Summer 1985 … 14 years old … the only thing I knew about James Brown is what Eddie said … but I still haven’t heard any of his music.
Fall 1985, Toronto, Canada … I went to see Rocky-IV movie.
Let’s go back to that night in the movie theatre … below is the scene that I’m currently watching in 1985:
What a way to expose me to James Brown music for the first time … LIVING IN AMERICA. The electric funk blew the sandals off my feet.
I didn’t hesitate to leave the movie theatre right after that scene (half-way through the movie) and ran to Starsound record store, looking for the 12-inch of that track. I was screaming out loud, “LIVING IN A AMERICAAAAAAAA, AMERICAAAAA,” like Eddie’s comic tale ice screeeeeaaaam.
Some dude understood me and pointed to the wall. And there it was … the very same one which I’m holding in my hand (pictured above).
12-inch vinyl cover of Living In America
James Brown In The Jungle Groove…
The most famous and most sampled funky track is Funky Drummer.
I am proving all you people with two original hi-rez source files (top of this page) to comprehend and pay respect to the man who brought you such killer track which spawned loop-sampling to be where it’s at today. Where would D&B and other genres be today if there was no Funky Drummer!?!
I say go out and buy this rare, full album! I shit you not, it’s the funkiest masterpiece ever. So much to sample from … especially the horn stabs and hits.
Front cover of James Brown In The Jungle Groove
Me and the vintage 1983 keytar (Yamaha KX-1 controller)
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.
12-inch vinyl cover of P:Machinery
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:
digitizing them into Protools;
spending two long months cleaning them up;
getting rid of every single scratch/pop/click;
restoring deteriorated sounds through various RE-SYNTHESIS processes and techniques;
splicing the tracks to separate clips;
re-arranging and layering clips to my taste;
throwing in my own synth-stabs, chops and other minor subtleties;
adding & automating series of chained top-notch effects throughout the mix, utilizing parameters some of you could not even pronounce … thus resulting with more dynamic and reverberated DEPTH to the mix;
fattening the bottom-end;
widening overall stereo perception; and
mixing, engineering and mastering my version of P:Machinery the way I think it’s supposed to be heard.
To my taste, P:Machinery sounds better than ‘sick’ … more like master piece of shit which blasts sonically across the stereo-field … not one element standing still but constantly moving all over the place.
Before reading this blog ………. I strongly recommend that you read (if you haven’t done so) or re-read (if you don’t remember) my last post about producer extraordinaire Trevor Horn’s dynamic 12-inch ………. and then come back here for more Horn’ful penetration.
This is Trevor Horn…
He’s the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. And he’s collecting millions of dollars of royalties from it.
I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles.
In 1980, the Buggles’ duo Geoffrey Downes (keyboards) and Trevor Horn (vocals) — who were coming off an international success with their New Wave album The Age of Plastic and the acclaimed single “Video Killed the Radio Star” – to help out on a new YES album. Downes suddenly left Buggles when Trevor learned that YES’ keyboardist Rick Wakeman was leaving the band, and therefore snatched him as well as lead-vocalist Jon Anderson to work on the next Buggles album Adventures In Modern Recording. The Buggle’s second album was completed in 1981 but was never released or charted. The album was a gem masterpiece.
A Little Bit of YES…
This is Rick Wakeman.
This is Jon Anderson.
Vangelis … in his studio setup in hotel room in Paris … working on his 1987 Direct album.
Since this album was never charted, there was only one single released as a 12-inch ……… an absolutely incredible track I Am A Camera with Wakeman on the keys and Anderson on the mic, which can be heard below, among few bonus tracks.
The Buggles – I Am A Camera (12 Inch)
Listen to the all the instrument layers, arrangements and chord progressions.
Hans is Academy Award winner and one of Hollywood’s best soundtrack composers for movies such as: Rain Main, Lion King, Bee Movie, Black Rain, Da Vinci Code, and the list goes on an on IMDB.com credentials. The fucker has an amazing personal studio.
Let’s forget about Hans! I just wanted to show you the connection between him and Trevor Horn. Why is Trevor more special?
After The Buggles, Trevor Horn became to be one of the world’s best and most successful music producers of all time:
Malcolm McLaren (Duch Rock album, “Two Buffalo Girls”, etc)
YES (Owner Of The Lonely Heart)
Pet Shop Boys
Art Of Noise
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. Horn was influenced by Giorgio Moroder (for his distinctive sound) and Kraftwerk (The Man Machine album, for its non-use of traditional instruments). Horn rented the same modular synth which Giorgio used on all his records but found it very difficult to use.
Around 1980, along with Peter Gabriel, Trevor bought the very first digital sampler/workstation which was revolutionary at the time: Fairlight CMi. The Fairlight machine took over Horn’s life and rewarded him with the creation of a sound that had never been heard before. “There were landmark moments – like making the otherworldly backing vocals on Give Me Back My Heart by the Art of Noise out of a sample – that were mind-blowing. It was the birth of digital recording.”
