It’s been a long time; I shouldn’t have left you.
Without a strong article to blog a post to.
Think of six months you had to wait through.
Time’s up.  I’m sorry I’ve kept you…
waiting for this, with your hand on the mouse, soon…
as you click it, turn up the volume!

Heh. How ya like my own take on Eric B & Rakim’s – “I Know You Got Soul” lyrics above!

And hey… Thank you for your patience.

In the long break which I’ve taken away from my blog, I was going through and reorganizing my entire vinyl and CD collection. I was listening to a lot of music, as well as searching and buying a lot of new and used records and CD’s from niche record stores, thrift stores, garage sales and internet. I’ve added more music to my arsenal in the past few months, especially certain old-school tracks which I’ve been searching for years to find… such as the 12-inch extended version of Promises Promises by Naked Eyes.

What the hell is it about this track which makes it deliciously and emotionally congenial? …And why is it so immortal?

Oh, I know… It is the plethora of rich, creamy & lush layers of weaving sound textures in a sea of sound-design bliss — an artwork trademark of Naked Eyes’ two British members Pete Byrne (guitars & vocals) and Rob Fisher (synthesizers & keyboards). They deliver Promises Promises with such bliss, thickened with consistency and splendiferous substance of utmost quality in the beautiful combination of different musical elements, threaded and embedded deeply in the song’s inner core and exterior fabric.

According to Wikipedia:

Naked Eyes was one the very first bands to make significant use of the Fairlight CMI sampling beast of an instrument.  Peter Gabriel and Kate Bush had used the Fairlight on prior efforts, but the usage had been far less than Naked Eyes would employ on their debut effort.

However, before becoming a two-man band, Byrne & Fisher had formally played in a band called Neon with future members of Tears For Fears — also a two-man band who used the Fairlight extensively. The relationship between the two bands is perhaps why both bands had similarities in their use of rich, epic sound-textures in the music, albeit each having their own musical styles.

The lyrics of Promises Promises was obviously about a person’s disappointment in his/her significant-other who made countless promises but was not able to keep nor follow through any one of them. If having read the lyrics without listening to the music first, one might have gotten an impression that the song would be slow and sappy.     Sappy/slow it was not!       Surprisingly, this track was paced at mid-tempo with:

  • Tight drums at the core;
  • Percussive marimba’ish synth stabs;
  • Lush synth pads and swells coming in & going out through both left/right channels of the stereo-field;
  • Echoey electric guitar licks drenched in reverb ambience; and
  • Moderate and not over-the-top vocals with not too many words.

●●● Overall sound-&-feel of the song was (and still is) moody and emotional but hopeful.

Moody… Emotional… These are exactly the feelings I go through sometimes when thinking about how I might’ve been given the short-end of the stick in life. I start to loathe myself many times for being a middle-eastern person born in Baghdad, Iraq. And then I wish that I wasn’t born an arab nor a muslim –– I really do hate my religion!

I renounced Islam when I was 6.5 years-old in 1977. I was mandated to attend “Quran” class at the end of first day of school (Rosary) in Abu Dhabi. I was late for that class. As soon as I entered the classroom, the arabic teacher asked me to recite any verse from the Quran. I had no idea what she was talking about, because I wasn’t aware to have a religion.  All of a sudden the bitch slapped me hard on my face, almost knocking me down to the floor and blacking-out. That very moment… I made up my mind: FUCK THIS! AND FUCK ISLAM!!

After being slapped and physically abused for nearly three years, my stuttering became severely worse, as I was living in fear of those kinds of people. And because of those sons of bitches, I loathed (and still loathe) myself for being a brown, muslim arab. Therefore I moved to England and Canada with my parents at a young age of nine years in 1980. I was happy to get away from the middle-eastern world of autocratic and punitive Islamic-states in Arabia. During all my years living in Europe and North America, I’ve adapted and became accustomed to modern western civilization and culture.

