'traditional' and being the centre feature of the song. Whereas lesser artists may rip it to shreds and chop it up or whatever, Banana Republic are talented enough to actually be able to weave an extremely capable dancefloor track around that. And that's a hard thing to do. Fabulous Baker Boys "Oh Boy (Ramsey & Fen Remix)" (Multiply Records, 1997) Ramsey & Fen was another pair of artists who, while they had a lot of really good tunes of their own released, seemed to really shine remixing other artists work. Here they tackle the Fabulous Baker Boys track Oh Boy. Like we R.I.P.'s The Chant, this is another track that delves into the past for their samples, continuing with the Hardcore Continuum tradition or re-sampling or re-working old tracks. In this case we're treated to samples lifted from Hardcore and Drum & Bass artist Jonny L's classic Hurt U So, a track by all accounts destined for mainstream success but sadly fell at the first hurdle. Here though it gets a bit of a pick up and brush down, priming it for Jonny L to reclaim for himself during the 2-Step days when he re-worked it as a part of Truesteppers(more famously known for working with Victoria Beckham). Sunship "City Life (Bush Rangers Mix)" (Filter, 1997) And here we have Sunship, one of the long lasting UK Garage acts. They even exist to this day, which given the near death of UKG in the mid-00s is impressive. Here we have their track City Life, but this time not with the 2-Step original, but instead the Speed Garage remix. A lot of these Sunship tracks would go on to inspire and be part of the original core of the Northern Bassline scene. And also this track just goes to show it's not just the artists who were switching from Jungle to Garage, but the labels too with Filter originally putting out Jungle material. Serious Danger "High Noon (Part 1)" (Fresh Records, 1998) Here's another track that would cut right into the middle of the UK charts in early 98, showing that the Speed Garage sound while seemingly non-commercial (big massive hoovering basslines and thumping kicks with no vocals aren't really known to appeal to the lunchtime crowd on Clyde 1fm) in reality it proved to have a set of teeth about it. My favourite is actually the ISB remix which turn s the tune from a Speed Garage number into a hard hitting progressive House thing, well worth a listen to. The Nice Phenomenon "The End (Phenomenal Mix)" (Nice Vinyl, 1998) Mahnahmanah. Sorry, any time the word phenomenal appears it's what goes through my head. Anyway here's a real classic future Bassline tune. I remember this making the rounds in mixes around 2002-03 before the Bassline scene really established itself and began pouring out tunes. It's the kind of tune you'll probably still find on that last disc on a Bassline CD pack. Really, really thumping ultra-energetic Speed Garage action that is a world away from where UKG would go during the 2-Step days. Is it any wonder tunes like this would spin off into it's own genre? But we'll find out about 2-Step next time, for now it's The End! Additional & Recommended Listening: UK Garage was another one of those genres that had quite a bit of commercial interest in it, and from 97 up until the 'death' of Garage around 2002 or so there was a glut of compilation albums released by the likes of Telstar. One of my favourites though is a 2CD set called Kiss Garage, from Polygram, which features a good mix of commercial and underground tunes. I believe there is also a second volume but I have never heard it. In terms of more underground comps though, the two I always recommend are Creative Garage from 1996, which has 2CDs one mixed by Paul 'Trouble' Anderson and the other by Noel Watson featuring a great mix of early UK Garage and UK and American House, highly recommended. I also suggest a mix called Sub-Level UK on Buillion Records, a great 4x4 mix from 97. Finally compilation specialists Solid State Records have several volumes to check out, Speed Frequency, Ride The Underground as well as a Booker T 2CD set simply called Booker T - The Prize Collection which is a double disc comp with a bunch of his remixes on it. If you want to be cool and actually buy the vinyl singles and what not, you're in luck. Most of the UK Garage stuff can be had dirt cheap, with only a handful of rarer singles (like the Anthill and Chris Mack stuff for instance) reaching crazy record collector prices. As much as people go on and on about UK Garage and how good it is, I think most people write it off as some jokey delinquent music, hence why the prices are still so cheap. 28 Gun Bad Boy fucked around with this message at 02:25 on Jul 4, 2016 |
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Aug 16, 2011 00:01
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http://www.youtube.com/watch?v=yp3UeCguVVI DJ Ephixa did a dubstep remix of the Song of Storms from Ocarina of Time. Now, the Song of Storms is fundamentally about a mental struggle that happens when a dreaded event is approaching (a storm). You've feared it for so long you're exhausted, and you begin to wonder whether it might be a good idea to just accept it. Song of Storms argues that this acceptance is a kind of comfortable madness. The problem with a dubstep or other bass-heavy remix is that bass is immediate and visceral, while SoS is about a future, possibly even imagined event. They're almost diametrically opposed, since storms are in the sky and bass is in the ground. Luckily, the remix cleverly compromises. The wobble/modulation is used very sparingly, and the most striking bass is a lingering boom, like something huge and cataclysmic off in the distance. SoS still isn't perfectly suited to the genre, but this is the best it could have possibly been done.
