Call me cheesy, but I feel better for feeling that way. I think that if you can open up someone to your genre, then you have done your job perfectly and possibly made a new fan. When that came out, Funkmaster Flex was killing it!
DJ Nysus aka Dion Freeborn of Northern Virginia — who recently opened for Superstar DJ Keoki at Shorty’s in Baltimore, and shared the bill with Stanton Warriors at DC Star — is a popular fixture in the DC/Baltimore scene and beyond.
I love how the Afrika Bambaata a capella sounds over the Plump DJ’s Shifting Gears mix a lot. Also really like the way the Candi Station and Bounce a capellas sounded over top of Sketch’s Pentangle. But my favorite is the Love Commandments a capella over top of the Boy 8-Bit Cricket Scores track.
Given the nature of EOTO’s live shows, do the masters of musical improvisation feel pressure to top the last show or enjoy the freedom to explore uncharted territory? Without hesitation, Hann stated that they find the inventiveness exhilarating.
The beats per minute in drum and bass tracks are usually from 160-180, compared to other forms of breakbeat that have paces of 130-140 BPM. As time has gone by and the genre has evolved, the BPM has raised and as a result, the tracks seem faster now a day.
In the midst of it all, it had also become a fashion show. Not so bad, right? We saw it as a good thing. Ravers were making the clothes, so buying them was supporting “us.” The idea that the scene could support itself soon came to the forefront, quickly enticing fashion designers and promoters to invest even more. Was the scene becoming “respectable?” Was it becoming a self-supporting movement- or big business?
Ashley’s Roach Clip (Chuck Brown and The Soul Searchers) – This sample continues to rock on air. It was notably used in a minor hit known as Girls Around the World by R&B singer Lloyd. Way back in 1987, it found its initial and much-loved use on the classic Paid in Full by Eric B. and Rakim.
Eventually, the idea of the “vibe” became more widespread, encompassing everything- the music, the people, the overall feeling of the party. Almost everyone believed in it now. Ravers believed that this entity could appear out of nowhere, much like the “Holy Spirit”, coming down upon the party and blessing it with good times.
I was approached by East West [Records]. That [Das EFX “Microphone Master”] was the first official remix and I was in Kansas. I had to get the job done so I brought Joc Max in and did it with him. Everything that we did, we labeled it Domecrackers. We eventually wanted to do a project called the Domecracker Project where me and him produce the whole record. But that still has yet to come to fruition. We talk about it all the time. He’s like a best friend, actually, like a brother. I speak to him all the time even outside of the music thing. So that’s what that Domecracker thing is, me and Joc.