But whenever I do feel down like that, I can simply shake it off by either thinking of Promises Promises or playing the song. Perhaps a lot of the good promises in my life where broken or never fulfilled, but I am being hopeful at the end of each day.

Naked Eyes – “Promises, Promises” (Extended Version)…

Artist: Naked Eyes
Title: Promises, Promises (Extended Version)
Year: 1983
Label: EMI America
Media Source: Recorded straight from 12-inch record to enhanced digital.

Naked Eyes – “Promises Promises”  (Extended Version) (mp3)

 

Naked Eyes – “Promises, Promises” (Instrumental)…

Artist: Naked Eyes
Title: Promises, Promises (Instrumental)
Year: 1983
Label: EMI America
Media Source: Recorded straight from 12-inch record to enhanced digital.

Naked Eyes – “Promises Promises” (Instrumental) (mp3)

 

YELLO – “Stella” Album & Singles

Yello, Stella Album & Singles, Dieter Meier, Boris Blank

There’s no measure as to how much I love the Stella album by YELLO. Released in 1985, Stella is still one of the most original albums ever to come out, and still standing the test of time. Oh Yeah is probably one of the most recognized tracks ever since being featured in the soundtracks of two 1985 block-buster movies: Ferris Bueller’s Day Off and The Secret Of My Success ….. and subsequently later being featured in countless other movies. But Oh Yeah is not my only favorite track on Stella album. My favorite tracks are all the other ones, such as Dessert Inn, Koladi-Ola, Domingo, Sometimes — practically all the tracks on that album. Stella must be listened to from start to finish. The tracks tell a story in their consecutive order. Boris Blank’s wizardry on the synths, drum machines and the Fairlight sampler is pure sound-design bliss. Every sound and element heard on each track is sublime. Engineered beautifully. Lyrical poetry from the vocals of Dieter Meier. Those two Swiss guys –Boris Blank and Dieter Meier– are masters of their own craft. They are always (as always have been) in total control over everything they do, including producing and directing all their music videos. They simply stand on their plateau through and through.

Play YELLO “Stella” Album…

YELLO- “Vicious Games” (12″ Mix)…

Artist: YELLO
Title: Vicious Games (12″ Mix)
Year: 1985
Label: Mercury Records

YELLO – “Vicious Games” (12″ Mix) (mp3)

 

YELLO- “Desire” (12″ Mix)…

Artist: YELLO
Title: Desire (12″ Mix)
Year: 1985
Label: Mercury Records

YELLO – “Desire” (12″ Mix) (mp3)

 

YELLO- “Oh Yeah” (Dance Mix)…

Artist: YELLO
Title: Oh Yeah (Dance Mix)
Year: 1985
Label: Mercury Records

YELLO – “Oh Yeah” (Dance Mix) (mp3)

 

YELLO- “Oh Yeah” (Indian Summer Version)…

Artist: YELLO
Title: Oh Yeah (Indian Summer Version)
Year: 1985
Label: Mercury Records

YELLO – “Oh Yeah” (Indian Summer Version) (mp3)

 

YELLO- “Let Me Cry” (Extended)…

Artist: YELLO
Title: Let Me Cry (Extended)
Year: 1985
Label: Mercury Records

YELLO – “Let Me Cry” (Extended) (mp3)

 

YELLO- “Blue Nabou” (Bonus Track)…

Artist: YELLO
Title: Blue Nabou (Bonus Track)
Year: 1984
Label: Mercury Records

YELLO – “Blue Nabou” (Bonus Track) (mp3)

 

Some of my YELLO collection…

Click each image to enlarge.