Sampling laws had not yet been invented, and Horn stuck a skull and crossbones flag over the Fairlight to promote the image of being a pirate, stealing existing recordings and turning them into something new. He also pioneered the use of the Linn drum machine, which sounded the death knell for live drummers.
Fairlight III CMi sampler, music workstation.
However, Trevor was one of the originators of the dynamic 12-inch remixes which were the best at the time … and still are the best. Most 12-inch remixes back then were either just extended verions of original songs and/or default disco/DJ arrangments which were too boring to listen to in and of themselves.
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. Like a novel, each of Horn’s remixes starts off with the long RISE to hit the CLIMAX at the top. Once climax is reached, the track would SUSTAIN the music with the original/alternate vocal version until it DECAYS and fades out in the end. Mostl importantly, it was the rolling basslines which DRIVE the listener (in the passenger seat) from begenning to end.
trevor horn’s 12-inch remix graph
Most 12-inch or “remixed” tracks today are nothing more than extended DJ-friendly versions based on or bootlegged from the original sources. They are nowhere nearly produced as good and heavy as Trevor Horn’s past remixes, because they do not tell stories or go through carefully-arranged story-like journeys. They’re just dispensable and expendable pieces of garbage to my ears.
However, the 1980s decade began with a backlash against disco music, and a movement away from the orchestral arrangements that had characterized much of the electronic music of the 1970s. Music in the 80s was characterized by unheard of electronic sounds accomplished through the use of synthesizers and keyboards, along with drum machines. This made a dramatic change in music. 80s pop music experienced a revolution driven more by technology and consumerism than any resounding political message. It was that new electronic sound from synthesizers, samplers and drum machines, enhanced with unprecedented leap forward towards advanced and new production techniques of the time, where both analog and new digital domains fused together as one.
Fairlight III CMi sampler, music workstation.
Roland MC-202, the ultimate analog bass machine ... blows away TR-303!
Linn 9000 digital sampling drum machine and 64-midi channel sequencer.
By 1982, I was already tired of the old disco sound but hip to the new “rap” genre (which were heavily produced by drum machines and synths) and in love with all kinds of electronic-pop and electric-funk styles. However I was still hungry for something more but wasn’t quite sure what it was. Something was in the air … or ON THE AIR for sure.
After Malcolm McLaren’s release of Buffalo Gals in late-1982, I knew something bigger was coming along. 1983 saw the big shift in electronic dance music taking place. In Europe (especially Germany, England and Italy), electronic dance music was essentially electric-disco — 4/4 drum beats + 1/8th note basslines — such as New Order’s Blue Monday.
However, in New York, electric-disco became known as “high energy” with a twist: a new sub-genre was emerging as “electro” which was a blend of hiphop beats with electronic dance arrangements.
I was enrolled in a boarding-school back then in England and was still listening to New Order and Grandmaster Flash on the Walkman. There was this fuckin’ Jamaican kid in my dormitory — David Yakabu. One day, David ran up to me and said, “Hey mon! Chek dis Mon Pah-rish wikkidest sound!” I put on the heaphones, he pressed play, and my socks were blown off my feet.
I was listening to Man Parrish for the first time ……… “Hip Hop Be Bop” and “Heatstroke.”
HOLY CRAP – THIS SHIT IS FIERCE !! — was my impression.
I followed and bought every release by Man Parrish.
MAN PARRISH REVIEW by – Sean Cooper, All Music Guide
This ground breaking 1983 Dance-Urban Synthesizer album is considered by many, to be a DANCE CLASSIC and a MUST HAVE in any serious collection. Man Parrish is said to have coined the phrase “Hip Hop” from this classic, electronic dance record.
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. A native New Yorker, Parrish was a member of the extended family of glam-chasers and freakazoids that converged nightly on Andy Warhol’s Studio 54 club. His nickname, Man, first appeared in Warhol’s Interview magazine, and his early live shows at Bronx hip-hop clubs were spectacles of lights, glitter, and pyrotechnics that drew as much from the Warhol mystique as from the Cold Crush Brothers.