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Aug 16, 2011 03:19
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gently caress yes, 28GBB puts up part 6! I've been sharin' the series on my facebook. A ton of my friends could benefit from the knowledge! thepopstalinist: Checkin' out that Debian Blak as I type...I'm feelin' it so far, but track 3 was kinda "eh".
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Aug 16, 2011 05:56
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Koos Group posted:http://www.youtube.com/watch?v=yp3UeCguVVI Agreed EDIT: Big look on the garage post, 28GBB. Also, Redlight's remix of Neva Soft is really good except I can't find a youtube link to it. You'll just have to trust me or go listen to Rinse a lot. Mike_V fucked around with this message at 07:34 on Aug 16, 2011 |
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Aug 16, 2011 07:00
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Thanks folks for the kind words, hopefully I've given you at least an odd track or two you may never have heard before.Koos Group posted:http://www.youtube.com/watch?v=yp3UeCguVVI The comments for this tune are just shocking. For instance. quote:Are you a dubstep / dnb artist looking for recognition? Well today is your lucky day. Forgiven is currently searching for produces willing to submit / create tracks for our channel. Our producers receive full credit and a link to their channel in every video they provide for us. If you're interested, send us a message, if not, we apologize for this long message. Enjoy your day! It just reminds me of that Vendor-Client relationship video I saw a year or two ago. So you give the guy a song, and he links you? Wow such a great deal! That'll really be a boost to my portfolio. This kind of thing really resonates with me since that video is how a lot of people really think the world works(trust me working for my families French Polishing business we've dealt with that attitude a lot). People really need to stop treating Youtube/Soundcloud as an actual release. Seriously folks next time you have what think is a really killer tune, why post it out for free. Save some cash, rob a bank/granny or whatever you have to do, and walk on down to your local record pressing plant (or email them or whatever) and get it put on some wax and bell a distributer to send it out. Or send it to a real record label or whatever and hope they like it. Why be a slut when you can be a whore if you ask me, at least one can afford a pair of nice, new shoes at the end of the day.
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Aug 16, 2011 11:29
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Most of the tunes on soundcloud would be better off not being pressed to wax. Apart from the obvious quality issue, the majority of people I know use their soundcloud to upload experiments or short clips of tunes they are working on. Thankfully I don't know anyone personally who thinks that having a tune on soundcloud or loving youtube counts as an actual release. Also soundcloud makes my tunes sound like poo poo and have weird timestretching artifacts because they are not mastered perfectly. I know I could tweak the tune a bit but its frustrating when the .WAV and 320 sound perfect on every single system I try them on, then when people download it from soundcloud they get the hosed timestretch version.