Yello music collection (small image)Yello music collection (small image)Yello music collection (small image)
Yello music collection (small image)Yello music collection (small image)Yello music collection (small image)

Another great Tears For Fears 12″ single. This track was recorded and released in the UK charts in 1984, well before the release  of their 1985 LP/album release Songs From The Big Chair. It showcased the group’s edgier sound, intricate production and, most importantly, the creative use of sampling. Beat Of The Drum Mix was clearly one of the earliest remix tracks with sampled vocals, loops and snippets as well as loops, that were sequenced and arranged together on top of all other synths and multi-tracked layers of instrument/vocal performances recorded by the band. For example, the string-hits at the beginning Beat Of The Drum Mix were sampled from a Barry Manilow track; James Brown vocal snippets near the end; and the other samples were real ambient noises, drum shots/rolls, orchestral and horn stabs, ambient and weird noises, guitar strums/chords, and Tears For Fears’ own vocals.

All the sampling were done with the Fairlight CMi-2 which was, at that time, the most sophisticated and highly advanced sampling/sequencing/digital-editing workstation.  It featured a mainframe computer, large keyboard-instrument controller, computer monitor and a light-pen.  Watch this video demonstration of the Fairlight. Also watch this other video of the Fairlight being demonstrated by Nick Rhodes of Duran Duran.

The meaning of Mothers Talk stems from two ideas:

  1. Something that mothers say to their children about pulling faces; they say the child will stay like that when the wind changes; and
  2. The inspiration by the anti-nuclear cartoon book When The Wind Blows by Raymond Briggs.

Tears For Fears – “Mothers Talk” (Beat Of The Drum Mix)…

Artist: Tears For Fears
Title: Mothers Talk (Beat Of The Drum Mix)
Year: 1984, 1985, 1986
Label: Mercury Records; Polygram; Phonogram; Vertigo
Media Source: Recorded straight from 12-inch record to enhanced digital.

Tears For Fears – “Mothers Talk” (Beat Of The Drum Mix) (mp3)

 

Tears For Fears – “Mothers Talk” (US Remix)…

Artist: Tears For Fears
Title: Mothers Talk (US Remix)
Year: 1984, 1985, 1986
Label: Mercury Records; Polygram; Phonogram; Vertigo

Tears For Fears – “Mothers Talk” (US Remix) (mp3)

 

Fairlight CMi demonstration by Greg Sneddon…

http://youtu.be/D-aWWcw2pL0

Fairlight Cmi demonstration by Nick Rhodes & other artists…

When The Wind Blows…

In 1983, Malcolm McLaren released two singles, Buffalo Gals and Double Dutch, both of which becoming worldwide top-10 smash-hits. Those two tracks hit the international music charts before his LP Dutch Rock was released. Dutch Rock album proved to be highly influential, bringing hip-hop to a wider audience, especially in the UK.

Giacomo Puccini, Madam Butterfly operaIn 1984, Malcolm changed his tune to opera on his next maxi/EP single release of Madam Butterfly which was an electronic, synth-pop modern-classic track, based on Giacomo Puccini’s 1902 classic-opera Madam Butterfly’s“Un Bel Di Vedremo” final aria (watch videos below). For those of you who are not familiar with Puccini, perhaps you might recognize his “Nessun Dorma” aria from his Turandot opera (which is still part of today’s popular culture). Nessun Dorma has achieved pop-status by Luciano Pavarotti’s recording of it, used as the theme song of BBC’s television’s coverage of the 1990 FIFA World Cup soccer in Italy; and it subsequently reached #2 on the UK singles music chart (the highest placing ever by a classical recording).

