Guitar riffs and extra beats are added and the BPMs are made higher to alter the sound of the song. The bassline in drum and bass plays half of the speed of the drums. It’s not hard to piece together how or why it all started.
When hip hop was nearly beginning, it was very much compulsory to keep a compilation of samples and drum breaks. But as time passes by, the use of the same songs repeatedly became less indispensable because of the modern sampling technology and the overture of live instrumentation.
Because it is a type of dance music, drum and bass can be best appreciated to the fullest extent in clubs and discotheques. The bass is very pronounced, suggest by its name. Despite the popular preference of it being club music, many albums have been produced for personal listening. The most successful drum and bass artists to date include Pendulum, Shy FX, High Contrast, and Black Sun Empire.
Julian Marley the son of the legendary Bob Marley will be performing songs from his latest release Awake a collaboration with the Ghetto Youths International production team founded breakbeat by siblings Stephen and Ziggy.
What really set things off on the underground was my group Jigmastas and Beyond Real, the single that we had out, starting the label, and working with people like J-Live, Mr. Complex, etc. etc. So I would say ’95 was the year that really started things off. I also had–my first remix was “Microphone Master” by Das EFX and “Stakes Is High” by De La Soul. I did two MC Eiht remixes. And that was it. That was the starting point.
And then on top of that, we had shows. There were a lot of shows going on. Radio programming supported it as well. Underground hip-hop radio shows. Every night of the week in New York, you could pretty much tune in somewhere and hear underground hip-hop. So the support system was there back then.
Ready Or Not, Here I Come (The Delfonics) – This music sample was actually made popular by Timberland when he arranged his partner Missy Elliott with the wonderful hit for Sock It 2 Me. This became so hot which turned out to be Missy Elliot’s best work. Da Brat was even invited on it.
The night was capped off with a salute to the production team who had backed Amanda Davids’ latest recording, including DJ Xplisit, Shai Locke, and mastering genius Karl Machat. And then – as quickly as it had captivated us, it was over. It left us wanting. It left us excited to buy Canadian music. It left us willing to pursue the discovery of underpromoted arts and culture. It left us wishing we had restocked our cars with our favourite Herbie Hancock and Mary J. Blige cd’s for the ride home.