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Aug 16, 2011 15:13
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Maguro posted:Most of the tunes on soundcloud would be better off not being pressed to wax. Apart from the obvious quality issue, the majority of people I know use their soundcloud to upload experiments or short clips of tunes they are working on. Thankfully I don't know anyone personally who thinks that having a tune on soundcloud or loving youtube counts as an actual release. Well that's wierd that Soundcloud is doing that for you, I can't imagine mastering would make a difference though as it sounds like it's something Soundcloud's engine or converter or whatever it is, is doing to you. .wav file is a .wav file (eh, more or less haha) I think it's one thing using them as like advertising, ways to preview new tunes (though I'd be inclined not to post up any half-finished thing, I've got poo poo in sketchbooks I wouldn't even let my own mother see, let along someone I'm trying to impress) but a lot of the stuff you just think people put up on Youtube or wherever and expect to be signed and become famous, just like that! Like they've 'officially' released it on Youtube. Or worse, they put it up on Beatport as well, gah! Take a look at the House/Electro thread where 50% of the links provided are to complete unknowns Soundclouds or Youtubes. Now I'm all for shining a light on the young guns, but a lot of what people post is just absolute rubbish. I like to think when we put Youtube links up here 99% of the time they are also availible in vinyl form or on CD, and is generally of a high quality. The way I see it, the people who really want to make it or whatever, aren't going to just give out poo poo for free on Youtube or Soundcloud, and have it posted all over the internet like the latest celebrity sex tape. They're either going to: Press up the tune themselves (obviously needing a fuckload of faith in yourself and in your tune to put down a grand or so for the 500 copies). Though I guess this kind of goes hand in hand with the next few ideas. Strategically sending it out to labels who they think are actually going to listen (not just carpet bomb it out to every Tom, Dick or Harry with a record label) Try get the tune to a worthwhile DJ to play it out in the clubs, in mixes or on the pirates. Or even if they're a good DJ themselves try get on a pirate, internet radio or University radio or whatever. Or finally they're out there DJing at local nights, maybe even set up their own nights, in order to get themselves out there. Or even just actually going to a dance to socialise, if at all possible. Now obviously this doesn't apply to a lot of people here who know all this already, but I think too many people want the quick answer nowadays if you ask me. People have always wanted the quick answer sure, but now it's even easier to get out there (though even harder to be seen). And I know those steps work, I've seen it happen a million times. It's still loving hard to do, but it does work. For instance, you think the likes of Rustie, HudMo or Jackmaster just popped out of nowhere? Man I saw HudMo DJ every loving weekend sometimes, Jackmaster was like the opening DJ for every big timer to come through here for years. All bulding up their name, building up the brand, proving they had the goods. So when they finally made their attack they've built up a loving solid support behind them. P.S. Thank you to anyone who decided to subscribe to me on Youtube, you're probably out of luck though since I tend to only upload a song or two every six months when I find something I really want to hear, that isn't already online somewhere and I can't be bothered rooting through a shelf full of records to find it next time, like that Model 500 KMA remix.
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Aug 16, 2011 16:17
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Maguro posted:Also soundcloud makes my tunes sound like poo poo and have weird timestretching artifacts because they are not mastered perfectly. I know I could tweak the tune a bit but its frustrating when the .WAV and 320 sound perfect on every single system I try them on, then when people download it from soundcloud they get the hosed timestretch version. the soundcloud stream is 128kbs mp3 so yes its going to sound like poo poo. specially when transcoded from another mp3. it couldnt be doing anything to your downloads though, they should still be in exactly whatever format you uploaded thank you for the articles and advice in the thread 28gbb ive read and listened to it all. youre definitely a boss JimmyJazz fucked around with this message at 17:55 on Aug 16, 2011 |
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Aug 16, 2011 17:51
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For anyone in the UK I really suggest checking out Life Of Rhyme on 4oD. Hosted by Akala it's a nice little historic tour of MCing featuring a lot of big names. Definitely give it a look. It may be on some Torrent sites or something for the rest of the world folk, but I'm not sure.
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Aug 17, 2011 00:25
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I also like Artful Dodger's comp. of UKG "Artful Dodger Presents Re-Rewind Back By Public Demand" (I don't have the first one).
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Aug 17, 2011 00:36
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Mike_V posted:I also like Artful Dodger's comp. of UKG "Artful Dodger Presents Re-Rewind Back By Public Demand" (I don't have the first one). Wiley - It's Wiley (Royal-T Remix) http://www.youtube.com/watch?v=DsUXKHh9v20 Royal-T loving rocks.