Malcolm McLaren’s Madam Butterfly is arranged with a drum-machine, atmospheric synthesizers and spoken/sung R&B verses (with opera backup vocals). The production on Malcolm’s Madam Butterfly is stellar. The track was produced by Steven Hague who settled for nothing but the best in overall production. I know for a fact that a Fairlight CMI-2 was used, because Madam Butterfly (Un Bel Di Vedremo) starts with the Fairlight’s famous factory sound-preset ”aah” voices coming in slowly and rising gradually in amplitude, serving as a bed/pad sound layered in the background throughout the track. Watch music video below to hear that sound. I know all the Fairlight sounds inside-out, because I’ve heard them millions of times since 1980 when the Fairlight beast of a sampler/workstation instrument was used on countless of tracks by other famous artists and groups in that era (for it’s unique sound, powerful sample/sound processing engine and music sequencer). Watch this video of the Fairlight being demonstrated by Nick Rhodes of Duran Duran. As for the chord melody in Madam Butterfly, it is a sound of an upright-harp with softer/slower attack transient; though there’s no telling what synthesizer or sampler brand used for it. It could’ve been a custom-sampled harp sound for the Fairlight, or a factory-sample bank coming from a then-popular E-mu Emulator-II, but my guess is that the harp and the bassline-sound were factory-preset patches from a Yamaha DX7 synth. Watch this YouTube demo of the DX7. Harp sounds from synths and samplers sound almost exactly the same and very difficult to distinguish them apart. Also, the drum-machine used in Madam Butterfly is an Oberheim DMX (which was just as popular as Roland TR-808, LinnDrum and E-mu Drumulator and SP-12 drum-machines at that time).

Attention new music producers: I have compiled and categorized .wav samples of almost every classic drum-machine and electronic drum-kits made by man.  Download drum_kits.zip

I used to own the 12″ vinyl of Madam Butterfly which I bought in 1984 from Our Price record store in Uxbridge town center (Hillingdon, Buckinghamshire, UK). But I gave it to my friend Mister P-Body (Arizona) in June 2001 (just before I moved back to West Vancouver, BC, Canada, on July 1, 2001), as I had already owned a copy of it on CD-single which I’d purchased in 1988. To this day, I’m still playing the track over and over again. I have never gotten (and still never get) sick of listening to Madam Butterfly — takes on me on long mind trips each time.

Malcolm McLaren – “Madam Butterfly” (Un Bel Di Vedremo)…

Artist: Malcolm McLaren
Title: Madam Butterfly (Un Bel Di Vedremo)
Year: 1984
Label: Virgin Records; Charisma Records

Malcolm McLaren – “Madam Butterfly” (Un Bel Di Vedremo) (mp3)

 

Malcolm McLaren – “Madam Butterfly” (On The Fly Mix)…

Artist: Malcolm McLaren
Title: Madam Butterfly (On The Fly Mix)
Year: 1984
Label: Virgin Records; Charisma Records

Malcolm McLaren – “Madam Butterfly” (On The Fly Mix) (mp3)

 

Malcolm McLaren – “Death Of Butterfly” (Tu Tu Piccolo)…

Artist: Malcolm McLaren
Title: Death Of Butterfly (Tu Tu Piccolo)
Year: 1984
Label: Virgin Records; Charisma Records

Malcolm McLaren – “Death Of Butterfly” (Tu Tu Piccolo) (mp3)

 

Stage Performance: A preview of Puccini’s “Madama Butterfly” opera…

Opera Performance: Puccini – “Madama Butterfly” (Un Bel Di Vedremo)…

Stage Performance:
Pavarotti sings “Nessun Dorma” final aria of Puccini’s Turandot opera…

Mantronix - "Simple Simon"

Spring 1988, Denham Village, Buckinghamshire, UK ….. on the way to Syco Systems (high-end pro audio shop — by appointment only — caters only to high-end clientele and famous artists such as Peter Gabriel) to pick up the gear for my first studio (see pictures below)  ….. I heard this track by Mantornix on the radio.

Notice: If you need to know more about Mantronix and the man himself, Kurt Mantronik, refer to my previous blog Hanson & Davis. Please read that first and then come back here and continue reading this blog/article.

