I’m trying out a new format:
- First, I’ll pick two rare records from my vinyl collection.
- Second, I’ll record my voice through the vocoder, “Presented by Hashmoder.”
- Third, I’ll record the two records straight to MP3. Simple, quick and fierce. This way I can post blogs on Schitz more quickly and to the point.
From the private stash of my awesome vinyl collection, I present to you Chubb Rock and Fats Comet, below:
Chubb Rock…
Title: Ya Bad Chubbs (Cribs Mix)
Remixed by: Howie Tee
Year: 1989
Genre: House
Chubb Rock – “Ya Bad Chubbs” (Crib Mix) (mp3)
Doug Wimbish (featuring Fats Comet)…
Title: Don’t Forget That Beat
Year: 1985
Genre: Electronic Funk Drumbeat Industrial
Comment: Doug Wimbish is one bad-ass bassist. He collaborated with Fats Comet on this track. Both are from the UK. Their sound is like Art Of Noise meets Africa Bambaattaa meets Ministry (of 1985 sound).
Doug Wimbish [featuring Fats Comet] – Don’t Forget That Beat (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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