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Aug 17, 2011 10:55
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Ola Ugh posted:Yeah it's great. Yes he does. His remix of TRC - Oo Aa Ee (which is also the instrumental to 'P Money - Boo You') sends me wild. http://www.youtube.com/watch?v=B-ICvQrRdLY
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Aug 17, 2011 20:54
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I'm not sure if it's Royal-T who does the tracks, but Elijah and Skilliam have been playing some tunes that are on a definite bassline flex lately and I can't help but hope we see a revival. Also Terror Danjah just had a new EP come out on Harddrive that's nice. I'm also late to this, but S-X's 5000 Followers EP is great, although he seems to be taking a lot of rap influence on his beats (not that that's a bad thing). EDIT: Whoa - http://www.youtube.com/watch?v=rJ0UGOiqOBI Mike_V fucked around with this message at 21:51 on Aug 17, 2011 |
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Aug 17, 2011 21:35
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Mike_V posted:I also like Artful Dodger's comp. of UKG "Artful Dodger Presents Re-Rewind Back By Public Demand" (I don't have the first one). Well look who's jumping the gun here with his 2-steppin' compilations! I don't think I have either of the two Artful Dodger mix CDs(at least I don't think I do, though it wouldn't surprise me if I did), but a surprising amount of good tunes on there. Not exactly pushing the boat out with the mix selection, but nice none the less. Though on saying that the first one does have the killer grunge mix of All I Know which is really just one big gently caress off drum workout really. Not to mention the MJ Cole mix of Believe which I've not heard in years. It's the Groove Chronicles one I always hear banded about. And the UK/Road Rap thing is definitely pretty big right now, so probably why you hear a lot of influence. Especially from people making the backing beats. e: This just popped on my radar the new single, Oh My Days by Auntie Flo, yet another local producer so I feel I have to push it out. Not too shabby really, bit of a grinder really though so was the last single as well. But the Alejandro Paz remix being given away free by XLR8R though, now that is a real belter. 28 Gun Bad Boy fucked around with this message at 23:50 on Aug 17, 2011 |
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Aug 17, 2011 21:55
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Two bait ones from 97 i'm surprised aren't in there due to their near universality: http://www.youtube.com/watch?v=MnaRK8e_Ls0 http://www.youtube.com/watch?v=NSSktaM7qQI i think of these two as the kind of definitional, final form of uk garage. warbly dread bass/reese bass, tiiiimmestreeeetched vocals, gun shots, general swagger.
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Aug 18, 2011 10:15
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mr box posted:Two bait ones from 97 i'm surprised aren't in there due to their near universality: That's actually the reason that they're not in there. While I normally end up putting in one or two big classics, I always try and focus on stuff that's maybe not as well heard of. Something you wouldn't find on your average Telstar compilation. Not that there is anything wrong with those tunes, both are total Speed Garage classics. Ripgroove is in the OP (and I have a R.I.P. tune in the guide, and that whole Ice Cream Records stable had a lot of good tunes by the way if anyone wants to dig deeper into that), and 187 Lockdown are fantastic, along with their later incarnation as Nu-Birth.
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Aug 18, 2011 10:39
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28 Gun Bad Boy posted:That's actually the reason that they're not in there. While I normally end up putting in one or two big classics, I always try and focus on stuff that's maybe not as well heard of. Something you wouldn't find on your average Telstar compilation. Gonna sound like a weird request, but do you reckon you could list a bunch of the best of those sorts of tunes? Only a lot of the less well-known speed garage tunes are pretty much only possible to find on vinyl these days, whereas stuff like Gunman, Ripgroove, Sugar is Sweeter, Oh Boy etc are much easier to find on digital.
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Aug 18, 2011 10:49
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Anae posted:Gonna sound like a weird request, but do you reckon you could list a bunch of the best of those sorts of tunes? Only a lot of the less well-known speed garage tunes are pretty much only possible to find on vinyl these days, whereas stuff like Gunman, Ripgroove, Sugar is Sweeter, Oh Boy etc are much easier to find on digital. Do you mean the best of the big name stuff? Or the best of the lesser known stuff?
