[rumori] The Sample

Mr. Fodder [rumori] The Sample
Thu, 27 Aug 1998 14:17:27 PDT (00904281447, 19980827211727.16469.qmailAThotmail.com)


>>I still think this 'concept' is a key to much of what is
>>revolutionary and exciting about rap;
>
>well, rap was often done recycling breakbeats because people was too
poor

>to afford real instruments. So no wonder the text was more important.
The

>beats and musci had to have a certain "funk" or whatever ya call it...
but

>it didnt matter much whether the break was stolen to Chic or James
Brown or Queen.



------------ snip ------------ ... begin transmission



The ''break being stolen'' never mattered really. It was just sound.
Whatever worked well at the time really. I can't remember one person
worried about the law while doing this stuff in the early 80's. One
main reason was it was still really underground. You had your typical
rappers delight on the radio or other common tunes that were played, but
only a few and select radio shows. it really didn't break out on radio
until about 1985 when RUN-DMC was at their height and COOL-J was still
TOO HARD FOR HIS RADIO.

===================

Another thing is the term breakbeat. Here is a little history just for
insight for those who hear the term nowadays.
A 'breakbeat' in say 1985 is much different than one say in 1995.
First, I have a lot of vinyl of breakbeat records from the early 80's
and these consisted of a drum loop (about a bar) repeating for about 2-3
minutes so dj's could mix a continuous loop in the background of other
cuts. this worked well when i used to use 4 tables live. i would mix 2
breakbeats on 2 tables and cut a groove from 2 indentical records on the
other tables.

nowadays 'breakbeat' is a style coined in the 'rave' and 'club'
circuits. if you walk into a record store nowadays and ask for some
breakbeat records, they will point you to a section of vinyl with cuts
that have basically full complete songs.

basically 'breakbeat' can really be described like this.

i used to go to a record store (mostly 45's) in concord, ca while living
in the bay area in like 1987 and we used to sit for the whole afternoon
like once a month and go through every 45. looking for that one bar or
melody to sample. that one 'breakbeat'

===================

really quick. i am rambling a bit. but work is so slow today and they
should have never gave me internet access at work in the first place.
what did they think i'd do when my work was done.... find more??? ha
ha!

===================

a quick primer (or skip it, cause it may be boring) on my past
and my experience with two turntables and a microphone.......

back in 1982 when I was starting out, I couldn't afford a sampler and I
didn't know anyone that had one. The closest was a pal of mine had a 4
track reel-to-reel and would splice tape. We used to go down to the
beach or on sidewalks or vacant lots and set up cardboard for dancing
and two turntables and a mic and get loose. Every record I used to buy
I had to buy TWO, cause I had to repeat the sample back and forth from
one table to the next. I would buy everything from Ray Conniff to Crass
to ELO to Ohio Players and etc.... Just repeating the groove back and
forth. It was exciting to be there at that time, it was still new (coin
the term 'fresh') and it was way out there for most folks.... (example:
My folks never understood why their kid would need two turntables and
how in the hell could their kid consider those tables musical
instruments???) .... In 1984, I had a partner of mine buy a SP-1200
(nice machine) and that was when i started doing beats under alias names
and working with artists until about 1990 when I turned it around to do
my current project.


also just to say something.... the grooves did not have to have a
certain FUNK to them. only maintaining some sort of click track to
follow. now a LOT of hip-hop from the early 80's did have a LOT of funk
in it, but that was most of the stuff that got RADIO AIRPLAY and NOTICE.
how about grandmixer DST anyone? Or what of the west coast scene in
like 84. Dr. Dre wearing gold glittery jump suits and rapping about
love in WORLD CLASS WRECKING CREW. didn't think 3 years later he'd be
rapping about bitches and money in NWA. okay, now i am going off on
silly trivia.

===================

wow... is it time to go home already.

hope this text wasn't just a bunch of rambling.

---- Mr. Otis F. Odder



*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# MR. OTIS F ODDER
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# I.o.S./C.o.T.S.G./C.o.E./E.D./H.C.o.M.
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# M O F O
The Bran Flakes
M.O.M. - The Mofo Outreach Ministry
Transistorized Spectra-Sonic-Sound Labs
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# Postal : Box 21104, Seattle, WA 98111 USA
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# Electronic Mail : otisfodderAThotmail.com
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# Universal Remote Location : http://i.am/mofo *%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# C y I r N r D a E l R
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^# The more you have
The less you do
Give someone too much freedom
and he won’t know what to do with it
Give someone restrictions
and watch him rack his brains
*%#)!&^*(&%!^%#*&%^%$%#$%#%$*&%&%^&%&*%&$^%#$&$^#

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com ________________________
http://detritus.net