Influenced by the electronic experiments of his good friend and co – writer Klaus Nomi and Brian Eno as well as by Kraftwerk, Parrish together with “Cool” Raul Rodriguez recorded their best-known work in a tiny studio sometimes shared with Afrika Baambaata, whose own sessions with Arthur Baker and John Robie produced a number of classics equal to Parrish’s own, including “Wildstyle, ” “Looking for the Perfect Beat, ” and the infamous “Planet Rock.” What distinguished “Hip-Hop Be Bop, ” however, was its lack of vocals and the extremely wide spectrum of popularity it gained in the club scene, from ghetto breakdance halls to uptown clubs like Danceteria and the Funhouse. After he discovered a pirated copy of his music being played by a local DJ at theinfamous “Anvil” club ( NYC ), Parrish found his way to the offices of the Importe label (a subsidiary of popular dance imprint Sugarscoop and Disconet DJ mixing service), which whom he inked his first deal. He released his self-titled LP shortly after, and the album went on to sell over 3 million copies worldwide. He was signed to Electra Records and managed by David Bowie’s notorious manager Tony De Fries and the infamous Main Man Ltd management team. Tony De Fries had managed careers of David Bowie, New York Dolls, Mott the Hoople, Mick Ronson and Dana Gillespie to name a few.
Following a period of burn-out that followed, Parrish recorded and remixed tracks for Michael Jackson, Boy George, Gloria Gaynor, and Hi-NRG group Man2Man, among others, and served as manager for the Village People and Crystal Water to name a few. While Parrish’s subsequent material has achieved nowhere near the success or creative pitch of his earlier work, he continues to record from his brooklyn studio and is a frequent DJ at New York’s eclectic night spots and SM clubs. His Sunday Underground Party “Sperm” at the “Cock Bar” on New Yorks lower east side, is notorious, to say the least ! He is main DJ and co founder for a circut party called “Hustlerball” which has parties in many cities worldwide. He also has several adult websites and online businesses which keep him busy as a webmaster, and “jack of all trades”. His second LP, DreamTime, appeared on Strictly Rhythm in 1997.
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:
Digitizing them into Protools; Spending two long months cleaning them up; Getting rid of every single scratch/pop/click; Restoring deteriorated sounds through various RE-SYNTHESIS processes and techniques; Splicing the tracks to separate clips; Re-arranging and layering clips to my taste; Throwing in my own synth-stabs, chops and other minor subtleties; Adding & automating series of chained top-notch effects throughout the mix, utilizing parameters some of you could not even pronounce ... thus resulting with more dynamic and reverberated DEPTH to the mix; Fattening the bottom-end; Widening overall stereo perception; and Mixing, engineering and mastering my version of P:Machinery the way I think it's supposed to be heard.
To my taste, P:Machinery sounds better than 'sick' ... more like master piece of shit which blasts sonically across the stereo-field ... not one element standing still but constantly moving all over the place.
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 Boogie Down Bronx (dub version) PLAY TRACK
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 Relax (12 inch Sex Mix) PLAY TRACK
Trevor Horn is the guy who produced and performed “Video Killed The Radio Star” world-wide smash-hit track. I did some major digging and discovered some fascinating, forgotten facts and hidden gem tracks from The Buggles. In 1980, the Buggles’ duo Geoffrey Downes (keyboards) and Trevor Horn (vocals) — who were coming off an international success with their new-wave album The Age of Plastic – to help out on a new YES album. Downes suddenly left Buggles when Trevor learned that YES’ keyboardist Rick Wakeman was leaving the band, and therefore snatched him as well as lead-vocalist Jon Anderson to work on the next Buggles album Adventures In Modern Recording. The Buggle’s second album was completed in 1981 but was never released or charted. The album was a gem masterpiece.
The Buggles I Am A Camera (12 inch version) PLAY TRACK
It’s here! Our 10th annual roundup of the year’s best music, with the most-discussed artists and videos of 2016, and every longread we’ve Stacked each week. To start, we’ve compiled a few of the stories we’ve followed in Stack throughout the year, with artists, labels, and genres that have gained prominence in 2016. You can […]
For the first time since it’s release in 2011, Hype Machine for iOS is available for free in the App Store! Here’s what’s new in this release: We’ve added an easier way to read blog posts when playing a track: just swipe up on the artwork to see the list. There are a few other changes: we’ve removed […]
Users of Hype Machine’s Android and iOS apps will notice that display ads have started running in their apps. We are grateful to everybody who’s purchased the apps since we began releasing them in 2011. These sales allowed us to maintain them and develop new features, and we thank you for your support. We know […]
We started working on Spotify integration earlier this year, and many of you have already linked your accounts. Now you can sync your favorites and play your Hype Machine finds in Spotify! Connect here and enable Favorites Sync to begin importing your favorites to a private Spotify playlist. New favorites will be synced automatically. Also […]
This past Friday, December 2, 2016, we enabled ads in our Android app. We released Hype Machine for Android in October 2014 as a $3.99 premium app. The revenue from these sales allowed us to publish many updates, including a full rewrite, maintaining the app as the Android platform underwent rapid changes. Unfortunately, we were not able to […]
