“DJ Kool Herc’s Definition Of Hip Hop?
Hip Hop.. the whole chemistry of that came from Jamaica… I was born in jamaica and I was listening to American music in Jamaica.. My favorite artist was James Brown. That’s who inspired me.. A lot of the records I played was by James Brown. When I came over here I just put it in the American style and a perspective for them to dance to it. In Jamaica all you needed was a drum and bass. So what I did here was go right to the ‘yoke’. I cut off all anticipation and played the beats. I’d find out where the break in the record was at and prolong it and people would love it. So I was giving them their own taste and beat percussion-wise.. cause my music is all about heavy bass…”
from Davey D’s Hip Hop Corner
1. Cuerpo Celeste – Murcof
2. Birds Fly by Flapping Their Wings – Biosphere
3. Rainforest – Rainforest
4. Shining Book – Pan American
5. Holography – Arve Henriksen
6. From a Solid to a Liquid – Biosphere
7. Shell of Light – Burial
8. Dragon Fly – Zwicker (EP version)
9. Deerdrive JX10 – Legowelt
10. Tears for a Fallen Empire – Bvdub
11. Cats in the Night – Erell Randon
12. Fade (unknown)
13. Dark Matter – Heinrichs and Hirtenfellner
14. Evol Peed (Svens Dust Devil remix)
15. Illusion – Shirazi
16. Heiligendamm – Kollektiv Turmstrasse
I started this mix with a sort of pep talk to encourage the loop-jays in electronic music to break out of their loops and enter the real matrix that was created for them back in the late 80s. You know me as A Guy Called Gerald, what you didn’t know is that most of you are still in the first phase – the loop phase. Phase 2 is the maze phase where sonic information is available not just in linear time but on layers of time.
I helped to build this, inspiring early music software developers to create a virtual bedroom studio, so non-specialists in music production (like the DJ) could have direct virtual access to the source code I like to call music production.
Over the last two decades there has been contamination in the system where certain rogue music styles entered the system at some of the easy access points, corrupting DJs and imprisoning them in the loop phase. My job is not easy but only the masters can break the loop.
If you are a techno person and you listen deeply into this music you will hear the beginnings of one side of my inspiration to make electronic dance music. This is the music I grew up listening to. When I hear some of the reactions from some of my American brothers.. musically they actually thought I was living around the corner from them – which I was, musically. It’s funny, we could have almost communicated the same then as you can online now through music. Brothers if you are reading this – don’t forget it – we still have an open line of communication. Some people think it’s all about the $.
Still deep in the Jungle
rastafarian folk song – cymande
clap ya hands – the meters
easin in – edwin star
intimate frends – eddie kendriks
cant turn me away – sylvia striplin
turned on to you – 80s ladies
you caught me smilin – sly and the family stone
dont stop the music – yarbrough and peoples
genius of love – tom tom club
rapture – debbie harry
hydraulic pump – p-funk
dog talk – k9 corps
nobody can be u – steve arrington
encore – cheryl lynn
just a touch of love – slave
rock creek park- the black byrds
last night a dj saved my life – indeep
set it off – harlequin 4
super rap inst – grandmaster flash
This set is a homage to what I call the True School. True School isn’t some trendy name I picked up from a magazine. It’s the kind of music I actually grew up dancing and listening to. Back in the early 80s electronic black dance music was a very specialist niche but it was the centre of my world which was based around my local club scene in Manchester. I was so deep into it that I never actually noticed the extra wagons attaching themselves. The journey so far has been very interesting but it seems there are so many trailers that have attached themselves to electronic black dance music that the weight seems to have moved – so the more commercial less underground styles which developed out of this very select (almost obscure now) style of music is being pulled in the opposite direction by even the neo-commercial rap industry now – who I’m sure (alot of them) are not really aware of the roots of where their music began.
When I was asked to do an old school acid house set I could have easily put another nail in the coffin of black dance music by playing some cheesy old pseudo rave shit that started to cash in on the early Chicago acid house scene. I actually watched the system of what was going on in the early house days from a safe distance in the “jungle”. I watched as certain DJs positioned themselves into places of importance as the pop trailer attached itself via the now trendy “Remix Producer” and helped the main music media to coin phrases. It seemed to me fragments of the morsels of funk they had extracted from past grooves were becoming the building blocks and templates for what you now call dance music. And then I watched as the next generations fed off these and created their own, even more refined, fragments. To me, it seems like they were blagged judging by the fact that there is so much interest in and releases of retro-analogue-backward-looking music right now.
So getting back to why I chose to do this set in this way, it was just mainly to remember where I came from and what were my main inspiration points which are really the first wagon on this train.