I used to dream about having a Linn-9000 one day, so I could load my own drum samples and program beats with its sequencer; I used to sit for hours and drool over the brochures of the Roland D-50 synth and think about how breathy and paddy (also see video below) my tracks would sound along with the Linn-9000 drums pulsing underneath. The D-50 was revolutionary at its time (1987), because it was the first synth to have built-in effects, such as the the reverb, attack-transient samples and linear synthesis, among many other things. When I went to Syco Systems with my dad to buy the new gear, Kendall Wrightson (see quick shout-out below) informed me that the Linn-9000 was no longer in production, because its parent company went bankrupt; however, its designer Roger Linn had come up with a much better machine through Akai. He pointed his finger towards the Akai MPC60 at the other end of the room. It was GORGEOUS. It looked like a mean machine with a tilting LCD screen! Oh, those 16 square rubber finger pads. I didn’t hesitate to add it on the transaction. Kendall said something along the lines that he had one in stock, boxed and with Tony Banks’ name on it (yes, Tony Banks — the keyboardist of Genesis), but Tony didn’t want it at the time. When I looked at the box, sure enough his name was in fact printed on the shipping label.

After picking up my new studio gear from Syco, I stopped by Our Price record store, bought the 12-inch of Simple Simon and then drove home from London to my parent’s country-home in Denham Village. I love this track through and through. It’s very melodic and street-emotional, especially the bassline. Love the guitars (which are not real but tone-sampled and played from a keyboard sampler). The sound and style is very different from Mantronix’ previous releases which were more freestyle-based. Simple Simon sounded more mature but still had that “Mantronix” feel … perhaps it was the snappy, hard drum samples and programming coming from an E-mu SP-1200. Whatever it was, it certainly had the Mantronix‘ stamp with MC Tee‘s rap vocals. These two guys really stood out with this one.

I used to play both A and B sides of the 12-inch. Check out the amazing editing and fast-gating on You Dubba Regard mix, which were very hard to produce. Around that same time of year, the Latin Rascals were doing clever edits like this, with stutters, splice-edits and gated chops. Check out their sound/edits on Information Society’s – What’s On Your Mind which I’ve blogged about previously.

Quick shout-out to Kendall Wrightson:

Kendall Wrightson
who was my personal salesman at Syco Systems. He was very well-known in the pro-audio industry, for representing and selling high-end gear like the Fairlight (watch Kendall’s demonstration), SyclaviersSSL mixer consoles, etc.. There were times when Kendall used to let me and my best friend Noel Derblich to go inside one of Syco‘s studio rooms and transfer samples from the E-mu Emulator-III (also watch video here) to my Akai MPC60 drum-sampler/sequencer (64 midi channel, 99 tracks). Kendall was also featured in several documentaries about music technology.

Mantronix – “Simple Simon” (You Gotta Rock Hard)…

Artist: Mantronix
Title: Simple Simon (You Gotta Rock Hard)
Year: 1988
Label: 10 Records (UK)
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Simon – “Simple Simon” (You Gotta Rock Hard) (mp3)

 

Mantronix- “Simple Simon” (You Dubba Regard)…

Artist: Mantornix
Title: Simple Simon (You Dubba Regard)
Year: 1988
Label: 10 Records (UK)
Media Source: Recorded straight from 12-inch record to enhanced digital.

Mantronix – “Simple Simon” (You Dubba Regard) (mp3)

 

My first studio with nice gear which I've bought from Syco Systems, London. Kendall Wrightson was my personal salesman. See his videos below.

Kendall Wrightson at Syco Systems, demonstrating the Linn-9000…

Kendall Wrightson at Syco System, demonstrating the Fairlight…

Roland D-50 synthesizer demonstration of its sounds/presets…

E-mu Emulator-II demonstration of its sounds/presets…

Mantronix - “Simple Simon”…

What a gem this track is. Summer 1988 …. What’s On Your Mind comes out …. one of my all-time favorite retro electropop tracks by Information Society. The Latin Rascals did killer job in editing the club-mix version, and by such editing (especially in the breakdown) was very difficult to do at that time when there was no Protools; the only digital-audio multitrack recording/editing that could be done at that time was on very expensive proprietary systems such as the Synclavier (also read my other blog post here) or Fairlight CMI. It’s amazing how this track still stands the test of time. Brilliant production nonetheless. A lot of gating and stuttering effects. Automation wizardry.