You love your favorites—you’ve spent hours here sifting through new music, and these are your gems. We know you prize them, and want to keep them with you wherever you go. Beginning today, you can sync them to a private playlist on SoundCloud! We’ve been working with SoundCloud for many years to help you discover […]
On June 13, 2016, Hype Machine on Sonos will only be available to SoundCloud Go premium subscribers in the US, Canada, UK, Ireland, France, Germany, Australia and New Zealand. To keep using Hype Machine on your Sonos device, there are three steps: Sign up for SoundCloud Go. Connect your Hype Machine account to your SoundCloud account. After you […]
Hype Machine returns to Brighton, England this month to present a showcase at The Great Escape Festival on Saturday May 21. With over 400 artists performing, The Great Escape is considered Europe’s leading festival for new music—a bit like the UK’s version of SXSW. London trio Kero Kero Bonito headline the bill. They’re joined by […]
HINDS and Bleached at the DIY showcase on March 15 (Photo: Jesse DeFlorio/Hype Hotel) This was Hype Machine’s fifth year of bringing blogger-curated showcases to the SXSW music festival, and from what we’re hearing, it might have been our best. Petite Noir at the Pigeons & Planes showcase on March 16 (Photo: Jesse DeFlorio/Hype Hotel) Mazda […]
Mazda + Hype Machine’s Hype Hotel is coming back to Austin for our 5th year of bringing the most interesting new music offline. Day and night shows have been curated by DIY, Stadiums & Shrines, yvynyl, Pigeons & Planes, Tiny Mix Tapes, ISO50, Gorilla Vs. Bear, Disco Naïveté, Blah Blah Blah Science, Cruel Rhythm, and Crack in the Road, along with the […]
We've covered a lot of post-disco electro funk material here at Beat Electric, here's a little throwback with a more traditional straight ahead disco sound. This beautiful Canadian cut was included in a Trocadero Transfer mix we posted a while back. A friend of mine gave me this 12" around December and its haunting infectious sound has found […]
Happy New Year Beat Electricians! This is one of those highly unknown, un-googleable tracks that blows minds on the dance floor. I really did try locating some info on this boogie beast but it is mysterious! All I can say is that it was made in 1986 somewhere in the U.K. Anyway, I really like the lyrics to this track plus I have listened to the song a millio […]
Nothing to cure the Funkmosphere hangover blues like a new post. Firstly, just want to give one more shout out to Dam Funk and all of the Funkmosphere residents (Billy Goods,Laroj,Matt Respect, Ron aka Randy Watson, and Eddy Funkster) for keeping the funk strong in Los Angeles. I really says something to the quality of the night when they can stay strong for […]
This "torrential" downpour in Southern California has provided a great setting for trying to dig up some deets on Nathan McKinney and Desert Bone Records. Apparently, the info for this artist is pretty scarce, most of my search results are Youtube videos with "hynas" on cars and comments full of homies proclaiming how this is a "fir […]
Which mobster flicks have stood the examination of time? Opportunities are that you have actually most likely seen them or listened to lines from those flicks. Keep reading to discover which motion pictures make my listing of the supreme mobster motion pictures. The Godfather collection: Mario Puzo and also Francis Ford Coppella signed up with […]
Moms and dads ought to be recommended that a multitude of these inflatable bounce homes are still in the market as well as are being had fun with daily by kids of un-suspicious moms and dads. Information regarding risky degrees of lead in plastic bounce homes is really made complex to locate when one considers […]
Schitz Popinov’s express evaluation of the European ballet scene is mounted by her very early years invested in the Royal Dancing firms as well as colleges, the 1970s with the very early 1990s-a duration noted by respected imagination and also solid carrying out personalities-as well as by her developmental as well as lengthy functioning organization […]
Positioned at an elevation of 6300 feet over sea degree, this area has sweeping sights of the valley as well as the gorgeous city of Gangtok. I was privileged to see a great component of the valley in spite of the hefty cloud cover. This is the Schitz Popinov Cosmo Baker ft Jeanette remix. Share […]
Just wanted to second a couple of other comments on your site and say that yours is by far one of the best music resources I've found. A similar but now sadly defunct site called Retro Wonderland came a close second! Keep up the good work. All the best."
And all the best to you too, Elliot, for your lovely feedback you've emailed me :)
From: Yaron Sarel
"...just discovered your site, and I wanted to tell you that you make me one happy Israeli guy. I work as a sound engineer, living in Tel Aviv, and I love the 80's. In fact, two good friends of mine and myself formed an oriented-80's synth band. After years of playing rock, for some reason I have never imagined I would be playing this kind of music. I used to listen to as a kid (before I discovered the electric guitar). Your work brings back to life this music i miss and love so much. Thank you sir!"
And thank you, Yaron, for your lovely feedback.
Mp3's on this site are for sampling and promotional purposes only and will only. Most of the mp3 tracks on this blog/site are remixes, extended and limited versions which are deleted, no longer available for purchase and would not be heard otherwise. However, please support these artists. If you are one of these artists and would like your music removed from this site, please notify me, and I will endeavor to remove them as soon as possible.