The Original Concept members were Doctor Dré (the guy from MTV), T-Money, Rapper G, Easy G and Wildman Steve. This 12-inch from 1986 is one of the few singles not produced by Rick Rubin who produced pretty much every other track during the early days of Def Jam Recordings. Let me tell you how kick-ass this track is. It starts off with a backward turntable-scratch effect which then quickly scratches forward towards rev-up solo guitar riff which is then interrupted by a spoken word sample, drenched in dark-room reverb, “PUMP THAT BASS.” That sample should trigger your memory. Yes! You’ve heard it before on millions of other records, but it originated here — this track by The Original Concept (I think)! The vocal sample finishes it measure very quickly and then proceeded by the main beat, starting with a monster 808 kick and snare that sounds like a trash-can (probably sampled into an E-mu SP12 drum sampler). Very original track indeed. Absolutely killer scratching and freestyle MC’ing. Play the track now!
The Original Concept – “Pimp That Bass”…
Artist: The Original Concept
Title: Pump That Bass
Year: 1986
Label: Def Jam Recordings
Media Source: Recorded straight from 12-inch record to enhanced digital.
The Original Concept – “Pump That Bass” (mp3)
While the norm for most tracks go anywhere between 3:30 to 6:00 minutes in length, I prefer 15:00 minutes or longer, like the four seasons. Give me 4 long tracks to fill the hour, and I’ll be one very happy Iraqi. I love tracks that take me on long journeys through various movements. One of my all-time favorite synth-pop groups is PROPAGANDA from germany … who sound like twisted ABBA + Industrial + TechnoPop + Darkness. My favorite Proganda track is P:Machinery. I’ve taken two 12-inch vinyl versions of that track and conjoined them together as one … the way I want to listen to P:Machinery by:
Propaganda
Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day.
Man Parrish
What made Trevor Horn’s productions stand out was his unique and genius production techniques and the heavy use of state-of-the-art pro-audio gear, which made him become the torch-bearer for the kind of technology-led pop music which was hip and incredibly disciplined. Trevor Horn’s 12-inch remixes were uniquely long (anywhere from 8 to 13 minutes in duration) and told stories which took the listeners through long instrumental journeys at the begenning of tracks until the climax is reached (around the 5/6 or 7 minute mark). After the climax, the original or alternate full vocal version of the track takes over from that point on to the end, lasting additional 3.5 to 5 minutes in length.
Frankie Goes To Hollywood
Trevor Horn is the guy who produced and performed “
The Buggles
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