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Aug 18, 2011 11:08
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Dunno if this is relevant but it's an amazing uk garage tune that probably was posted in the previous thread. It's got the greatest bass line I've ever heard. Anyone know of similiar tunes? Large Joints - Thinkin' http://www.youtube.com/watch?v=rDq93Q8pdQQ
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Aug 18, 2011 11:10
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Ola Ugh posted:Dunno if this is relevant but it's an amazing uk garage tune that probably was posted in the previous thread. It's got the greatest bass line I've ever heard. yea this one is a percy. in a way reconfigures 2-step in a kinda 2009 post dubstep mode, explicitly referencing the implicit strands which runs through the uk dance music. Also predates this which is on a similar kind of vibe, although more obviously put through the 90s jungle blender http://www.youtube.com/watch?v=Sb2YNJSRvFI
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Aug 18, 2011 11:30
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Ola Ugh posted:Dunno if this is relevant but it's an amazing uk garage tune that probably was posted in the previous thread. It's got the greatest bass line I've ever heard. There's plenty of similiar tunes. I remember when someone first posted it up, and they did say it was rare but to be honest it's not really. I can see why people would think that if they're only used to listening to the stuff digitally or via Youtube. On the actual 12" though 80% of the time you'll get the vocal on one half, with the instrumental on the flip. This is more where Dubstep came from, the dub(instrumental) version of 2-step tunes, rather than Dub Reggae(not that that's not an influence). And the vocal/grime obviously spinning off from the A-side. For instance just randomly I'll take two tunes off of Locked On. Zed Bias - Neighbourhood (always a classic) Original ZB vocal mix ZB Dub mix James Lavonz - Let Me Show U Vocal Dub Pretty easy to see where Dubstep came from with those ones. Like I said pick up almost any UK garage vinyl from any label (the 2-step stuff if that's the sound you're after) and this is the kind of thing you'll find. mr box posted:
Rob Smith, of Smith & Mighty (who had a full on Jungle alias as More Rockers)is probably be known these days as RSD. Was a bit of a surprise when he cropped up doing Dubstep since he seemed to have totally missed the steps up to Dubstep.
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Aug 18, 2011 11:48
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28 Gun Bad Boy posted:Do you mean the best of the big name stuff? Or the best of the lesser known stuff? Big name stuff. Basically stuff I'll probably be able to cop in good-quality digital, and thereby smash them out in the clubs.
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Aug 18, 2011 12:07
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28 Gun Bad Boy posted:There's plenty of similiar tunes. I remember when someone first posted it up, and they did say it was rare but to be honest it's not really. I can see why people would think that if they're only used to listening to the stuff digitally or via Youtube. On the actual 12" though 80% of the time you'll get the vocal on one half, with the instrumental on the flip. This is more where Dubstep came from, the dub(instrumental) version of 2-step tunes, rather than Dub Reggae(not that that's not an influence). And the vocal/grime obviously spinning off from the A-side. I think it was me who posted it before. I don't remember saying it was rare but I think I said it was a missing link or something. Basically what I was getting at in the above post - what's notable about it is that it represents a kind of hybrid of styles in a very bait way. But back to the etymology of Dubstep - I've always subscribed to the above definition, and ultimately I think it's right, but the more I listen to some of those early horsepower releases the more it makes me wonder... I really want to see that mixmag interview with Hatcha though. I wish someone would scan it or something.
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Aug 18, 2011 12:23
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Anae posted:Big name stuff. Basically stuff I'll probably be able to cop in good-quality digital, and thereby smash them out in the clubs. Well you could do worse than checking out some compilations that came out on the major labels at the time. Normally they have fairly predictable tracklistings - not that the tracks are bad mind you! - and the stuff that's on them should be fairly easy to get digitally as actual standalone singles. There was two volumes of Speed Garage Anthems that BMG put out, mixed but actually quite well done if you ask me. Volume 1 Volume 2 And like I had in the recommended listening part I do really like the Kiss Garage comp. I'd check those 3 CDs, and just use Discogs to explore the artists on them for more stuff. You could also just do a advanced search on Discogs for Speed garage and it'll bring up a thousand and one CDs. Seriously this stuff was really big at the time and the big labels put out tons of cd compilations. Too many to name really. mr box posted:I think it was me who posted it before. I don't remember saying it was rare but I think I said it was a missing link or something. Basically what I was getting at in the above post - what's notable about it is that it represents a kind of hybrid of styles in a very bait way. Well I mean obviously you couldn't deny that the whole Dub Reggae thing has been an influence in any UK dance music(well probably more UK dub/steppers thing was just as or a bigger influence as Jamaica quickly moved on from Dub to Ragga/Dancehall in the 80s), so of course there is going to be a lot of similar things going on. But I think a lot of the sound of Dub has just been so bred into the music over the past 20+ years it's like genetic now, stored in the DNA, rather than an obvious influence grab, if that's understandable?
