I am so glad that I bought this 12-inch record back in 1985. It was purely accidental. I had no idea that I was buying a gem, but the cover, colors and the names of the label and artist were enough to convince me to make the purchase. Such a killer track. Both versions of this track are completely different and distinct from each other, as if not remixes at all. At that time, I was really into electro hiphop and finding a lot of 12-inch singles of that genre (in England of all places) was really hard, whereas most tracks were easy enough to find on compilation albums & cassettes like the Electro series released through UK’s renowned Streetsounds label. For the record, Davy’s “DMX” last name is derived from a very popular drum machine at that time — the Oberheim DMX (see picture caption somewhere below).
Davy DMX – “The DMX Will Rock” (Rap Mix)…
Artist: Davy DMX
Title: The DMX Will Rock (Rap Mix)
Year: 1985
Media Source: Recorded straight from 12-inch record to enhanced digital.
Davy DMX – “The DMX Will Rock” (Rap Mix) (mp3)
Davy DMX – “The DMX Will Rock” (Scratch Mix)…
Artist: Davy DMX
Title: The DMX Will Rock (Scratch Mix)
Year: 1985
Media Source: Recorded straight from 12-inch record to enhanced digital.
Davy DMX – “The DMX Will Rock” (Scratch Mix) (mp3)
Davy DMX, circa 1984/85
Oberheim DMX drum machine.
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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