Information Society – “What’s On Your Mind” (Club Mix)…

Artist: Information Society
Title: What’s On Your Mind (Club Mix)
Year: 1988
Label: Tommy Boy
Media Source: Recorded straight from 12-inch record to enhanced digital.

Information Society – “What’s On Your Mind” (Club Mix) (mp3)

 

Information Society – “What’s On Your Mind” (What’s On Your Dub Mix)…

Artist: Information Society
Title: What’s On Your Mind (What’s On Your Dub Mix)
Year: 1988
Label: Tommy Boy
Media Source: Recorded straight from 12-inch record to enhanced digital.

Information Society – “What’s On Your Mind” (What’s On Your Dub Mix) (mp3)

 

Information Society – “What’s On Your Mind” (The 54 Mix)…

Artist: Information Society
Title: What’s On Your Mind (The 54 Mix)
Year: 1988
Label: Tommy Boy
Media Source: Recorded straight from 12-inch record to enhanced digital.

Information Society – “What’s On Your Mind” (The 54 Mix) (mp3)

 

Information Society – “What’s On Your Mind” (Pure Energy Mix)…

Artist: Information Society
Title: What’s On Your Mind (Pure Energy Mix)
Year: 1988
Label: Tommy Boy
Media Source: Recorded straight from 12-inch record to enhanced digital.

Information Society – “What’s On Your Mind” (Pure Energy Mix) (mp3)

 

Information Society – “What’s On Your Mind” (Percapella)…

Artist: Information Society
Title: What’s On Your Mind (Percapella)
Year: 1988
Label: Tommy Boy
Media Source: Recorded straight from 12-inch record to enhanced digital.

Information Society – “What’s On Your Mind” (Percapella) (mp3)

 

Heatstroke Moments: Man Parrish

Man Parrish album cover

Play Man Parrish Tracks…

Man Parrish Tracks…

  • Man Parrish – Hip Hop Bee Bop (Don’t Stop)
  • Man Parrish – In The Beginning
  • Man Parrish – Man Made
  • Man Parrish – Together Again
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Part 2)
  • Man Parrish – Six Simple Synthesizers
  • Man Parrish – Techno Trax
  • Man Parrish – Street Clap
  • Man Parrish – Heatstroke
  • Man Parrish – Hey There Homeboys
  • Man Parrish – Hey There Homeboys (Dub)
  • Man Parrish – Boogie Down Bronx
  • Man Parrish – Boogie Down Bronx (Dub)
  • Man Parrish – Heatstroke (Club)
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Remix)
  • Man 2 Man – Action (Dance Floor Action)
  • Man 2 Man – Male Stripper (Original 12-inch 1986)
  • Man 2 Man – Male Stripper (Out Of The Ordinary Techno Mix) (1989)
  • The Information…

    When I first started buying record albums and 12-inch singles in 1977, I was collecting all kinds of pop music such as Gary Numan, Blondie, Boney M, Bee Gees, Grace Jones, Grandmaster Flash, etc., throughout the following decade.

    There were only few handful of electronic musicians and music groups who’ve pioneered electronic music decades prior to the 1980s, such as Vangelis, Jean Michel Jarre, Jean Jacques Perrey, ELP, Tangerine Dream, Kraftwerk and others.

    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.

    Fairlight III CMi sampler, music workstation.

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Linn 9000 digital sampling drum machine and 64-midi channel sequencer.

    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.

    Examples of electro music releases were:

    • Freeez – “I.O.U.”
    • Man Parrish – “Hip Hop be Bop” (listen to track in flash music player above)
    • Man Parrish – “Heatstroke” (listen to track in flash music player above)
    • Man Parrish – “Boogie Down Bronx” (listen to track in flash music player above)
    • Mantornix – “Needle To The Groove”

    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 links…

    Read  below, Sean Cooper’s Review of Man Parrish…

    Link to original source.

    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.

    - Sean Cooper, All Music Guide

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