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Aug 18, 2011 12:37
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On "dubstep" etymology: I've always been under the impression that it was because of Jamaican dub as a main influence, though hearing the theory that it was about the Dub side of the 12" makes more sense. Earlier UK Bass styles were clearly also heavily informed by dub, and it would only make sense that the influences had already become embedded into the musical DNA of the sound. In other news, from the Numbers camp: Mosca - Done Me Wrong/Bax comes out on the 12th of Sept. I'm v excited for Bax, it's a great track. http://nmbrs.net/releases/mosca-done-me-wrong-bax/ Also, Jackmaster/Spencer on Tuesday night played a "Detroit classics" night. Even though a lot of this is techno/electro/house, I don't think that it would fit in that thread (yes I am wearing my monocle). http://nmbrs.net/rinse/rinse-fm-tuesday-16th-august-2011-jackmaster-spencer-detroit/ I finally got around to buying Kingdom's newest single (Take Me) it's pretty alright. Interesting that Kingdom would release it with the acapella, but that seems like something that he would do, hoping he would get a lot of cool R&B type edits/remixes because of it. I got the Fade to Mind CD in the mail, but it has no tracklist. Some cool stuff, some stuff that seems like it could have used a little more time.
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Aug 18, 2011 15:45
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a milk crime posted:On "dubstep" etymology: I've always been under the impression that it was because of Jamaican dub as a main influence, though hearing the theory that it was about the Dub side of the 12" makes more sense. Earlier UK Bass styles were clearly also heavily informed by dub, and it would only make sense that the influences had already become embedded into the musical DNA of the sound. I mean don't get me wrong, by it's very nature a dub version of something means the exact same as what it did in the late 70s when Lee Perry, King Tubby etc were doing it. Instrumental version with more bass to put it in the simplest of terms. But I don't think many people nowadays when they come to do a dub version really aim for like what Tubby or whatever would do. Someone putting heavy reverb on a snare hit probably isn't doing it to emulate something Keith Hudson did in the 70s, but more just drawing on and adding to 3 decades worth of people copying that sound. Not to say some modern artists aren't more influenced by Dub. I think most are, and most probably have a good knowledge of it. Digital Mystikz for instance, are very influenced by it. But even then I'd say probably more influenced by the Digidub sound the likes of Iration and Bush Chemists etc have been doing since the early 90s, than the original Dub artists. Again like I was saying sometimes I think the influence of the original artists from the 70s are a bit too exaggerated, when a lot of it simply has to do with how deeply ingrained that sound became with UK music. More sub-conscious than conscious.
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Aug 18, 2011 16:24
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a milk crime posted:Also, Jackmaster/Spencer on Tuesday night played a "Detroit classics" night. Even though a lot of this is techno/electro/house, I don't think that it would fit in that thread (yes I am wearing my monocle). Funny, I'm listening to the Numbers podcast right now. I got The Claw last week as well and wasn't impressed. All but a couple of the tracks didn't deserve a release IMO.
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Aug 18, 2011 21:20
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Dopo posted:Funny, I'm listening to the Numbers podcast right now. I got The Claw last week as well and wasn't impressed. All but a couple of the tracks didn't deserve a release IMO. 18 tracks is a lot, for some reason I thought it was only 8, ah well. So it's a case of too much filler then? The Numbers Rinse Detroit special was great though. Detroit Techno has always been massive in Glasgow. I guess the fact both are post-Industrial cities who were once on deaths door made it easy to understand each other. I know the UR guys love it here apparently(and we loving love them I'm telling you). I've always been surprised I've not heard more of an overtly Detroit-ish sound from what producers here are putting out. Luckily though, apparently unlike Detroit, we've kind of pulled through the tough times and the change is amazing, even just in my time. My childhood memories when I used to get the 62B into the town centre (60p child return!) and there wasn't much of gently caress all, and around here there was gently caress all as well. Still is really, we only got a greggs nearby a few years ago. And strangely enough nowadays no more white dog poo poo  So no fear Detroit, if we can do it so can you.
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Aug 18, 2011 21:43
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